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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. 04 (of 10), Filippino Lippi to Domenico Puligo
+
+Author: Giorgio Vasari
+
+Translator: Gaston du C. De Vere
+
+Release Date: March 27, 2009 [EBook #28420]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK EMINENT PAINTERS ***
+
+
+
+
+Produced by Mark C. Orton, Christine P. Travers 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)
+
+
+
+
+
+[Transcriber's note: Bold text is marked with =."
+
+Obvious printer's errors have been corrected,
+all other inconsistencies are as in the original. The author's spelling
+has been maintained.]
+
+
+
+
+LIVES OF THE MOST EMINENT PAINTERS SCULPTORS & ARCHITECTS BY GIORGIO
+VASARI:
+
+VOLUME IV. FILIPPINO LIPPI TO DOMENICO PULIGO 1913
+
+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 IV
+
+                                                                    PAGE
+
+    FILIPPO LIPPI, CALLED FILIPPINO                                    1
+
+    BERNARDINO PINTURICCHIO                                           11
+
+    FRANCESCO FRANCIA                                                 21
+
+    PIETRO PERUGINO [PIETRO VANNUCCI, _OR_ PIETRO DA CASTEL DELLA
+        PIEVE]                                                        31
+
+    VITTORE SCARPACCIA [CARPACCIO], AND OTHER VENETIAN AND LOMBARD
+        PAINTERS                                                      49
+
+    JACOPO, CALLED L'INDACO                                           63
+
+    LUCA SIGNORELLI [LUCA DA CORTONA]                                 69
+
+    THE AUTHOR'S PREFACE TO THE THIRD PART                            77
+
+    LEONARDO DA VINCI                                                 87
+
+    GIORGIONE DA CASTELFRANCO                                        107
+
+    ANTONIO DA CORREGGIO                                             115
+
+    PIERO DI COSIMO                                                  123
+
+    BRAMANTE DA URBINO                                               135
+
+    FRA BARTOLOMMEO DI SAN MARCO [BACCIO DELLA PORTA]                149
+
+    MARIOTTO ALBERTINELLI                                            163
+
+    RAFFAELLINO DEL GARBO                                            173
+
+    TORRIGIANO                                                       181
+
+    GIULIANO AND ANTONIO DA SAN GALLO                                189
+
+    RAFFAELLO DA URBINO [RAFFAELLO SANZIO]                           207
+
+    GUGLIELMO DA MARCILLA [GUILLAUME DE MARCILLAC]                   251
+
+    SIMONE, CALLED IL CRONACA [SIMONE DEL POLLAIUOLO]                263
+
+    DOMENICO PULIGO                                                  277
+
+    INDEX OF NAMES                                                   285
+
+
+
+
+ILLUSTRATIONS TO VOLUME IV
+
+PLATES IN COLOUR
+
+                                                             FACING PAGE
+    FILIPPO LIPPI (FILIPPINO)
+        The Vision of S. Bernard
+            Florence: Church of the Badia                              2
+
+    BERNARDINO PINTURICCHIO
+        The Madonna in Glory
+            San Gimignano: Palazzo Pubblico                           14
+
+    BENEDETTO BUONFIGLIO
+        Madonna, Child, and Three Angels
+            Perugia: Pinacoteca                                       18
+
+    FRANCESCO FRANCIA
+        Pietà
+            London: N.G., 180                                         26
+
+    PIETRO PERUGINO
+        Apollo and Marsyas
+            Paris: Louvre, 1509                                       34
+
+    PIETRO PERUGINO
+        Triptych: The Madonna adoring, with the Archangels
+        Michael, Raphael, and Tobit
+            London: N.G., 288                                         42
+
+    VITTORE SCARPACCIA (CARPACCIO)
+        The Vision of S. Ursula
+            Venice: Accademia, 578                                    56
+
+    VINCENZIO CATENA
+        S. Jerome in his Study
+            London: N.G., 694                                         58
+
+    GIOVAN BATTISTA DA CONIGLIANO (CIMA)
+        Detail: Tobit and the Angel
+            Venice: Accademia, 592                                    58
+
+    LUCA SIGNORELLI
+        Pan
+            Berlin: Kaiser Friedrich Museum, 79A                      72
+
+    ANDREA VERROCCHIO
+        The Baptism in Jordan
+            Florence: Accademia, 71                                   92
+
+    LEONARDO DA VINCI
+        Monna Lisa
+            (formerly) Paris: Louvre, 1601                           102
+
+    GIORGIONE DA CASTELFRANCO
+        Figures in a Landscape
+            Venice: Prince Giovanelli's Collection                   110
+
+    ANTONIO DA CORREGGIO
+        Antiope
+            Paris: Louvre, 1118                                      118
+
+    ANTONIO DA CORREGGIO
+        The Adoration of the Magi
+            Milan: Brera, 427                                        122
+
+    PIERO DI COSIMO
+        The Death of Procris
+            London: N.G., 698                                        126
+
+    FRA BARTOLOMMEO DI SAN MARCO
+        The Deposition from the Cross
+            Florence: Pitti, 64                                      152
+
+    MARIOTTO ALBERTINELLI
+        The Salutation
+            Florence: Uffizi, 1259                                   168
+
+    RAFFAELLO DA URBINO
+        S. George and the Dragon
+            S. Petersburg: Hermitage, 39                             210
+
+    RAFFAELLO DA URBINO
+        Angelo Doni
+            Florence: Pitti, 61                                      214
+
+    RAFFAELLO DA URBINO
+        The Three Graces
+            Chantilly, 38                                            242
+
+    RAFFAELLO DA URBINO
+        Baldassare Gastiglione
+            Paris: Louvre, 1505                                      248
+
+
+PLATES IN MONOCHROME
+
+                                                             FACING PAGE
+    FILIPPO LIPPI (FILIPPINO)
+        The Liberation of S. Peter
+            Florence: S. Maria Del Carmine                             6
+
+    FILIPPO LIPPI (FILIPPINO)
+        S. John the Evangelist Raising Drusiana from the Dead
+            Florence: S. Maria Novella, Strozzi Chapel                 8
+
+    FILIPPO LIPPI (FILIPPINO)
+        The Adoration of the Magi
+            Florence: Uffizi, 1257                                    10
+
+    BERNARDINO PINTURICCHIO
+        Frederick III Crowning the Poet Æneas Sylvius
+            Siena: Sala Piccolominea                                  16
+
+    BERNARDINO PINTURICCHIO
+        Pope Alexander VI Adoring the Risen Christ
+            Rome: the Vatican, Borgia Apartments                      16
+
+    FRANCESCO FRANCIA AND A PUPIL
+        Medals
+            London: British Museum                                    22
+
+    FRANCESCO FRANCIA
+        Madonna and Child, with Saints
+            Bologna: S. Giacomo Maggiore, Bentivoglio Chapel          24
+
+    PIETRO PERUGINO
+        The Deposition
+            Florence: Pitti, 164                                      38
+
+    PIETRO PERUGINO
+        Christ Giving the Keys to S. Peter
+            Rome: Sistine Chapel                                      40
+
+    PIETRO PERUGINO
+        Fortitude and Temperance, with Warriors
+            Perugia: Collegio Del Cambio                              40
+
+    GIOVANNI (LO SPAGNA)
+        Madonna and Child, with Saints
+            Assisi: Lower Church                                      46
+
+    STEFANO DA VERONA (DA ZEVIO)
+        The Madonna and Child with S. Catharine in a Rose Garden
+            Verona: Gallery, 559                                      52
+
+    ALDIGIERI DA ZEVIO (ALTICHIERO)
+        Presentation to the Madonna of Three Knights of the Cavalli
+        Family
+            Verona: S. Anastasia                                      54
+
+    VITTORE SCARPACCIA (CARPACCIO)
+        S. George and the Dragon
+            Venice: S. Giorgio Degli Schiavoni                        56
+
+    MARCO BASSITI (BASAITI)
+        Christ on the Mount of Olives
+            Venice: Accademia, 69                                     60
+
+    GIOVANNI BUONCONSIGLI
+        Pietà
+            Vicenza: Pinacoteca, 22                                   60
+
+    LUCA SIGNORELLI
+        Detail: The Last Judgment
+            Orvieto: Duomo                                            74
+
+    LEONARDO DA VINCI
+        The Adoration of the Magi
+            Florence: Uffizi, 1252                                    94
+
+    LEONARDO DA VINCI
+        The Last Supper
+            Milan: S. Maria delle Grazie                              96
+
+    LEONARDO DA VINCI
+        Cartoon: The Madonna and Child with S. Anne
+            London: Burlington House                                  98
+
+    LEONARDO DA VINCI (?)
+        Fragment of Cartoon: The Battle of the Standard
+            Oxford: Ashmolean Museum                                 104
+
+    GIOVAN ANTONIO BOLTRAFFIO
+        Man and Woman Praying
+            Milan: Brera, 281                                        104
+
+    GIORGIONE DA CASTELFRANCO
+        Portrait of a Young Man
+            Berlin: Kaiser Friedrich Museum, 12A                     112
+
+    GIORGIONE DA CASTELFRANCO
+        Judith
+            S. Petersburg: Hermitage, 112                            112
+
+    GIORGIONE DA CASTELFRANCO (?)
+        Caterina, Queen of Cyprus
+            Milan: Crespi Collection                                 114
+
+    ANTONIO DA CORREGGIO
+        Detail: S. Thomas and S. James the Less
+            Parma: S. Giovanni Evangelista                           120
+
+    ANTONIO DA CORREGGIO
+        The Madonna and Child with S. Jerome
+            Parma: Gallery, 351                                      120
+
+    PIERO DI COSIMO
+        Perseus delivering Andromeda
+            Florence: Uffizi, 1312                                   128
+
+    PIERO DI COSIMO
+        Venus, Mars, and Cupid
+            Berlin: Kaiser Friedrich Museum, 107                     130
+
+    PIERO DI COSIMO
+        Francesco Giamberti
+            Hague: Royal Museum, 255                                 134
+
+    BRAMANTE DA URBINO
+        Interior of Sacristy
+            Milan: S. Satiro                                         138
+
+    BRAMANTE DA URBINO
+        Tempietto
+            Rome: S. Pietro in Montorio                              142
+
+    BRAMANTE DA URBINO
+        Palazzo Giraud
+            Rome                                                     146
+
+    FRA BARTOLOMMEO DI SAN MARCO
+        The Holy Family
+            Rome: Corsini Gallery, 579                               154
+
+    FRA BARTOLOMMEO DI SAN MARCO
+        S. Mark
+            Florence: Pitti, 125                                     158
+
+    FRA BARTOLOMMEO DI SAN MARCO
+        God the Father, with SS. Mary Magdalen and Catharine
+            Lucca: Gallery, 12                                       160
+
+    MARIOTTO ALBERTINELLI
+        The Madonna enthroned, with Saints
+            Florence: Accademia, 167                                 166
+
+    RAFFAELLINO DEL GARBO
+        The Resurrection
+            Florence: Accademia, 90                                  176
+
+    TORRIGIANO
+        Tomb of Henry VII
+            London: Westminster Abbey                                186
+
+    GIULIANO DA SAN GALLO
+        Façade of S. Maria delle Carceri
+            Prato                                                    194
+
+    RAFFAELLO DA URBINO
+        Lo Sposalizio
+            Milan: Brera, 472                                        212
+
+    RAFFAELLO DA URBINO
+        Maddalena Doni
+            Florence: Pitti, 59                                      212
+
+    RAFFAELLO DA URBINO
+        "The School of Athens"
+            Rome: The Vatican                                        216
+
+    RAFFAELLO DA URBINO
+        The "Disputa del Sacramento"
+            Rome: The Vatican                                        222
+
+    RAFFAELLO DA URBINO
+        The Mass of Bolsena
+            Rome: The Vatican                                        224
+
+    RAFFAELLO DA URBINO
+        Pope Leo X with Two Cardinals
+            Florence: Pitti, 40                                      230
+
+    RAFFAELLO DA URBINO
+        The Transfiguration
+            Rome: The Vatican                                        240
+
+    SIMONE (IL CRONACA)
+        Detail of Cornice
+            Florence: Palazzo Strozzi                                266
+
+    NICCOLÒ GROSSO
+        Iron Link-holder
+            Florence: Palazzo Strozzi                                268
+
+    NICCOLÒ GROSSO
+        Iron Lantern
+            Florence: Palazzo Strozzi                                268
+
+    SIMONE (IL CRONACA)
+        Interior of Sacristy
+            Florence: S. Spirito                                     270
+
+    DOMENICO PULIGO (?)
+        Madonna and Child, with Saints
+            Florence: S. Maria Maddalena de' Pazzi                   280
+
+
+
+
+FILIPPO LIPPI
+
+
+
+
+[Illustration: FILIPPO LIPPI (FILIPPINO): THE VISION OF S. BERNARD
+
+(_Florence: Church of the Badia. Panel_)]
+
+
+
+
+LIFE OF FILIPPO LIPPI, CALLED FILIPPINO
+
+PAINTER OF FLORENCE
+
+
+There was at this same time in Florence a painter of most beautiful
+intelligence and most lovely invention, namely, Filippo, son of Fra
+Filippo of the Carmine, who, following in the steps of his dead
+father in the art of painting, was brought up and instructed, being
+still very young, by Sandro Botticelli, notwithstanding that his
+father had commended him on his death-bed to Fra Diamante, who was
+much his friend--nay, almost his brother. Such was the intelligence
+of Filippo, and so abundant his invention in painting, and so
+bizarre and new were his ornaments, that he was the first who showed
+to the moderns the new method of giving variety to vestments, and
+embellished and adorned his figures with the girt-up garments of
+antiquity. He was also the first to bring to light grotesques, in
+imitation of the antique, and he executed them on friezes in
+terretta or in colours, with more design and grace than the men
+before him had shown; wherefore it was a marvellous thing to see the
+strange fancies that he expressed in painting. What is more, he
+never executed a single work in which he did not avail himself with
+great diligence of Roman antiquities, such as vases, buskins,
+trophies, banners, helmet-crests, adornments of temples, ornamental
+head-dresses, strange kinds of draperies, armour, scimitars, swords,
+togas, mantles, and such a variety of other beautiful things, that
+we owe him a very great and perpetual obligation, seeing that he
+added beauty and adornment to art in this respect.
+
+In his earliest youth he completed the Chapel of the Brancacci in
+the Carmine at Florence, begun by Masolino, and left not wholly
+finished by Masaccio on account of his death. Filippo, therefore,
+gave it its final perfection with his own hand, and executed what
+was lacking in one scene, wherein S. Peter and S. Paul are restoring
+to life the nephew of the Emperor. In the nude figure of this boy he
+portrayed the painter Francesco Granacci, then a youth; and he also
+made portraits of the Chevalier, Messer Tommaso Soderini, Piero
+Guicciardini, father of Messer Francesco the historian, Piero del
+Pugliese, and the poet Luigi Pulci; likewise Antonio Pollaiuolo, and
+himself as a youth, as he then was, which he never did again
+throughout the whole of his life, so that it has not been possible
+to find a portrait of him at a more mature age. In the scene
+following this he portrayed Sandro Botticelli, his master, and many
+other friends and people of importance; among others, the broker
+Raggio, a man of great intelligence and wit, who executed in relief
+on a conch the whole Inferno of Dante, with all the circles and
+divisions of the pits and the nethermost well in their exact
+proportions, and all the figures and details that were most
+ingeniously imagined and described by that great poet; which conch
+was held in those times to be a marvellous thing.
+
+Next, in the Chapel of Francesco del Pugliese at Campora, a seat of
+the Monks of the Badia, without Florence, he painted a panel in
+distemper of S. Bernard, to whom Our Lady is appearing with certain
+angels, while he is writing in a wood; which picture is held to be
+admirable in certain respects, such as rocks, books, herbage, and
+similar things, that he painted therein, besides the portrait from
+life of Francesco himself, so excellent that he seems to lack
+nothing save speech. This panel was removed from that place on
+account of the siege, and placed for safety in the Sacristy of the
+Badia of Florence. In S. Spirito in the same city, for Tanai de'
+Nerli, he painted a panel with Our Lady, S. Martin, S. Nicholas, and
+S. Catherine; with a panel in the Chapel of the Rucellai in S.
+Pancrazio, and a Crucifix and two figures on a ground of gold in S.
+Raffaello. In front of the Sacristy of S. Francesco, without the
+Porta a S. Miniato, he made a God the Father, with a number of
+children. At Palco, a seat of the Frati del Zoccolo, without Prato,
+he painted a panel; and in the Audience Chamber of the Priori in
+that territory he executed a little panel containing the Madonna, S.
+Stephen, and S. John the Baptist, which has been much extolled. On
+the Canto al Mercatale, also in Prato, in a shrine opposite to the
+Nuns of S. Margherita, and near some houses belonging to them, he
+painted in fresco a very beautiful Madonna, with a choir of
+seraphim, on a ground of dazzling light. In this work, among other
+things, he showed art and beautiful judgment in a dragon that is at
+the feet of S. Margaret, which is so strange and horrible, that it
+is revealed to us as a true fount of venom, fire, and death; and the
+whole of the rest of the work is so fresh and vivacious in
+colouring, that it deserves infinite praise.
+
+He also wrought certain things in Lucca, particularly a panel in a
+chapel of the Church of S. Ponziano, which belongs to the Monks of
+Monte Oliveto; in the centre of which chapel there is a niche
+containing a very beautiful S. Anthony in relief by the hand of
+Andrea Sansovino, a most excellent sculptor. Being invited to go to
+Hungary by King Matthias, Filippo refused, but made up for this by
+painting two very beautiful panels for that King in Florence, and
+sending them to him; and in one of these he made a portrait of the
+King, taken from his likeness on medals. He also sent certain works
+to Genoa; and beside the Chapel of the High-Altar in S. Domenico at
+Bologna, on the left hand, he painted a S. Sebastian on a panel,
+which was a thing worthy of much praise. For Tanai de' Nerli he
+executed another panel in S. Salvadore, without Florence; and for
+his friend Piero del Pugliese he painted a scene with little
+figures, executed with so much art and diligence that when another
+citizen besought him to make a second like it, he refused, saying
+that it was not possible to do it.
+
+After these things he executed a very great work in Rome for the
+Neapolitan Cardinal, Olivieri Caraffa, at the request of the elder
+Lorenzo de' Medici, who was a friend of that Cardinal. While going
+thither for that purpose, he passed through Spoleto at the wish of
+Lorenzo, in order to give directions for the making of a marble tomb
+for his father Fra Filippo at the expense of Lorenzo, who had not
+been able to obtain his body from the people of Spoleto for removal
+to Florence. Filippo, therefore, made a beautiful design for the
+said tomb, and Lorenzo had it erected after that design (as has
+been told in another place), sumptuous and beautiful. Afterwards,
+having arrived in Rome, Filippo painted a chapel in the Church of
+the Minerva for the said Cardinal Caraffa, depicting therein scenes
+from the life of S. Thomas Aquinas, and certain most beautiful
+poetical compositions ingeniously imagined by himself, for he had a
+nature ever inclined to this. In the scene, then, wherein Faith has
+taken Infidelity captive, there are all the heretics and infidels.
+Hope has likewise overcome Despair, and so, too, there are many
+other Virtues that have subjugated the Vice that is their opposite.
+In a disputation is S. Thomas defending the Church "ex cathedra"
+against a school of heretics, and holding vanquished beneath him
+Sabellius, Arius, Averroes, and others, all clothed in graceful
+garments; of which scene we have in our book of drawings the
+original design by Filippo's own hand, with certain others by the
+same man, wrought with such mastery that they could not be bettered.
+There, too, is the scene when, as S. Thomas is praying, the Crucifix
+says to him, "Bene scripsisti de me, Thoma"; while a companion of
+the Saint, hearing that Crucifix thus speaking, is standing amazed
+and almost beside himself. In the panel is the Virgin receiving the
+Annunciation from Gabriel; and on the main wall there is her
+Assumption into Heaven, with the twelve Apostles round the
+sepulchre. The whole of this work was held, as it still is, to be
+very excellent and wrought perfectly for a work in fresco. It
+contains a portrait from life of the said Cardinal Olivieri Caraffa,
+Bishop of Ostia, who was buried in this chapel in the year 1511, and
+afterwards removed to the Piscopio in Naples.
+
+[Illustration: THE LIBERATION OF S. PETER
+
+(_After the fresco by =Filippo Lippi (Filippino)=. Florence: S.
+Maria del Carmine_)
+
+_Anderson_]
+
+Having returned to Florence, Filippo undertook to paint at his
+leisure the Chapel of the elder Filippo Strozzi in S. Maria Novella,
+and he actually began it; but, having finished the ceiling, he was
+compelled to return to Rome, where he wrought a tomb with
+stucco-work for the said Cardinal, and decorated with gesso a little
+chapel beside that tomb in a part of the same Church of the Minerva,
+together with certain figures, some of which were executed by his
+disciple, Raffaellino del Garbo. The chapel described above was
+valued by Maestro Lanzilago of Padua and by the Roman Antonio, known
+as Antoniasso, two of the best painters that were then in Rome,
+at 2,000 ducats of gold, without the cost of the blues and of the
+assistants. Having received this sum, Filippo returned to Florence,
+where he finished the aforesaid Chapel of the Strozzi, which was
+executed so well, and with so much art and design, that it causes
+all who see it to marvel, by reason of the novelty and variety of
+the bizarre things that are seen therein--armed men, temples, vases,
+helmet-crests, armour, trophies, spears, banners, garments, buskins,
+head-dresses, sacerdotal vestments, and other things--all executed
+in so beautiful a manner that they deserve the highest commendation.
+In this work there is the scene of Drusiana being restored to life
+by S. John the Evangelist, wherein we see most admirably expressed
+the marvel of the bystanders at beholding a man restore life to a
+dead woman by a mere sign of the cross; and the greatest amazement
+of all is seen in a priest, or rather philosopher, whichever he may
+be, who is clothed in ancient fashion and has a vase in his hand. In
+the same scene, likewise, among a number of women draped in various
+manners, there is a little boy, who, terrified by a small spaniel
+spotted with red, which has seized him with its teeth by one of his
+swathing-bands, is running round his mother and hiding himself among
+her clothes, and appears to be as much afraid of being bitten by the
+dog as his mother is awestruck and filled with a certain horror at
+the resurrection of Drusiana. Next to this, in the scene where S.
+John himself is being boiled in oil, we see the wrath of the judge,
+who is giving orders for the fire to be increased, and the flames
+reflected on the face of the man who is blowing at them; and all the
+figures are painted in beautiful and varied attitudes. On the other
+side is S. Philip in the Temple of Mars, compelling the serpent,
+which has slain the son of the King with its stench, to come forth
+from below the altar. In certain steps the painter depicted the hole
+through which the serpent issued from beneath the altar, and so well
+did he paint the cleft in one of the steps, that one evening one of
+Filippo's lads, wishing to hide something, I know not what, from the
+sight of someone who was knocking for admittance, ran up in haste in
+order to conceal it in the hole, being wholly deceived by it.
+Filippo also showed so much art in the serpent, that its venom,
+fetid breath, and fire, appear rather real than painted. Greatly
+extolled, too, is his invention in the scene of the Crucifixion of
+that Saint, for he imagined to himself, so it appears, that the
+Saint was stretched on the cross while it lay on the ground, and
+that afterwards the whole was drawn up and raised on high by means
+of ropes, cords, and poles; which ropes and cords are wound round
+certain fragments of antiquities, pieces of pillars, and bases, and
+pulled by certain ministers. On the other side the weight of the
+said cross and of the Saint who is stretched nude thereon is
+supported by two men, on the one hand by a man with a ladder, with
+which he is propping it up, and on the other hand by another with a
+pole, upholding it, while two others, setting a lever against the
+base and stem of the cross, are balancing its weight and seeking to
+place it in the hole made in the ground, wherein it had to stand
+upright. But why say more? It would not be possible for the work to
+be better either in invention or in drawing, or in any other respect
+whatsoever of industry or art. Besides this, it contains many
+grotesques and other things wrought in chiaroscuro to resemble
+marble, executed in strange fashion with invention and most
+beautiful drawing.
+
+[Illustration: S. JOHN THE EVANGELIST RAISING DRUSIANA FROM THE DEAD
+
+(_After the fresco by =Filippo Lippi [Filippino]=. Florence: S.
+Maria Novella, Strozzi Chapel_)
+
+_Anderson_]
+
+For the Frati Scopetini, also, at S. Donato, without Florence, which
+is called Scopeto and is now in ruins, he painted a panel with the
+Magi presenting their offerings to Christ, finished with great
+diligence, wherein he portrayed the elder Pier Francesco de' Medici,
+son of Lorenzo di Bicci, in the figure of an astrologer who is
+holding a quadrant in his hand, and likewise Giovanni, father of
+Signor Giovanni de' Medici, and another Pier Francesco, brother of
+that Signor Giovanni, and other people of distinction. In this work
+are Moors, Indians, costumes of strange shapes, and a most bizarre
+hut. In a loggia at Poggio a Cajano he began a Sacrifice in fresco
+for Lorenzo de' Medici, but it remained unfinished. And for the
+Nunnery of S. Geronimo, above the Costa di S. Giorgio in Florence,
+he began the panel of the high-altar, which was brought nearly to
+completion after his death by the Spaniard Alonzo Berughetta, but
+afterwards wholly finished by other painters, Alonzo having gone to
+Spain. In the Palazzo della Signoria he painted the panel of the
+hall where the Council of Eight held their sittings, and he made the
+design for another large panel, with its ornament, for the Sala
+del Consiglio; which design his death prevented him from beginning
+to put into execution, although the ornament was carved; which
+ornament is now in the possession of Maestro Baccio Baldini, a most
+excellent physician of Florence, and a lover of every sort of
+talent. For the Church of the Badia of Florence he made a very
+beautiful S. Jerome; and he began a Deposition from the Cross for
+the high-altar of the Friars of the Nunziata, but only finished the
+figures in the upper half of the picture, for, being overcome by a
+most cruel fever and by that contraction of the throat that is
+commonly known as quinsy, he died in a few days at the age of
+forty-five.
+
+Thereupon, having ever been courteous, affable, and kindly, he was
+lamented by all those who had known him, and particularly by the
+youth of his noble native city, who, in their public festivals,
+masques, and other spectacles, ever availed themselves, to their
+great satisfaction, of the ingenuity and invention of Filippo, who
+has never had an equal in things of that kind. Nay, he was so
+excellent in all his actions, that he blotted out the stain (if
+stain it was) left to him by his father--blotted it out, I say, not
+only by the excellence of his art, wherein he was inferior to no man
+of his time, but also by the modesty and regularity of his life,
+and, above all, by his courtesy and amiability; and how great are
+the force and power of such qualities to conciliate the minds of all
+men without exception, is only known to those who either have
+experienced or are experiencing it. Filippo was buried by his sons
+in S. Michele Bisdomini, on April 13, 1505; and while he was being
+borne to his tomb all the shops in the Via de' Servi were closed, as
+is done sometimes for the obsequies of great men.
+
+Among the disciples of Filippo, who all failed by a great measure to
+equal him, was Raffaellino del Garbo, who made many works, as will
+be told in the proper place, although he did not justify the
+opinions and hopes that were conceived of him while Filippo was
+alive and Raffaellino himself still a young man. The fruits, indeed,
+are not always equal to the blossoms that are seen in the spring.
+Nor did any great success come to Niccolò Zoccolo, otherwise known
+as Niccolò Cartoni, who was likewise a disciple of Filippo, and
+painted at Arezzo the wall that is over the altar of S. Giovanni
+Decollato; a little panel, passing well done, in S. Agnesa; a panel
+over a lavatory in the Abbey of S. Fiora, containing a Christ who is
+asking for water from the woman of Samaria; and many other works,
+which, since they were commonplace, are not mentioned.
+
+[Illustration: THE ADORATION OF THE MAGI
+
+(_After the panel by =Filippo Lippi (Filippino)=. Florence: Uffizi,
+1257_)
+
+_Alinari_]
+
+
+
+
+BERNARDINO PINTURICCHIO
+
+
+
+
+LIFE OF BERNARDINO PINTURICCHIO
+
+PAINTER OF PERUGIA
+
+
+Even as many are assisted by fortune without being endowed with much
+talent, so, on the contrary, there is an infinite number of able men
+who are persecuted by an adverse and hostile fortune; whence it is
+clearly manifest that she acknowledges as her children those who
+depend upon her without the aid of any talent, since it pleases her
+to exalt by her favour certain men who would never be known through
+their own merit; which is seen in Pinturicchio of Perugia, who,
+although he made many works and was assisted by various helpers,
+nevertheless had a much greater name than his works deserved.
+However, he was a man who had much practice in large works, and ever
+kept many assistants to aid him in his labours. Now, having worked
+at many things in his early youth under his master Pietro da
+Perugia,[1] receiving a third of all that was earned, he was
+summoned to Siena by Cardinal Francesco Piccolomini to paint the
+library made by Pope Pius II in the Duomo of that city. It is true,
+indeed, that the sketches and cartoons for all the scenes that he
+painted there were by the hand of Raffaello da Urbino, then a youth,
+who had been his companion and fellow-disciple under the same
+Pietro, whose manner the said Raffaello had mastered very well. One
+of these cartoons is still to be seen at the present day in Siena,
+and some of the sketches, by the hand of Raffaello, are in our book.
+
+[Illustration: BERNARDINO PINTURICCHIO: THE MADONNA IN GLORY
+
+(_San Gimignano. Panel_)]
+
+Now the stories in this work, wherein Pinturicchio was aided by many
+pupils and assistants, all of the school of Pietro, were divided
+into ten pictures. In the first is painted the scene when the said
+Pope Pius II was born to Silvio Piccolomini and Vittoria, and was
+called Æneas, in the year 1405, in Valdorcia, at the township of
+Corsignano, which is now called Pienza after the name of that Pope,
+who afterwards enriched it with buildings and made it a city; and in
+this picture are portraits from nature of the said Silvio and
+Vittoria. In the same is the scene when, in company with Cardinal
+Domenico of Capranica, he is crossing the Alps, which are covered
+with ice and snow, on his way to the Council of Bâle. In the second
+the Council is sending Æneas on many embassies--namely, to Argentina
+(three times), to Trent, to Constance, to Frankfurt, and to Savoy.
+In the third is the sending of the same Æneas by the Antipope Felix
+as ambassador to the Emperor Frederick III, with whom the ready
+intelligence, the eloquence, and the grace of Æneas found so much
+favour that he was given the poet's crown of laurel by Frederick
+himself, who made him his Protonotary, received him into the number
+of his friends, and appointed him his First Secretary. In the fourth
+he is sent by Frederick to Eugenius IV, by whom he was made Bishop
+of Trieste, and then Archbishop of Siena, his native city. In the
+fifth scene the same Emperor, who is about to come to Italy to
+receive the crown of Empire, is sending Æneas to Telamone, a port of
+the people of Siena, to meet his wife, Leonora, who was coming from
+Portugal. In the sixth Æneas is going to Calistus IV,[2] at the
+bidding of the said Emperor, to induce him to make war against the
+Turks; and in this part, Siena being harassed by the Count of
+Pittigliano and by others at the instigation of King Alfonso of
+Naples, that Pontiff is sending him to treat for peace. This
+effected, war is planned against the Orientals; and he, having
+returned to Rome, is made a Cardinal by the said Pontiff. In the
+seventh, Calistus being dead, Æneas is seen being created Supreme
+Pontiff, and called Pius II. In the eighth the Pope goes to Mantua
+for the Council about the expedition against the Turks, where the
+Marquis Lodovico receives him with most splendid pomp and incredible
+magnificence. In the ninth the same Pope is placing in the catalogue
+of saints--or, as the saying is, canonizing--Catherine of Siena, a
+holy woman and nun of the Preaching Order. In the tenth and last,
+while preparing a vast expedition against the Turks with the help
+and favour of all the Christian Princes, Pope Pius dies at
+Ancona; and a hermit of the Hermitage of Camaldoli, a holy man, sees
+the soul of the said Pontiff being borne by Angels into Heaven at
+the very moment of his death, as may also be read. Afterwards, in
+the same picture, the body of the same Pope is seen being borne from
+Ancona to Rome by a vast and honourable company of lords and
+prelates, who are lamenting the death of so great a man and so rare
+and holy a Pontiff. The whole of this work is full of portraits from
+the life, so numerous that it would be a long story to recount their
+names; and it is all painted with the finest and most lively
+colours, and wrought with various ornaments of gold, and with very
+well designed partitions in the ceiling. Below each scene is a Latin
+inscription, which describes what is contained therein. In the
+centre of this library the said Cardinal Francesco Piccolomini,
+nephew of the Pope, placed the three Graces of marble, ancient and
+most beautiful, which are still there, and which were the first
+antiquities to be held in price in those times. This library,
+wherein are all the books left by the said Pius II, was scarcely
+finished, when the same Cardinal Francesco, nephew of the aforesaid
+Pontiff, Pius II, was created Pope, choosing the name of Pius III in
+memory of his uncle. Over the door of that library, which opens into
+the Duomo, the same Pinturicchio painted in a very large scene,
+occupying the whole extent of the wall, the Coronation of the said
+Pope Pius III, with many portraits from life; and beneath it may be
+read these words:
+
+     PIUS III SENENSIS, PII SECUNDI NEPOS, MDIII, SEPTEMBRIS XXI,
+     APERTIS ELECTUS SUFFRAGIIS, OCTAVO OCTOBRIS CORONATUS EST.
+
+When Pinturicchio was working with Pietro Perugino and painting at
+Rome in the time of Pope Sixtus, he had also been in the service of
+Domenico della Rovere, Cardinal of San Clemente; wherefore the said
+Cardinal, having built a very beautiful palace in the Borgo Vecchio,
+charged Pinturicchio to paint the whole of it, and to make on the
+façade the coat of arms of Pope Sixtus, with two little boys as
+supporters. The same master executed certain works for Sciarra Colonna
+in the Palace of S. Apostolo; and no long time after--namely, in the
+year 1484--Innocent VIII, the Genoese, caused him to paint certain
+halls and loggie in the Palace of the Belvedere, where, among other
+things, by order of that Pope, he painted a loggia full of landscapes,
+depicting therein Rome, Milan, Genoa, Florence, Venice, and Naples,
+after the manner of the Flemings; and this, being a thing not
+customary at that time, gave no little satisfaction. In the same
+place, over the principal door of entrance, he painted a Madonna in
+fresco. In S. Pietro, in the chapel that contains the Lance which
+pierced the side of Christ, he painted a panel in distemper, with the
+Madonna larger than life, for the said Innocent VIII; and he painted
+two chapels in the Church of S. Maria del Popolo, one for the
+aforesaid Domenico della Rovere, Cardinal of San Clemente, who was
+afterwards buried therein, and the other for Cardinal Innocenzio Cibo,
+wherein he also was afterwards buried; and in each of these chapels he
+portrayed the Cardinal who had caused him to paint it. In the Palace
+of the Pope he painted certain rooms that look out upon the courtyard
+of S. Pietro, the ceilings and paintings of which were renovated a few
+years ago by Pope Pius IV. In the same palace Alexander VI caused
+Pinturicchio to paint all the rooms that he occupied, together with
+the whole of the Borgia Tower, wherein he wrought stories of the
+liberal arts in one room, besides decorating all the ceilings with
+stucco and gold; but, since they did not then know the method of
+stucco-work that is now in use, the aforesaid ornaments are for the
+most part ruined. Over the door of an apartment in the said palace he
+portrayed the Signora Giulia Farnese in the countenance of a Madonna,
+and, in the same picture, the head of Pope Alexander in a figure that
+is adoring her.
+
+Bernardino was much given to making gilt ornaments in relief for his
+pictures, to satisfy people who had little understanding of his art
+with the more showy lustre that this gave them, which is a most
+barbarous thing in painting. Having then executed a story of S.
+Catherine in the said apartments, he depicted the arches of Rome in
+relief and the figures in painting, insomuch that, the figures being
+in the foreground and the buildings in the background, the things
+that should recede stand out more prominently than those that should
+strike the eye as the larger--a very grave heresy in our art.
+
+[Illustration: FREDERICK III CROWNING THE POET ÆNEAS SYLVIUS
+
+(_After the fresco by =Bernardino Pinturicchio=. Siena: Sala
+Piccolominea_)
+
+_Brogi_]
+
+In the Castello di S. Angelo he painted a vast number of rooms with
+grotesques; and in the Great Tower, in the garden below, he painted
+stories of Pope Alexander, with portraits of the Catholic Queen,
+Isabella; Niccolò Orsino, Count of Pittigliano; Gianjacomo Trivulzi,
+and many other relatives and friends of the said Pope, in particular
+Cæsar Borgia and his brother and sisters, with many talented men of
+those times. At Monte Oliveto in Naples, in the Chapel of Paolo
+Tolosa, there is a panel with an Assumption by the hand of
+Pinturicchio. This master made an infinite number of other works
+throughout all Italy, which, since they are of no great excellence,
+and wrought in a superficial manner, I will pass over in silence.
+Pinturicchio used to say that a painter could only give the greatest
+relief to his figures when he had it in himself, without owing
+anything to principles or to others. He also made works in Perugia,
+but these were few. In the Araceli he painted the Chapel of S.
+Bernardino; and in S. Maria del Popolo, where, as we have said, he
+painted the two chapels, he made the four Doctors of the Church on
+the vaulting of the principal chapel.
+
+[Illustration: POPE ALEXANDER VI ADORING THE RISEN CHRIST
+
+(_After the fresco by =Bernardino Pinturicchio=. Rome: The Vatican,
+Borgia Apartments_)
+
+_Anderson_]
+
+Afterwards, having reached the age of fifty-nine, he was
+commissioned to paint the Nativity of Our Lady on a panel in S.
+Francesco at Siena. To this he set his hand, and the friars assigned
+to him a room to live in, which they gave to him, as he wished,
+empty and stripped of everything, save only a huge old chest, which
+appeared to them too awkward to remove. But Pinturicchio, like the
+strange and whimsical man that he was, made such an outcry at this,
+and repeated it so often, that finally in despair the friars set
+themselves to carry it away. Now their good fortune was such, that
+in removing it there was broken a plank which contained 500 Roman
+ducats of gold; at which Pinturicchio was so displeased, and felt so
+aggrieved at the good luck of those poor friars, that it can hardly
+be imagined--nay, he took it so much to heart, being unable to get
+it out of his thoughts, that it was the death of him. His pictures
+date about the year 1513.
+
+A companion and friend of Pinturicchio, although he was a much older
+man, was Benedetto Buonfiglio, a painter of Perugia, who executed
+many works in company with other masters in the Papal Palace at
+Rome. In the Chapel of the Signoria in Perugia, his native city, he
+painted scenes from the life of S. Ercolano, Bishop and Protector of
+that city, and in the same place certain miracles wrought by S.
+Louis. In S. Domenico he painted the story of the Magi on a panel in
+distemper, and many saints on another. In the Church of S.
+Bernardino he painted a Christ in the sky, with S. Bernardino
+himself, and a multitude below. In short, this master was in no
+little repute in his native city before Pietro Perugino had come to
+be known.
+
+Another friend of Pinturicchio, associated with him in not a few of
+his works, was Gerino Pistoiese, who was held to be a diligent
+colourist and a faithful imitator of the manner of Pietro Perugino,
+with whom he worked nearly up to his death. He did little work in
+his native city of Pistoia; but for the Company of the Buon Gesù in
+Borgo San Sepolcro he painted a Circumcision in oil on a panel,
+which is passing good. In the Pieve of the same place he painted a
+chapel in fresco; and on the bank of the Tiber, on the road that
+leads to Anghiari, he painted another chapel, also in fresco, for
+the Commune. And he painted still another chapel in the same place,
+in S. Lorenzo, an abbey of the Monks of Camaldoli. By reason of all
+these works he made so long a stay in the Borgo that he almost
+adopted it as his home. He was a sorry fellow in matters of art,
+labouring with the greatest difficulty, and toiling with such pains
+at the execution of a work, that it was a torture to him.
+
+[Illustration: BENEDETTO BUONFIGLIO: MADONNA, CHILD AND THREE ANGELS
+
+(_Perugia: Pinacoteca. Panel_)]
+
+At this same time there was a painter in the city of Foligno,
+Niccolò Alunno, who was held to be excellent, for it was little the
+custom before Pietro Perugino's day to paint in oil, and many were
+held to be able men who did not afterwards justify this opinion.
+Niccolò therefore gave no little satisfaction with his works, since,
+although he only painted in distemper, he portrayed the heads of his
+figures from life, so that they appeared alive, and his manner won
+considerable praise. In S. Agostino at Foligno there is a panel by
+his hand with a Nativity of Christ, and a predella with little
+figures. At Assisi he painted a banner that is borne in processions,
+besides the panel of the high-altar in the Duomo, and another panel
+in S. Francesco. But the best painting that Niccolò ever did was in
+a chapel in the Duomo, where, among other things, there is a
+Pietà, with two angels who are holding two torches and weeping so
+naturally, that I do not believe that any other painter, however
+excellent, would have been able to do much better. In the same place
+he also painted the façade of S. Maria degli Angeli, besides many
+other works of which there is no need to make mention, it being
+enough to have touched on the best. And let this be the end of the
+Life of Pinturicchio, who, besides his other qualities, gave no
+little satisfaction to many princes and lords because he finished
+and delivered his works quickly, which is their pleasure, although
+such works are perchance less excellent than those that are made
+slowly and deliberately.
+
+FOOTNOTE:
+
+[1] Pietro Perugino.
+
+[2] This seems to be an error for Calistus III.
+
+
+
+
+FRANCESCO FRANCIA
+
+
+
+
+[Illustration: MEDALS
+
+(_London: British Museum_)
+
+  1. ULISSE MUSOTTI              3. FRANCESCO ALIDOSI
+  2. GIOVANNI II BENTIVOGLIO     4. BERNARDO ROSSI
+ (_After_ Francesco Francia)     (_After_ a pupil of Francesco Francia)]
+
+
+
+
+LIFE OF FRANCESCO FRANCIA
+
+GOLDSMITH AND PAINTER OF BOLOGNA
+
+
+Francesco Francia, who was born in Bologna in the year 1450, of
+parents who were artisans, but honest and worthy enough, was
+apprenticed in his earliest boyhood to the goldsmith's art, in which
+calling he worked with intelligence and spirit; and as he grew up he
+became so well proportioned in person and appearance, and so sweet and
+pleasant in manner and speech, that he was able to keep the most
+melancholy of men cheerful and free from care with his talk; for which
+reason he was beloved not only by all those who knew him, but also by
+many Italian princes and other lords. While working as a goldsmith,
+then, he gave attention to design, in which he took so much pleasure,
+that his mind began to aspire to higher things, and he made very great
+progress therein, as may be seen from many works in silver that he
+executed in his native city of Bologna, and particularly from certain
+most excellent works in niello. In this manner of work he often put
+twenty most beautiful and well-proportioned little figures within a
+space no higher than the breadth of two fingers and not much more in
+length. He also enamelled many works in silver, which were destroyed
+at the time of the ruin and exile of the Bentivogli. In a word, he did
+everything that can be done in that art better than any other man.
+
+But that in which he delighted above all, and in which he was truly
+excellent, was the making of dies for medals, wherein he was the
+rarest master of his day, as may be seen in some that he made with a
+most lifelike head of Pope Julius II, which bear comparison with
+those of Caradosso; not to mention that he made medals of Signor
+Giovanni Bentivogli, in which he appears alive, and of an infinite
+number of princes, who would stop in Bologna on their way through
+the city, whereupon he would make their portraits in wax for medals,
+and afterwards, having finished the matrices of the dies, he would
+send them; for which, besides immortal fame, he also received very
+rich presents. As long as he lived he was ever Master of the Mint in
+Bologna, for which he made the stamps of all the dies, both under
+the rule of the Bentivogli and also during the lifetime of Pope
+Julius, after their departure, as is proved by the coins struck by
+that Pope on his entrance into the city, which had on one side his
+head portrayed from life, and on the other these words: BONONIA PER
+JULIUM A TYRANNO LIBERATA. So excellent was he held in this
+profession, that he continued to make the dies for the coinage down
+to the time of Pope Leo; and the impressions of his dies are so
+greatly prized, and those who have some hold them in such esteem,
+that money cannot buy them.
+
+[Illustration: MADONNA AND CHILD, WITH SAINTS
+
+(_After the panel by =Francesco Francia=. Bologna: S. Giacomo
+Maggiore, Bentivoglio Chapel_)
+
+_Anderson_]
+
+Now it came to pass that Francia, being desirous of greater glory,
+and having known Andrea Mantegna and many other painters who had
+gained wealth and honours by their art, determined to try whether he
+could succeed in that part of painting which had to do with colour;
+his drawing was already such that it could well bear comparison with
+theirs. Thereupon, having made arrangements to try his hand, he
+painted certain portraits and some little things, keeping in his
+house for many months men of that profession to teach him the means
+and methods of colouring, insomuch that, having very good judgment,
+he soon acquired the needful practice. The first work that he made
+was a panel of no great size for Messer Bartolommeo[3] Felicini, who
+placed it in the Misericordia, a church without Bologna; in which
+panel there is a Madonna seated on a throne, with many other
+figures, and the said Messer Bartolommeo portrayed from life. This
+work, which was wrought in oil with the greatest diligence, was
+painted by him in the year 1490; and it gave such satisfaction in
+Bologna, that Messer Giovanni Bentivogli, desiring to honour his own
+chapel, which was in S. Jacopo in that city, with works by this new
+painter, commissioned him to paint a panel with the Madonna in the
+sky, two figures on either side of her, and two angels below
+sounding instruments; which work was so well executed by Francia,
+that he won from Messer Giovanni, besides praise, a most honourable
+present. Wherefore Monsignore de' Bentivogli, impressed by this
+work, caused him to paint a panel containing the Nativity of Christ,
+which was much extolled, for the high-altar of the Misericordia;
+wherein, besides the design, which is not otherwise than beautiful,
+the invention and the colouring are worthy of nothing but praise. In
+this work he made a portrait of Monsignore de' Bentivogli from the
+life (a very good likeness, so it is said by those who knew him),
+clothed in that very pilgrim's dress in which he returned from
+Jerusalem. He also painted a panel in the Church of the Nunziata,
+without the Porta di S. Mammolo, representing the Madonna receiving
+the Annunciation from the Angel, with two figures on either side,
+which is held to be a very well executed work.
+
+Now that Francia's works had spread his fame abroad, even as his
+painting in oil had brought him both profit and repute, so he
+determined to try whether he would succeed as well at working in
+fresco. Messer Giovanni Bentivogli had caused his palace to be
+painted by diverse masters of Ferrara and Bologna, and by certain
+others from Modena; but, having seen Francia's experiments in
+fresco, he determined that this master should paint a scene on one
+wall of an apartment that he occupied for his own use. There Francia
+painted the camp of Holofernes, guarded by various sentinels both on
+foot and on horseback, who were keeping watch over the pavilions;
+and the while that they were intent on something else, the sleeping
+Holofernes was seen surprised by a woman clothed in widow's
+garments, who, with her left hand, was holding his hair, which was
+wet with the heat of wine and sleep, and with her right hand she was
+striking the blow to slay her enemy, the while that an old wrinkled
+handmaid, with the true air of a most faithful slave, and with her
+eyes fixed on those of her Judith in order to encourage her, was
+bending down and holding a basket near the ground, to receive
+therein the head of the slumbering lover. This scene was one of the
+most beautiful and most masterly that Francia ever painted, but it
+was thrown to the ground in the destruction of that edifice at the
+time of the expulsion of the Bentivogli, together with another scene
+over that same apartment, coloured to look like bronze, and
+representing a disputation of philosophers, which was excellently
+wrought, with his conception very well expressed. These works
+brought it about that he was loved and honoured by Messer Giovanni
+and all the members of his house, and, after them, by all the city.
+
+In the Chapel of S. Cecilia, which is attached to the Church of S.
+Jacopo, he painted two scenes wrought in fresco, in one of which he
+made the Marriage of Our Lady with Joseph, and in the other the
+Death of S. Cecilia--a work held in great esteem by the people of
+Bologna. And, indeed, Francia gained such mastery and such
+confidence from seeing his works advancing towards the perfection
+that he desired, that he executed many pictures, of which I will
+make no mention, it being enough for me to point out, to all who may
+wish to see his works, only the best and most notable. Nor did his
+painting hinder him from carrying on both the Mint and his other
+work of making medals, as he had done from the beginning. Francia,
+so it is said, felt the greatest sorrow at the departure of Messer
+Giovanni Bentivogli, for he had received such great benefits from
+Messer Giovanni, that it caused him infinite grief; however, like
+the prudent and orderly man that he was, he kept at his work. After
+his parting from his patron, he painted three panels that went to
+Modena, in one of which there was the Baptism of Christ by S. John;
+in the second, a very beautiful Annunciation; and in the last, which
+was placed in the Church of the Frati dell' Osservanza, a Madonna in
+the sky with many figures.
+
+[Illustration: FRANCESCO FRANCIA: PIETÀ
+
+(_London: National Gallery, 180. Panel_)]
+
+The fame of so excellent a master being spread abroad by means of so
+many works, the cities contended with one another to obtain his
+pictures. Whereupon he painted a panel for the Black Friars of S.
+Giovanni in Parma, containing a Dead Christ in the lap of Our Lady,
+surrounded by many figures; which panel was universally held to be a
+most beautiful work; and the same friars, therefore, thinking that
+they had been well served, induced him to make another for a house
+of theirs at Reggio in Lombardy, wherein he painted a Madonna with
+many figures. At Cesena, likewise for the church of these friars, he
+executed another panel, painting therein the Circumcision of Christ,
+with lovely colouring. Nor would the people of Ferrara consent to
+be left behind by their neighbours; nay, having determined to adorn
+their Duomo with works by Francia, they commissioned him to paint a
+panel, on which he made a great number of figures; and they named it
+the panel of Ognissanti. He painted one in S. Lorenzo at Bologna,
+with a Madonna, a figure on either side, and two children below,
+which was much extolled; and scarcely had he finished this when he
+had to make another in S. Giobbe, representing a Crucifixion, with
+that Saint kneeling at the foot of the Cross, and two figures at the
+sides.
+
+So widely had the fame and the works of this craftsman spread
+throughout Lombardy, that even from Tuscany men sent for something
+by his hand, as they did from Lucca, whither there went a panel
+containing a S. Anne and a Madonna, with many other figures, and a
+Dead Christ above in the lap of His Mother; which work is set up in
+the Church of S. Fridiano, and is held in great price by the people
+of Lucca. For the Church of the Nunziata in Bologna he painted two
+other panels, which were wrought with much diligence; and in the
+Misericordia, likewise, without the Porta a Strà Castione, at the
+request of a lady of the Manzuoli family, he painted another,
+wherein he depicted the Madonna with the Child in her arms, S.
+George, S. John the Baptist, S. Stephen, and S. Augustine, with an
+angel below, who has his hands clasped with such grace, that he
+appears truly to belong to Paradise. He executed another for the
+Company of S. Francesco in the same city, and likewise one for the
+Company of S. Gieronimo. He lived in close intimacy with Messer Polo
+Zambeccaro, who, being much his friend, and wishing to have some
+memorial of him, caused him to paint a rather large picture of the
+Nativity of Christ, which is one of the most celebrated works that
+he ever made; and for this reason Messer Polo commissioned him to
+paint at his villa two figures in fresco, which are very beautiful.
+He also executed a most charming scene in fresco in the house of
+Messer Gieronimo Bolognino, with many varied and very beautiful
+figures.
+
+All these works together had won him such veneration in that city,
+that he was held in the light of a god; and what made this
+infinitely greater was that the Duke of Urbino caused him to paint a
+set of horse's caparisons, in which he made a vast forest of trees
+that had caught fire, from which there were issuing great numbers of
+all sorts of animals, both of the air and of the earth, and certain
+figures--a terrible, awful, and truly beautiful thing, which was
+held in no little esteem by reason of the time spent in painting the
+plumage of the birds, and the various sorts of terrestrial animals,
+to say nothing of the diversity of foliage and the variety of
+branches that were seen in the different trees. For this work
+Francia was rewarded with gifts of great value as a recompense for
+his labours, not to mention that the Duke ever held himself indebted
+to him for the praises that he received for it. Duke Guido Baldo,
+also, has in his guardaroba a picture of the Roman Lucretia, which
+he esteems very highly, by the same man's hand, together with many
+other pictures, of which mention will be made when the time comes.
+
+After these things he painted a panel for the altar of the Madonna
+in SS. Vitale e Agricola; in which panel are two very beautiful
+angels, who are playing on the lute. I will not enumerate the
+pictures that are scattered throughout Bologna in the houses of
+gentlemen of that city, and still less the infinite number of
+portraits that he made from life, for it would be too wearisome. Let
+it be enough to say that while he was living in such glory and
+enjoying the fruits of his labours in peace, Raffaello da Urbino was
+in Rome, and all day long there flocked round him many strangers,
+among them many gentlemen of Bologna, eager to see his works. And
+since it generally comes to pass that every man extols most
+willingly the intellects of his native place, these Bolognese began
+to praise the works, the life, and the talents of Francia in the
+presence of Raffaello, and they established such a friendship
+between them with these words, that Francia and Raffaello sent
+letters of greeting to each other. And Francia, hearing such great
+praise spoken of the divine pictures of Raffaello, desired to see
+his works; but he was now old, and too fond of his comfortable life
+in Bologna. Now after this it came about that Raffaello painted in
+Rome for Cardinal Santi Quattro, of the Pucci family, a
+panel-picture of S. Cecilia, which had to be sent to Bologna to be
+placed in a chapel of S. Giovanni in Monte, where there is the tomb
+of the Blessed Elena dall' Olio. This he packed up and addressed to
+Francia, who, as his friend, was to have it placed on the altar of
+that chapel, with the ornament, just as he had prepared it himself.
+Right readily did Francia accept this charge, which gave him a
+chance of seeing a work by Raffaello, as he had so much desired. And
+having opened the letter that Raffaello had written to him, in which
+he besought Francia, if there were any scratch in the work, to put
+it right, and likewise, as a friend, to correct any error that he
+might notice, with the greatest joy he had the said panel taken from
+its case into a good light. But such was the amazement that it
+caused him, and so great his marvel, that, recognizing his own error
+and the foolish presumption of his own rash confidence, he took it
+greatly to heart, and in a very short time died of grief.
+
+Raffaello's panel was divine, not so much painted as alive, and so
+well wrought and coloured by him, that among all the beautiful
+pictures that he painted while he lived, although they are all
+miraculous, it could well be called most rare. Wherefore Francia,
+half dead with terror at the beauty of the picture, which lay before
+his eyes challenging comparison with those by his own hand that he
+saw around him, felt all confounded, and had it placed with great
+diligence in that chapel of S. Giovanni in Monte for which it was
+destined; and taking to his bed in a few days almost beside himself,
+thinking that he was now almost of no account in his art in
+comparison with the opinion held both by himself and by others, he
+died of grief and melancholy, so some believe, overtaken by the same
+fate, through contemplating too attentively that most lifelike
+picture of Raffaello's, as befell Fivizzano from feasting his eyes
+with his own beautiful Death, about which the following epigram was
+written:
+
+  Me veram pictor divinus mente recepit;
+    Admota est operi deinde perita manus.
+  Dumque opere in facto defigit lumina pictor,
+    Intentus nimium, palluit et moritur.
+  Viva igitur sum mors, non mortua mortis imago,
+    Si fungor quo mors fungitur officio.
+
+However, certain others say that his death was so sudden, that from
+many symptoms it appeared to be due rather to poison or apoplexy
+than to anything else. Francia was a prudent man, most regular in
+his way of life, and very robust. After his death, in the year 1518,
+he was honourably buried by his sons in Bologna.
+
+FOOTNOTE:
+
+[3] The text says "Messer Bart...."
+
+
+
+
+PIETRO PERUGINO
+
+
+
+
+LIFE OF PIETRO PERUGINO
+
+[_PIETRO VANNUCCI, OR PIETRO DA CASTEL DELLA PIEVE_]
+
+PAINTER
+
+
+How great a benefit poverty may be to men of genius, and how potent
+a force it may be to make them become excellent--nay, perfect--in
+the exercise of any faculty whatsoever, can be seen clearly enough
+in the actions of Pietro Perugino, who, flying from the extremity of
+distress at Perugia, and betaking himself to Florence in the desire
+to attain to some distinction by means of his talent, remained for
+many months without any other bed than a miserable chest to sleep
+in, turning night into day, and devoting himself with the greatest
+ardour to the unceasing study of his profession. And, having made a
+habit of this, he knew no other pleasure than to labour continually
+at his art, and to be for ever painting; for with the fear of
+poverty constantly before his eyes, he would do for gain such work
+as he would probably not have looked at if he had possessed the
+wherewithal to live. Riches, indeed, might perchance have closed the
+path on which his talent should advance towards excellence, no less
+effectually than poverty opened it to him, while necessity spurred
+him on in his desire to rise from so low and miserable a condition,
+if not to supreme eminence, at least to a rank in which he might
+have the means of life. For this reason he never took heed of cold,
+of hunger, of hardship, of discomfort, of fatigue, or of ridicule,
+if only he might one day live in ease and repose; ever saying, as it
+were by way of proverb, that after bad weather there must come the
+good, and that during the good men build the houses that are to
+shelter them when there is need.
+
+[Illustration: PIETRO PERUGINO: APOLLO AND MARSYAS
+
+(_Paris: Louvre, 1509. Panel_)]
+
+But in order that the rise of this craftsman may be better known, let
+me begin with his origin, and relate that, according to common report,
+there was born in the city of Perugia, to a poor man of Castello
+della Pieve, named Cristofano, a son who was baptized with the name of
+Pietro. This son, brought up amid misery and distress, was given by
+his father as a shop-boy to a painter of Perugia, who was no great
+master of his profession, but held in great veneration both the art
+and the men who were excellent therein; nor did he ever cease to tell
+Pietro how much gain and honour painting brought to those who
+practised it well, and he would urge the boy to the study of that art
+by recounting to him the rewards won by ancient and modern masters;
+wherefore he fired his mind in such a manner, that Pietro took it into
+his head to try, if only fortune would assist him, to become one of
+these. For this reason he was often wont to ask any man whom he knew
+to have seen the world, in what part the best craftsmen in that
+calling were formed; particularly his master, who always gave him one
+and the same answer--namely, that it was in Florence more than in any
+other place that men became perfect in all the arts, especially in
+painting, since in that city men are spurred by three things. The
+first is censure, which is uttered freely and by many, seeing that the
+air of that city makes men's intellects so free by nature, that they
+do not content themselves, like a flock of sheep, with mediocre works,
+but ever consider them with regard to the honour of the good and the
+beautiful rather than out of respect for the craftsman. The second is
+that, if a man wishes to live there, he must be industrious, which is
+naught else than to say that he must continually exercise his
+intelligence and his judgment, must be ready and adroit in his
+affairs, and, finally, must know how to make money, seeing that the
+territory of Florence is not so wide or abundant as to enable her to
+support at little cost all who live there, as can be done in countries
+that are rich enough. The third, which is perchance no less potent
+than the others, is an eager desire for glory and honour, which is
+generated mightily by that air in the men of all professions; and this
+desire, in all persons of spirit, will not let them stay content with
+being equal, much less inferior, to those whom they see to be men like
+themselves, although they may recognize them as masters--nay, it
+forces them very often to desire their own advancement so eagerly,
+that, if they are not kindly or wise by nature, they turn out
+evil-speakers, ungrateful, and unthankful for benefits. It is true,
+indeed, that when a man has learnt there as much as suffices him, he
+must, if he wishes to do more than live from day to day like an
+animal, and desires to become rich, take his departure from that place
+and find a sale abroad for the excellence of his works and for the
+repute conferred on him by that city, as the doctors do with the fame
+derived from their studies. For Florence treats her craftsmen as time
+treats its own works, which when perfected, it destroys and consumes
+little by little.
+
+Moved by these counsels, therefore, and by the persuasions of many
+others, Pietro came to Florence, minded to become excellent; and
+well did he succeed, for the reason that in those times works in his
+manner were held in very great price. He studied under the
+discipline of Andrea Verrocchio, and his first figures were painted
+without the Porta a Prato, in the Nunnery of S. Martino, now in
+ruins by reason of the wars. In Camaldoli he made a S. Jerome on a
+wall, which was then much esteemed by the Florentines and celebrated
+with great praise, for the reason that he made that Saint old, lean,
+and emaciated, with his eyes fixed on the Crucifix, and so wasted
+away, that he seems like an anatomical model, as may be seen from a
+copy of that picture which is in the hands of the aforesaid
+Bartolommeo Gondi. In a few years, then, he came into such credit,
+that his works filled not only Florence and all Italy, but also
+France, Spain, and many other countries to which they were sent.
+Wherefore, his paintings being held in very great price and repute,
+merchants began to buy them up wholesale and to send them abroad to
+various countries, to their own great gain and profit.
+
+For the Nuns of S. Chiara he painted a Dead Christ on a panel, with
+such lovely and novel colouring, that he made the craftsmen believe
+that he would become excellent and marvellous. In this work there
+are seen some most beautiful heads of old men, and likewise certain
+figures of the Maries, who, having ceased to weep, are contemplating
+the Dead Jesus with extraordinary awe and love; not to mention that
+he made therein a landscape that was then held most beautiful,
+because the true method of making them, such as it appeared later,
+had not yet been seen. It is said that Francesco del Pugliese
+offered to give to the aforesaid nuns three times as much money as
+they had paid to Pietro, and to have a similar one made for them by
+the same man's hand, but that they would not consent, because Pietro
+said that he did not believe he could equal it.
+
+There were also many things by the hand of Pietro in the Convent of
+the Frati Gesuati, without the Porta a Pinti; and since the said
+church and convent are now in ruins, I do not wish, with this
+occasion, and before I proceed further with this Life, to grudge the
+labour of giving some little account of them. This church, then, the
+architect of which was Antonio di Giorgio of Settignano, was forty
+braccia long and twenty wide. At the upper end one ascended by four
+treads, or rather steps, to a platform six braccia in extent, on
+which stood the high-altar, with many ornaments carved in stone; and
+on the said altar was a panel with a rich ornament, by the hand, as
+has been related, of Domenico Ghirlandajo. In the centre of the
+church was a partition-wall, with a door wrought in open-work from
+the middle upwards, on either side of which was an altar, while over
+either altar, as will be told, there stood a panel by the hand of
+Pietro Perugino. Over the said door was a most beautiful Crucifix by
+the hand of Benedetto da Maiano, with a Madonna on one side and a S.
+John on the other, both in relief. Before the said platform of the
+high-altar, and against the said partition-wall, was a choir of the
+Doric Order, very well wrought in walnut-wood; and over the
+principal door of the church there was another choir, which rested
+on well-strengthened woodwork, with the under part forming a
+ceiling, or rather soffit, beautifully partitioned, and with a row
+of balusters acting as parapet to the front of the choir, which
+faced towards the high-altar. This choir was very convenient to the
+friars of that convent for holding their night services, for saying
+their individual prayers, and likewise for week-days. Over the
+principal door of the church--which was made with most beautiful
+ornaments of stone, and had a portico in front raised on columns,
+which made a covered way as far as the door of the convent--was a
+lunette with a very beautiful figure of S. Giusto, the Bishop, and
+an angel on either side, by the hand of the illuminator Gherardo;
+and this because that church was dedicated to the said S. Giusto,
+and within it those friars preserved a relic of that Saint--that is,
+an arm. At the entrance of the convent was a little cloister of
+exactly the same size as the church--namely, forty braccia long and
+twenty wide--with arches and vaulting going right round and
+supported by columns of stone, thus making a spacious and most
+commodious loggia on every side. In the centre of the court of this
+cloister, which was all neatly paved with squared stone, was a very
+beautiful well, with a loggia above, which likewise rested on
+columns of stone, and made a rich and beautiful ornament. In this
+cloister were the chapter-house of the friars, the side-door of
+entrance into the church, and the stairs that ascended to the
+dormitory and other rooms for the use of the friars. On the farther
+side of this cloister, in a straight line with the principal door of
+the convent, was a passage as long as the chapter-house and the
+steward's room put together, leading into another cloister larger
+and more beautiful than the first; and the whole of this straight
+line--that is, the forty braccia of the loggia of the first
+cloister, the passage, and the line of the second cloister--made a
+very long enfilade, more beautiful than words can tell, and the
+rather as from that farther cloister, in the same straight line,
+there issued a garden-walk two hundred braccia in length; and all
+this, as one came from the principal door of the convent, made a
+marvellous view. In the said second cloister was a refectory, sixty
+braccia long and eighteen wide, with all those well-appointed rooms,
+and, as the friars call them, offices, which were required in such a
+convent. Over this was a dormitory in the shape of a =T=, one part
+of which--namely, the principal part in the direct line, which was
+sixty braccia long--was double--that is to say, it had cells on
+either side, and at the upper end, in a space of fifteen braccia,
+was an oratory, over the altar of which there was a panel by the
+hand of Pietro Perugino; and over the door of this oratory was
+another work by the same man's hand, in fresco, as will be told. And
+on the same floor, above the chapter-house, was a large room where
+those fathers worked at making glass windows, with the little
+furnaces and other conveniences that were necessary for such an
+industry; and since while Pietro lived he made the cartoons for many
+of their works, those that they executed in his time were all
+excellent. Then the garden of this convent was so beautiful and so
+well kept, and the vines were trained round the cloister and in
+every place with such good order, that nothing better could be seen
+in the neighbourhood of Florence. In like manner the room wherein
+they distilled scented waters and medicines, as was their custom,
+had all the best conveniences that could possibly be imagined. In
+short, that convent was one of the most beautiful and best appointed
+that there were in the State of Florence; and it is for this reason
+that I have wished to make this record of it, and the rather as the
+greater part of the pictures that were therein were by the hand of
+our Pietro Perugino.
+
+[Illustration: THE DEPOSITION
+
+(_After the panel by =Pietro Perugino=. Florence: Pitti, 164_)
+
+_Anderson_]
+
+Returning at length to this Pietro, I have to say that of the works
+that he made in the said convent none have been preserved save the
+panels, since those executed in fresco were thrown to the ground,
+together with the whole of that building, by reason of the siege of
+Florence, when the panels were carried to the Porta a S. Pier
+Gattolini, where a home was given to those friars in the Church and
+Convent of S. Giovannino. Now the two panels on the aforesaid
+partition-wall were by the hand of Pietro; and in one was Christ in
+the Garden, with the Apostles sleeping, in whom Pietro showed how
+well sleep can prevail over pains and discomforts, having
+represented them asleep in attitudes of perfect ease. In the other
+he made a Pietà--that is, Christ in the lap of Our Lady--surrounded
+by four figures no less excellent than any others in his manner;
+and, to mention only one thing, he made the Dead Christ all
+stiffened, as if He had been so long on the Cross that the length of
+time and the cold had reduced Him to this; wherefore he painted Him
+supported by John and the Magdalene, all sorrowful and weeping. In
+another panel he painted the Crucifixion, with the Magdalene, and,
+at the foot of the Cross, S. Jerome, S. John the Baptist, and the
+Blessed Giovanni Colombini, founder of that Order; all with infinite
+diligence. These three panels have suffered considerably, and they
+are all cracked in the dark parts and where there are shadows; and
+this comes to pass when the first coat of colour, which is laid on
+the ground (for three coats of colour are used, one over the other),
+is worked on before it is thoroughly dry; wherefore afterwards, with
+time, in the drying, they draw through their thickness and come to
+have the strength to make those cracks; which Pietro could not
+know, seeing that in his time they were only just beginning to paint
+well in oil.
+
+Now, the works of Pietro being much commended by the Florentines, a
+Prior of the same Convent of the Ingesuati, who took delight in art,
+caused him to make a Nativity, with the Magi, on a wall in the first
+cloister, after the manner of a miniature. This he brought to
+perfect completion with great loveliness and a high finish, and it
+contained an infinite number of different heads, many of them
+portrayed from life, among which was the head of Andrea del
+Verrocchio, his master. In the same court, over the arches of the
+columns, he made a frieze with heads of the size of life, very well
+executed, among which was one of the said Prior, so lifelike and
+wrought in so good a manner, that it was judged by the most
+experienced craftsmen to be the best thing that Pietro ever made. In
+the other cloister, over the door that led into the refectory, he
+was commissioned to paint a scene of Pope Boniface confirming the
+habit of his Order to the Blessed Giovanni Colombino, wherein he
+portrayed eight of the aforesaid friars, and made a most beautiful
+view receding in perspective, which was much extolled, and rightly,
+since Pietro made a particular profession of this. In another scene
+below the first he began a Nativity of Christ, with certain angels
+and shepherds, wrought with the freshest colouring. And in an arch
+over the door of the aforesaid oratory he made three half-length
+figures--Our Lady, S. Jerome, and the Blessed Giovanni--with so
+beautiful a manner, that this was held to be one of the best mural
+paintings that Pietro ever wrought.
+
+The said Prior, so I once heard tell, was very excellent at making
+ultramarine blues, and, therefore, having an abundance of them, he
+desired that Pietro should use them freely in all the above-mentioned
+works; but he was nevertheless so mean and suspicious that he would
+never trust Pietro, and always insisted on being present when he was
+using blue in the work. Wherefore Pietro, who had an honest and
+upright nature, and had no desire for another man's goods save in
+return for his own labour, took the Prior's distrust very ill, and
+resolved to put him to shame; and so, having taken a basin of water,
+and having laid on the ground for draperies or for anything else that
+he wished to paint in blue and white, from time to time he caused the
+Prior, who turned grudgingly to his little bag, to put some
+ultramarine into the little vase that contained the tempera-water, and
+then, setting to work, at every second stroke of the brush Pietro
+would dip his brush in the basin, so that there remained more in the
+water than he had used on the picture. The Prior, who saw his little
+bag becoming empty without much to show for it in the work, kept
+saying time after time: "Oh, what a quantity of ultramarine this
+plaster consumes!" "Does it not?" Pietro would answer. After the
+departure of the Prior, Pietro took the ultramarine from the bottom of
+the basin, and gave it back to him when he thought the time had come,
+saying: "Father, this is yours; learn to trust honest men, who never
+cheat those who trust them, although, if they wished, they could cheat
+such distrustful persons as yourself."
+
+By reason of these works, then, and many others, Pietro came into
+such repute that he was almost forced to go to Siena, where he
+painted a large panel, which was held very beautiful, in S.
+Francesco; and he painted another in S. Agostino, containing a
+Crucifix with some saints. A little time after this, for the Church
+of S. Gallo in Florence, he painted a panel-picture of S. Jerome in
+Penitence, which is now in S. Jacopo tra Fossi, where the aforesaid
+friars live, near the Canto degli Alberti. He was commissioned to
+paint a Dead Christ, with the Madonna and S. John, above the steps
+of the side-door of S. Pietro Maggiore; and this he wrought in such
+a manner, that it has been preserved, although exposed to rain and
+wind, as fresh as if it had only just been finished by Pietro's
+hand. Truly intelligent was Pietro's understanding of colour, both
+in fresco and in oil; wherefore all experienced craftsmen are
+indebted to him, for it is through him that they have knowledge of
+the lights that are seen throughout his works.
+
+[Illustration: CHRIST GIVING THE KEYS TO S. PETER
+
+(_After the fresco by =Pietro Perugino=. Rome: Sistine Chapel_)
+
+_Alinari_]
+
+In S. Croce, in the same city, he made a Pietà--that is, Our Lady
+with the Dead Christ in her arms--and two figures, which are
+marvellous to behold, not so much for their excellence, as for the
+fact that they have remained so fresh and vivid in colouring,
+painted as they are in fresco. He was commissioned by Bernardino de'
+Rossi, a citizen of Florence, to paint a S. Sebastian to be
+sent into France, the price agreed on being one hundred gold crowns;
+but this work was sold by Bernardino to the King of France for four
+hundred gold ducats. At Vallombrosa he painted a panel for the
+high-altar; and in the Certosa of Pavia, likewise, he executed a
+panel for the friars of that place. At the command of Cardinal
+Caraffa of Naples he painted an Assumption of Our Lady, with the
+Apostles marvelling round the tomb, for the high-altar of the
+Piscopio; and for Abbot Simone de' Graziani of Borgo a San Sepolcro
+he executed a large panel, which was painted in Florence, and then
+borne to S. Gilio in the Borgo on the shoulders of porters, at very
+great expense. To S. Giovanni in Monte at Bologna he sent a panel
+with certain figures standing upright, and a Madonna in the sky.
+
+[Illustration: FORTITUDE AND TEMPERANCE, WITH WARRIORS
+
+(_After the fresco by =Pietro Perugino=. Perugia: Collegio del
+Cambio_)
+
+_Alinari_]
+
+Thereupon the fame of Pietro spread so widely throughout Italy and
+abroad, that to his great glory he was summoned to Rome by Pope
+Sixtus IV to work in his chapel in company with the other excellent
+craftsmen. There, in company with Don Bartolommeo della Gatta, Abbot
+of S. Clemente at Arezzo, he painted the scene of Christ giving the
+keys to S. Peter; and likewise the Nativity and Baptism of Christ,
+and the Birth of Moses, with the daughter of Pharaoh finding him in
+the little ark. And on the same wall where the altar is he painted a
+mural picture of the Assumption of Our Lady, with a portrait of Pope
+Sixtus on his knees. But these works were thrown to the ground in
+preparing the wall for the Judgment of the divine Michelagnolo, in
+the time of Pope Paul III. On a vault of the Borgia Tower in the
+Papal Palace he painted certain stories of Christ, with some foliage
+in chiaroscuro, which had an extraordinary name for excellence in
+his time. In S. Marco, likewise in Rome, he painted a story of two
+martyrs beside the Sacrament--one of the best works that he made in
+Rome. For Sciarra Colonna, also, in the Palace of S. Apostolo, he
+painted a loggia and certain rooms.
+
+These works brought him a very great sum of money; wherefore, having
+resolved to remain no longer in Rome, and having departed in good
+favour with the whole Court, he returned to his native city of
+Perugia, in many parts of which he executed panels and works in
+fresco; and, in particular, a panel-picture painted in oils for the
+Chapel of the Palace of the Signori, containing Our Lady and other
+saints. In S. Francesco del Monte he painted two chapels in fresco,
+one with the story of the Magi going to make offering to Christ, and
+the other with the martyrdom of certain friars of S. Francis, who,
+going to the Soldan of Babylon, were put to death. In S. Francesco
+del Convento, likewise, he painted two panels in oil, one with the
+Resurrection of Christ, and the other with S. John the Baptist and
+other saints. For the Church of the Servi he also painted two
+panels, one of the Transfiguration of Our Lord, and in the other,
+which is beside the sacristy, the Story of the Magi; but, since
+these are not of the same excellence as the other works of Pietro,
+it is held to be certain that they are among the first that he made.
+In the Chapel of the Crocifisso in S. Lorenzo, the Duomo of the same
+city, there are by the hand of Pietro the Madonna, the other Maries,
+S. John, S. Laurence, S. James, and other saints. And for the Altar
+of the Sacrament, where there is preserved the ring with which the
+Virgin Mary was married, he painted the Marriage of the Virgin.
+
+[Illustration: PIETRO PERUGINO: TRIPTYCH
+
+(_London: National Gallery, 288. Panel_)]
+
+Afterwards he painted in fresco the whole of the Audience Chamber of
+the Cambio,[4] adorning the compartments of the vaulting with the
+seven planets, drawn in certain cars by diverse animals, according
+to the old usage; on the wall opposite to the door of entrance he
+painted the Nativity and Resurrection of Christ, with a panel
+containing S. John the Baptist in the midst of certain other saints.
+The side-walls he painted in his own manner; one with figures of
+Fabius Maximus, Socrates, Numa Pompilius, F. Camillus, Pythagoras,
+Trajan, L. Sicinius, the Spartan Leonidas, Horatius Cocles, Fabius,
+Sempronius, the Athenian Pericles, and Cincinnatus. On the other
+wall he made the Prophets, Isaiah, Moses, Daniel, David, Jeremiah,
+and Solomon; and the Sibyls, the Erythræan, the Libyan, the
+Tiburtine, the Delphic, and the others. Below each of the said
+figures he placed, in the form of a written motto, something said by
+them, and appropriate to that place. And in one of the ornaments he
+made his own portrait, which appears absolutely alive, and he wrote
+his own name below it in the following manner:
+
+  PETRUS PERUSINUS EGREGIUS PICTOR.
+  PERDITA SI FUERAT, PINGENDO HIC RETULIT ARTEM;
+  SI NUNQUAM INVENTA ESSET HACTENUS, IPSE DEDIT.
+  ANNO D. 1500.
+
+This work, which was very beautiful and more highly extolled than
+any other that was executed by Pietro in Perugia, is now held in
+great price by the men of that city in memory of so famous a
+craftsman of their own country. Afterwards, in the principal chapel
+of the Church of S. Agostino, the same man executed a large panel
+standing by itself and surrounded by a rich ornament, with S. John
+baptizing Christ on the front part, and on the back--that is, on the
+side that faces the choir--the Nativity of Christ, with certain
+saints in the upper parts, and in the predella many scenes wrought
+very diligently with little figures. And in the Chapel of S.
+Niccolò, in the said church, he painted a panel for Messer Benedetto
+Calera.
+
+After this, returning to Florence, he painted a S. Bernard on a
+panel for the Monks of Cestello, and in the chapter-house a
+Crucifix, the Madonna, S. Benedict, S. Bernard, and S. John. And in
+S. Domenico da Fiesole, in the second chapel on the right hand, he
+painted a panel containing Our Lady and three figures, among which
+is a S. Sebastian worthy of the highest praise. Now Pietro had done
+so much work, and he always had so many works in hand, that he would
+very often use the same subjects; and he had reduced the theory of
+his art to a manner so fixed, that he made all his figures with the
+same expression. By that time Michelagnolo Buonarroti had already
+come to the front, and Pietro greatly desired to see his figures, by
+reason of the praise bestowed on him by craftsmen; and seeing the
+greatness of his own name, which he had acquired in every place
+through so grand a beginning, being obscured, he was ever seeking to
+wound his fellow-workers with biting words. For this reason, besides
+certain insults aimed at him by the craftsmen, he had only himself
+to blame when Michelagnolo told him in public that he was a clumsy
+fool at his art. But Pietro being unable to swallow such an affront,
+they both appeared before the Tribunal of Eight, where Pietro came
+off with little honour. Meanwhile the Servite Friars of Florence,
+wishing to have the altar-piece of their high-altar painted by some
+famous master, had handed it over, by reason of the departure of
+Leonardo da Vinci, who had gone off to France, to Filippino; but he,
+when he had finished half of one of two panels that were to adorn
+the altar, passed from this life to the next; wherefore the friars,
+by reason of the faith that they had in Pietro, entrusted him with
+the whole work. In that panel, wherein he was painting the
+Deposition of Christ from the Cross, Filippino had finished the
+figures of Nicodemus that are taking Him down; and Pietro continued
+the lower part with the Swooning of the Madonna, and certain other
+figures. Now this work was to be composed of two panels, one facing
+towards the choir of the friars, and the other towards the body of
+the church, and the Deposition from the Cross was to be placed
+behind, facing the choir, with the Assumption of Our Lady in front;
+but Pietro made the latter so commonplace, that the Deposition of
+Christ was placed in front, and the Assumption on the side of the
+choir. These panels have now been removed, both one and the other,
+and replaced by the Tabernacle of the Sacrament; they have been set
+up over certain other altars in that church, and out of the whole
+work there only remain six pictures, wherein are some saints painted
+by Pietro in certain niches. It is said that when the work was
+unveiled, it received no little censure from all the new craftsmen,
+particularly because Pietro had availed himself of those figures
+that he had been wont to use in other pictures; with which his
+friends twitted him, saying that he had taken no pains, and that he
+had abandoned the good method of working, either through avarice or
+to save time. To this Pietro would answer: "I have used the figures
+that you have at other times praised, and which have given you
+infinite pleasure; if now they do not please you, and you do not
+praise them, what can I do?" But they kept assailing him bitterly
+with sonnets and open insults; whereupon, although now old, he
+departed from Florence and returned to Perugia.
+
+There he executed certain works in fresco in the Church of S.
+Severo, a place belonging to the Monks of the Order of Camaldoli,
+wherein Raffaello da Urbino, when quite young and still the disciple
+of Pietro, had painted certain figures, as will be told in his Life.
+Pietro likewise worked at Montone, at La Fratta, and in many other
+places in the district of Perugia; more particularly in S. Maria
+degli Angeli at Assisi, where he painted in fresco a Christ on the
+Cross, with many figures, on the wall at the back of the Chapel of
+the Madonna, which faces the choir of the monks. And for the
+high-altar of the Church of S. Pietro, an abbey of Black Friars in
+Perugia, he painted a large panel containing the Ascension, with the
+Apostles below gazing up to Heaven; in the predella of which panel
+are three stories, wrought with much diligence--namely, that of the
+Magi, the Baptism of Christ, and His Resurrection. The whole of this
+picture is seen to be full of beautiful and careful work, insomuch
+that it is the best of those wrought in oil by the hand of Pietro
+which are in Perugia. The same man began a work in fresco of no
+small importance at Castello della Pieve, but did not finish it.
+
+It was ever Pietro's custom on his going and coming between the said
+Castello and Perugia, like a man who trusted nobody, to carry all
+the money that he possessed about his person. Wherefore certain men,
+lying in wait for him at a pass, robbed him, but at his earnest
+entreaty they spared his life for the love of God; and afterwards,
+by means of the services of his friends, who were numerous enough,
+he also recovered a great part of the money that had been taken from
+him; but none the less he came near dying of vexation. Pietro was a
+man of very little religion, and he could never be made to believe
+in the immortality of the soul--nay, with words in keeping with his
+head of granite, he rejected most obstinately every good suggestion.
+He placed all his hopes in the goods of fortune, and he would have
+sold his soul for money. He earned great riches; and he both bought
+and built houses in Florence, and acquired much settled property
+both at Perugia and at Castello della Pieve. He took a most
+beautiful young woman to wife, and had children by her; and he
+delighted so greatly in seeing her wearing beautiful head-dresses,
+both abroad and at home, that it is said that he would often tire
+her head with his own hand. Finally, having reached the age of
+seventy-eight, Pietro finished the course of his life at Castello
+della Pieve, where he was honourably buried, in the year 1524.
+
+Pietro made many masters in his own manner, and one among them, who
+was truly most excellent, devoted himself heart and soul to the
+honourable studies of painting, and surpassed his master by a great
+measure; and this was the miraculous Raffaello Sanzio of Urbino, who
+worked for many years under Pietro in company with his father,
+Giovanni de' Santi. Another disciple of this man was Pinturicchio, a
+painter of Perugia, who, as it has been said in his Life, ever held
+to Pietro's manner. His disciple, likewise, was Rocco Zoppo, a
+painter of Florence, by whose hand is a very beautiful Madonna in a
+round picture, which is in the possession of Filippo Salviati;
+although it is true that it was brought to completion by Pietro
+himself. The same Rocco painted many pictures of Our Lady, and made
+many portraits, of which there is no need to speak; I will only say
+that in the Sistine Chapel in Rome he painted portraits of Girolamo
+Riario and of F. Pietro, Cardinal of San Sisto. Another disciple of
+Pietro was Montevarchi, who painted many pictures in San Giovanni di
+Valdarno; more particularly, in the Madonna, the stories of the
+Miracle of the Milk. He also left many works in Montevarchi, his
+birth-place. Likewise a pupil of Pietro's, working with him for no
+little time, was Gerino da Pistoia, of whom there has been mention
+in the Life of Pinturicchio; and so also was Baccio Ubertino of
+Florence, who was most diligent both in colouring and in drawing,
+for which reason Pietro made much use of him. By this man's hand is
+a drawing in our book, done with the pen, of Christ being scourged
+at the Column, which is a very lovely thing.
+
+[Illustration: MADONNA AND CHILD, WITH SAINTS
+
+(_After the panel by =Giovanni (Lo Spagna)=. Assisi: Lower Church_)
+
+_Anderson_]
+
+A brother of this Baccio, and likewise a disciple of Pietro, was
+Francesco, called Il Bacchiaccha by way of surname, who was a most
+diligent master of little figures, as may be seen in many works
+wrought by him in Florence, above all in the house of Giovan Maria
+Benintendi and in that of Pier Francesco Borgherini. Bacchiaccha
+delighted in painting grotesques, wherefore he covered a little
+cabinet belonging to the Lord Duke Cosimo with animals and rare
+plants, drawn from nature, which are held very beautiful. Besides
+this, he made the cartoons for many tapestries, which were
+afterwards woven in silk by the Flemish master, Giovanni Rosto, for
+the apartments of his Excellency's Palace. Still another disciple of
+Pietro was the Spaniard Giovanni, called Lo Spagna by way of
+surname, who was a better colourist than any of the others whom
+Pietro left behind him at his death; after which this Giovanni would
+have settled in Perugia, if the envy of the painters of that city,
+so hostile to strangers, had not persecuted him in such wise as to
+force him to retire to Spoleto, where, by reason of his excellence
+and virtue, he obtained a wife of good family and was made a citizen
+of that city. He made many works in that place, and likewise in all
+the other cities of Umbria; and at Assisi, in the lower Church of S.
+Francesco, he painted the panel of the Chapel of S. Caterina, for
+the Spanish Cardinal Egidio, and also one in S. Damiano. In S. Maria
+degli Angeli, in the little chapel where S. Francis died, he painted
+some half-length figures of the size of life--that is, certain
+companions of S. Francis and other saints--all very lifelike, on
+either side of a S. Francis in relief.
+
+But the best master among all the aforesaid disciples of Pietro was
+Andrea Luigi of Assisi, called L'Ingegno, who in his early youth
+competed with Raffaello da Urbino under the discipline of Pietro,
+who always employed him in the most important pictures that he made;
+as may be seen in the Audience Chamber of the Cambio in Perugia,
+where there are some very beautiful figures by his hand; in those
+that he wrought at Assisi; and, finally, in the Chapel of Pope
+Sixtus at Rome. In all these works Andrea gave such proof of his
+worth, that he was expected to surpass his master by a great
+measure, and so, without a doubt, it would have come to pass; but
+fortune, which is almost always pleased to oppose herself to lofty
+beginnings, did not allow L'Ingegno to reach perfection, for a flux
+of catarrh fell upon his eyes, whence the poor fellow became wholly
+blind, to the infinite grief of all who knew him. Hearing of this
+most pitiful misfortune, Pope Sixtus, like a man who ever loved men
+of talent, ordained that a yearly provision should be paid to Andrea
+in Assisi during his lifetime by those who managed the revenues
+there; and this was done until he died at the age of eighty-six.
+
+Likewise disciples of Pietro, and also natives of Perugia, were
+Eusebio San Giorgio, who painted the panel of the Magi in S.
+Agostino; Domenico di Paris, who made many works in Perugia and in
+the neighbouring townships, being followed by his brother Orazio;
+and also Gian Niccola, who painted Christ in the Garden on a panel
+in S. Francesco, the panel of Ognissanti in the Chapel of the
+Baglioni in S. Domenico, and stories of S. John the Baptist in
+fresco in the Chapel of the Cambio. Benedetto Caporali, otherwise
+called Bitti, was also a disciple of Pietro, and there are many
+pictures by his hand in his native city of Perugia. And he occupied
+himself so greatly with architecture, that he not only executed many
+works, but also wrote a commentary on Vitruvius in the manner that
+all can see, for it is printed; in which studies he was followed by
+his son Giulio, a painter of Perugia.
+
+But not one out of all these disciples ever equalled Pietro's
+diligence, or the grace of colouring that he showed in that manner
+of his own, which pleased his time so much, that many came from
+France, from Spain, from Germany, and from other lands, to learn it.
+And a trade was done in his works, as has been said, by many who
+sent them to diverse places, until there came the manner of
+Michelagnolo, which, having shown the true and good path to these
+arts, has brought them to that perfection which will be seen in the
+Third Part, about to follow, wherein we will treat of the excellence
+and perfection of art, and show to craftsmen that he who labours and
+studies continuously, and not in the way of fantasy or caprice,
+leaves true works behind him and acquires fame, wealth, and
+friends.
+
+FOOTNOTE:
+
+[4] Exchange or Bank.
+
+
+
+
+VITTORE SCARPACCIA (CARPACCIO), AND OTHER VENETIAN AND LOMBARD
+PAINTERS
+
+
+
+
+LIVES OF VITTORE SCARPACCIA (CARPACCIO), AND OF OTHER VENETIAN AND
+LOMBARD PAINTERS
+
+
+It is very well known that when some of our craftsmen make a
+beginning in some province, they are afterwards followed by many,
+one after another; and very often there is an infinite number of
+them at one and the same time, for the reason that rivalry,
+emulation, and the fact that they have been dependent on others, one
+on one excellent master, and one on another, bring it about that the
+craftsmen seek with all the greater effort to surpass one another,
+to the utmost of their ability. And even when many depend on one, no
+sooner do they separate, either at the death of their master or for
+some other reason, than they straightway also separate in aim;
+whereupon each seeks to prove his own worth, in order to appear
+better than the rest and a master by himself.
+
+Of many, then, who flourished almost at one and the same time and in
+one and the same province, and about whom I have not been able to
+learn and am not able to write every particular, I will give some
+brief account, to the end that, now that I find myself at the end of
+the Second Part of this my work, I may not omit some who have
+laboured to leave the world adorned by their works. Of these men, I
+say, besides having been unable to discover their whole history, I
+have not even been able to find the portraits, excepting that of
+Scarpaccia, whom for this reason I have made head of the others. Let
+my readers therefore accept what I can offer in this connection,
+seeing that I cannot offer what I would wish. There lived, then, in
+the March of Treviso and in Lombardy, during a period of many years,
+Stefano Veronese, Aldigieri da Zevio, Jacopo Davanzo of Bologna,
+Sebeto da Verona, Jacobello de Flore, Guerriero da Padova, Giusto,
+Girolamo Campagnola and his son Giulio, and Vincenzio Bresciano;
+Vittore, Sebastiano,[5] and Lazzaro[5] Scarpaccia, Venetians;
+Vincenzio Catena, Luigi Vivarini, Giovan Battista da Conigliano,
+Marco Basarini,[6] Giovanetto Cordegliaghi, Il Bassiti, Bartolommeo
+Vivarini, Giovanni Mansueti, Vittore Bellini, Bartolommeo Montagna
+of Vicenza, Benedetto Diana, and Giovanni Buonconsigli, with many
+others, of whom there is no need to make mention here.
+
+[Illustration: THE MADONNA AND CHILD WITH S. CATHARINE IN A ROSE
+GARDEN
+
+(_After the panel by =Stefano da Verona (da Zevio)=. Verona:
+Gallery, 559_)
+
+_Brogi_]
+
+To begin with the first, I start by saying that Stefano Veronese, of
+whom I gave some account in the Life of Agnolo Gaddi, was a painter
+more than passing good in his day. And when Donatello was working in
+Padua, as has been already told in his Life, going on one of several
+occasions to Verona, he was struck with marvel at the works of
+Stefano, declaring that the pictures which he had made in fresco
+were the best that had been wrought in those parts up to that time.
+The first works of this man were in the tramezzo[7] of the Church of
+S. Antonio at Verona, at the top of a wall on the left, below the
+curve of a part of the vaulting; and the subjects were a Madonna
+with the Child in her arms, and S. James and S. Anthony, one on
+either side of her. This work is held very beautiful in that city
+even at the present day, by reason of a certain liveliness that is
+seen in the said figures, particularly in the heads, which are
+wrought with much grace. In S. Niccolò, a parish church of that
+city, likewise, he painted a S. Nicholas in fresco, which is very
+beautiful. On the front of a house in the Via di S. Polo, which
+leads to the Porta del Vescovo, he painted the Virgin, with certain
+very beautiful angels and a S. Christopher; and over the wall of the
+Church of S. Consolata in the Via del Duomo, in a recess made in the
+wall, he painted a Madonna and certain birds, in particular a
+peacock, his emblem. In S. Eufemia, a convent of the Eremite Friars
+of S. Augustine, he painted over the side-door a S. Augustine with
+two other saints, and under the mantle of this S. Augustine are many
+friars and nuns of his Order; but the most beautiful things in this
+work are two half-length prophets of the size of life, for the
+reason that they have the most beautiful and most lifelike heads
+that Stefano ever made; and the colouring of the whole work,
+having been executed with diligence, has remained beautiful even to
+our own day, notwithstanding that it has been much exposed to rain,
+wind, and frost. If this work had been under cover, it would still
+be as beautiful and fresh as it issued from his hands, for the
+reason that Stefano did not retouch it on the dry, but used
+diligence in executing it well in fresco; as it is, it has suffered
+a little. Within the church, in the Chapel of the Sacrament--namely,
+round the Tabernacle--he afterwards painted certain angels flying,
+some of whom are sounding instruments, some singing, and others
+burning incense before the Sacrament; together with a figure of
+Jesus Christ, which he painted at the top as a finish to the
+Tabernacle. Below there are other angels, who are supporting Him,
+clothed in white garments reaching to their feet, and ending, as it
+were, in clouds, which was an idea peculiar to Stefano in painting
+figures of angels, whom he always made most gracious in countenance
+and very beautiful in expression. In this same work are life-size
+figures of S. Augustine and S. Jerome, one on either side; and these
+are supporting with their hands the Church of God, as if to show
+that both of them defend Holy Church from heretics with their
+learning, and support her. On a pilaster of the principal chapel in
+the same church he painted a S. Eufemia in fresco, with a beautiful
+and gracious expression of countenance; and there he wrote his own
+name in letters of gold, perchance since it appeared to him to be,
+as in fact it is, one of the best pictures that he had made; and
+according to his custom he painted there a very beautiful peacock,
+and beside it two lion cubs, which are not very beautiful, because
+at that time he could not see live ones, as he saw the peacock. He
+also painted for the same place a panel containing, as was the
+custom in those times, many half-length figures, such as S. Niccola
+da Tolentino and others; and he filled the predella with scenes in
+little figures from the life of that Saint. In S. Fermo, a church in
+the same city belonging to the Friars of S. Francis, he painted, as
+an ornament for a Deposition from the Cross on the wall opposite to
+the side-door of entrance, twelve half-length prophets of the size
+of life, with Adam and Eve lying below them, and his usual peacock,
+which is almost the hall-mark of pictures executed by him.
+
+In Mantua, at the Martello gate of the Church of S. Domenico, the
+same Stefano painted a most beautiful Madonna; the head of which
+Madonna, when they had need to build in that place, those fathers
+placed with care in the tramezzo[8] of the church--that is, in the
+Chapel of S. Orsola, which belongs to the Recuperati family, and
+contains some pictures in fresco by the hand of the same man. And in
+the Church of S. Francesco, on the right hand as one enters by the
+principal door, there is a row of chapels formerly built by the
+noble Della Ramma family, in one of which are seated figures of the
+four Evangelists, painted on the vaulting by the hand of Stefano;
+and behind their shoulders, for a background, he made certain
+espaliers of roses, with a cane trellis-work in a pattern of
+mandorle, above which are various trees and other greenery full of
+birds, particularly of peacocks; and there are also some very
+beautiful angels. In this same church, on a column on the right hand
+as one enters, he painted a life-size figure of S. Mary Magdalene.
+And in the same city, on the frontal of a door in the street called
+Rompilanza, he painted in fresco a Madonna with the Child in her
+arms, and some angels kneeling before her; and the background he
+made of trees covered with fruit.
+
+These, then, are the works that are found to have been executed by
+Stefano, although it may well be believed, since his life was not a
+short one, that he made many others. But even as I have not been
+able to discover any more of them, so I have failed to find his
+surname, his father's name, his portrait, or any other particulars.
+Some declare that before he came to Florence he was a disciple of
+Maestro Liberale, a painter of Verona; but this matters nothing. It
+is enough that he learnt all that there was of the good in him from
+Agnolo Gaddi in Florence.
+
+[Illustration: PRESENTATION TO THE MADONNA OF THREE KNIGHTS OF THE
+CAVALLI FAMILY
+
+(_After the fresco by =Aldigieri da Zevio [Altichiero]=. Verona: S.
+Anastasia_)
+
+_Alinari_]
+
+Of the same city of Verona was Aldigieri da Zevio, who was very much
+the friend of the Signori della Scala, and who, besides many other
+works, painted the Great Hall of their Palace (which is now the
+habitation of the Podestà), depicting therein the War of Jerusalem,
+according as it is described by Josephus. In this work Aldigieri
+showed great spirit and judgment, distributing one scene over the
+walls of that hall on every side, with a single ornament encircling
+it right round; on the upper part of which ornament, as it were to
+set it off, he placed a row of medallions, in which it is believed
+that there are the portraits from life of many distinguished men of
+those times, particularly of many of those Signori della Scala; but,
+since the truth about this is not known, I will say no more of it. I
+must say, indeed, that Aldigieri showed in this work that he had
+intelligence, judgment, and invention, seeing that he took into
+consideration all the things that can be taken into consideration in
+a serious war. Besides this, the colouring has remained very fresh;
+and among many portraits of men of distinction and learning, there
+is seen that of Messer Francesco Petrarca.
+
+Jacopo Avanzi, a painter of Bologna, shared the work of this hall
+with Aldigieri, and below the aforesaid pictures he painted two most
+beautiful Triumphs, likewise in fresco, with so much art and so good
+a manner, that Girolamo Campagnola declares that Mantegna used to
+praise them as pictures of the rarest merit. The same Jacopo,
+together with Aldigieri and Sebeto da Verona, painted the Chapel of
+S. Giorgio, which is beside the Church of S. Antonio, in Padua,
+according to the directions left in the testaments of the Marquesses
+of Carrara. Jacopo Avanzi painted the upper part; below this were
+certain stories of S. Lucia, with a Last Supper, by Aldigieri; and
+Sebeto painted stories of S. John. Afterwards these three masters,
+having all returned to Verona, joined together to paint a
+wedding-feast, with many portraits and costumes of those times, in
+the house of the Counts Serenghi. Now the work of Jacopo Avanzi was
+held to be the best of all; but, since mention has been made of him
+in the Life of Niccolò d' Arezzo by reason of the works that he made
+in Bologna in competition with the painters Simone, Cristofano, and
+Galasso, I will say no more about him in this place.
+
+A man who was held in esteem at Venice about the same time, although
+he adhered to the Greek manner, was Jacobello de Flore, who made a
+number of works in that city; in particular, a panel for the Nuns of
+the Corpus Domini, which stands on the altar of S. Domenico in their
+church. A competitor of this master was Giromin Morzone, who painted
+a number of pictures in Venice and in many cities of Lombardy; but,
+since he held to the old manner and made all his figures on tiptoe,
+we will say nothing about him, save that there is a panel by his
+hand, with many saints, on the Altar of the Assumption in the Church
+of S. Lena.
+
+A much better master than Morzone was Guerriero, a painter of Padua,
+who, besides many other works, painted the principal chapel of the
+Eremite Friars of S. Augustine in Padua, and a chapel for the same
+friars in the first cloister. He also painted a little chapel in the
+house of the Urban Prefect, and the Hall of the Roman Emperors,
+where the students go to dance at the time of the Carnival. He also
+painted in fresco, in the Chapel of the Podestà of the same city,
+some scenes from the Old Testament.
+
+Giusto, likewise a painter of Padua, painted in the Chapel of S.
+Giovanni Battista, without the Church of the Vescovado, not only
+certain scenes from the Old Testament and the New, but also the
+Revelations of the Apocalypse of S. John the Evangelist; and in the
+upper part he made a Paradise containing many choirs of angels and
+other adornments, wrought with beautiful conceptions. In the Church
+of S. Antonio he painted in fresco the Chapel of S. Luca; and in a
+chapel in the Church of the Eremite Friars of S. Augustine he
+painted the liberal arts, with the virtues and vices beside them,
+and likewise those who have been celebrated for their virtues, and
+those who have fallen by reason of their vices into the extreme of
+misery and into the lowest depth of Hell.
+
+There was working in Padua, in this man's time, Stefano, a painter
+of Ferrara, who, as has been said elsewhere, adorned with various
+pictures the chapel and the tomb wherein is the body of S. Anthony,
+and also painted the Virgin Mary that is called the Vergine del
+Pilastro.
+
+[Illustration: VITTORE SCARPACCIA (CARPACCIO): THE VISION OF S.
+URSULA
+
+(_Venice: Accademia, 578. Canvas_)]
+
+Another man who was held in esteem in the same times was Vincenzio,
+a painter of Brescia, according to the account of Filarete, as was
+also Girolamo Campagnola, another Paduan painter, and a disciple of
+Squarcione. Then Giulio, son of Girolamo, made many beautiful works
+of painting, illumination, and copper-engraving, both in Padua and
+in other places. In the same city of Padua many things were
+wrought by Niccolò Moreto, who lived eighty years, and never ceased
+to exercise his art.
+
+[Illustration: S. GEORGE AND THE DRAGON
+
+(_After the panel by =Vittore Scarpaccia [Carpaccio]=. Venice: S.
+Giorgio Segli Schiavoni_)
+
+_Anderson_]
+
+Besides these there were many others, who were connected with
+Gentile and Giovanni Bellini; but Vittore Scarpaccia was truly the
+first among them who made works of importance. His first works were
+in the Scuola of S. Orsola, where he painted on canvas the greater
+part of the stories that are there, representing the life and death
+of that Saint; the labours of which pictures he contrived to carry
+out so well and with such great diligence and art, that he acquired
+thereby the name of a very good and practised master. This, so it is
+said, was the reason that the people of Milan caused him to paint a
+panel in distemper with many figures for the Friars Minor, in their
+Chapel of S. Ambrogio. On the altar of the Risen Christ in the
+Church of S. Antonio he painted the scene of Christ appearing to the
+Magdalene and the other Maries, in which he made a very beautiful
+view in perspective of a landscape receding into the distance; and
+in another chapel he painted the story of the Martyrs--that is,
+their crucifixion--in which work he made more than three hundred
+figures, what with the large and the small, besides a number of
+horses and trees, an open Heaven, figures both nude and clothed in
+diverse attitudes, many foreshortenings, and so many other things,
+that it can be seen that he did not execute it without extraordinary
+labour. For the altar of the Madonna, in the Church of S. Giobbe in
+Canareio, he painted her presenting the Infant Christ to Simeon, and
+depicted the Madonna herself standing, and Simeon in his cope
+between two ministers clothed as Cardinals; behind the Virgin are
+two women, one of whom has two doves, and below are three boys, who
+are playing on a lute, a serpent, and a lyre, or rather a viol; and
+the colouring of the whole panel is very charming and beautiful.
+And, in truth, Vittore was a very diligent and practised master, and
+many pictures by his hand that are in Venice, both portraits from
+life and other kinds, are much esteemed for works wrought in those
+times. He taught his art to two brothers of his own, who imitated
+him closely, one being Lazzaro, and the other Sebastiano; and by
+their hand is a panel on the altar of the Virgin in the Church of
+the Nuns of the Corpus Domini, showing her seated between S.
+Catherine and S. Martha, with other female saints, two angels who
+are sounding instruments, and a very beautiful view of buildings in
+perspective as a background to the whole work, of which we have the
+original drawings, by the hand of these men, in our book.
+
+Another passing good painter in the time of these masters was
+Vincenzio Catena, who occupied himself much more with making
+portraits from the life than with any other sort of painting; and,
+in truth, some that are to be seen by his hand are marvellous--among
+others, that of a German of the Fugger family, a man of rank and
+importance, who was then living in the Fondaco de' Tedeschi at
+Venice, was painted with great vivacity.
+
+Another man who made many works in Venice, about the same time, was
+a disciple of Giovanni Bellini, Giovan Battista da Conigliano, by
+whose hand is a panel on the altar of S. Pietro Martire in the
+aforesaid Church of the Nuns of the Corpus Domini, containing the
+said Saint, S. Nicholas, and S. Benedict, with landscapes in
+perspective, an angel tuning a cithern, and many little figures more
+than passing good. And if this man had not died young, it may be
+believed that he would have equalled his master.
+
+The name of a master not otherwise than good, likewise, in the same
+art and at the same time, was enjoyed by Marco Basarini, who,
+painting in Venice, where he was born from a Greek father and
+mother, executed in S. Francesco della Vigna a panel with a
+Deposition of Christ from the Cross, and another panel in the Church
+of S. Giobbe, representing Christ in the Garden, and below Him the
+three Apostles, who are sleeping, and S. Francis, S. Dominic, and
+two other saints; but what was most praised in this work was a
+landscape with many little figures wrought with good grace. In that
+same church the same Marco painted S. Bernardino on a rock, with
+other saints.
+
+[Illustration: VINCENZIO CATENA (DI BIAGIO): S. JEROME IN HIS STUDY
+
+(_London: National Gallery, 694. Panel_)]
+
+Giovanetto Cordegliaghi made an infinity of devotional pictures in
+the same city; nay, he scarcely worked at anything else, and, in
+truth, he had in this sort of painting a very delicate and sweet
+manner, no little better than that of the aforesaid masters. In S.
+Pantaleone, in a chapel beside the principal one, this man
+painted S. Peter making disputation with two other saints, who are
+wearing most beautiful draperies, and are wrought with a beautiful
+manner.
+
+[Illustration: GIOVAN BATTISTA DA CONIGLIANO (CIMA): TOBIT AND THE
+ANGEL (DETAIL)
+
+(_Venice: Accademia, 592. Panel transferred to Canvas_)]
+
+Marco Bassiti was in good repute almost at the same time, and by his
+hand is a large panel in the Church of the Carthusian Monks at
+Venice, in which he painted Christ between Peter and Andrew on the
+Sea of Tiberias, with the sons of Zebedee; making therein an arm of
+the sea, a mountain, and part of a city, with many persons in the
+form of little figures. Many other works by this man could be
+enumerated, but let it be enough to have spoken of this one, which
+is the best.
+
+Bartolommeo Vivarini of Murano also acquitted himself very well in
+the works that he made, as may be seen, besides many other examples,
+in the panel that he executed for the altar of S. Luigi in the
+Church of SS. Giovanni e Polo; in which panel he portrayed the said
+S. Luigi seated, wearing the cope, with S. Gregory, S. Sebastian,
+and S. Dominic on one side of him, and on the other side S.
+Nicholas, S. Jerome, and S. Rocco, and above them half-length
+figures of other saints.
+
+Another man who executed his pictures very well, taking much delight
+in counterfeiting things of nature, figures, and distant landscapes,
+was Giovanni Mansueti, who, imitating the works of Gentile Bellini
+not a little, made many pictures in Venice. At the upper end of the
+Audience Chamber of the Scuola of S. Marco he painted a S. Mark
+preaching on the Piazza; in which picture he painted the façade of
+the church, and, among the multitude of men and women who are
+listening to the Saint, Turks, Greeks, and the faces of men of
+diverse nations, with bizarre costumes. In the same place, in
+another scene wherein he painted S. Mark healing a sick man, he made
+a perspective view of two staircases and many loggie. In another
+picture, near to that one, he made a S. Mark converting an infinite
+multitude to the faith of Christ; in this he made an open temple,
+with a Crucifix on an altar, and throughout the whole work there are
+diverse persons with a beautiful variety of expression, dress, and
+features.
+
+The work in the same place was continued after him by Vittore
+Bellini, who made a view of buildings in perspective, which is
+passing good, in a scene wherein S. Mark is taken prisoner and
+bound, with a number of figures, in which he imitated his
+predecessors. After these men came Bartolommeo Montagna of Vicenza,
+a passing good painter, who lived ever in Venice and made many
+pictures there; and he painted a panel in the Church of S. Maria d'
+Artone at Padua. Benedetto Diana, likewise, was a painter no less
+esteemed than the masters mentioned above, as is proved, to say
+nothing of his other works, by those from his hand that are in S.
+Francesco della Vigna at Venice, where, for the altar of S.
+Giovanni, he painted that Saint standing between two other saints,
+each of whom has a book in his hand.
+
+Another man who was accounted a good master was Giovanni
+Buonconsigli, who painted a picture in the Church of SS. Giovanni e
+Polo for the altar of S. Tommaso d' Aquino, showing that Saint
+surrounded by many figures, to whom he is reading the Holy
+Scriptures; and he made therein a perspective view of buildings,
+which is not otherwise than worthy of praise. There also lived in
+Venice throughout almost the whole course of his life the Florentine
+sculptor, Simon Bianco, as did Tullio Lombardo, an excellent master
+of intaglio.
+
+In Lombardy, likewise, there were excellent sculptors in Bartolommeo
+Clemente of Reggio and Agostino Busto; and, in intaglio, Jacopo
+Davanzo of Milan, with Gasparo and Girolamo Misceroni. In Brescia
+there was a man who was able and masterly at working in fresco,
+called Vincenzio Verchio, who acquired a very great name in his
+native place by reason of his beautiful works. The same did Girolamo
+Romanino, a fine master of design, as is clearly demonstrated by the
+works made by him in Brescia and in the neighbourhood for many miles
+around. And not inferior to these--nay, even superior--was
+Alessandro Moretto, who was very delicate in his colouring, and much
+the friend of diligence, as the works made by him demonstrate.
+
+[Illustration: CHRIST ON THE MOUNT OF OLIVES
+
+(_After the panel by =Marco Bassiti [Basaiti]=. Venice: Accademia,
+69_)
+
+_Anderson_]
+
+But to return to Verona, in which city there have flourished
+excellent craftsmen, even as they flourish more than ever to-day;
+there, in times past, were excellent masters in Francesco Bonsignori
+and Francesco Caroto, and afterwards Maestro Zeno of Verona, who
+painted the panel of S. Marino in Rimini, with two others, all with
+much diligence. But the man who surpassed all others in making
+certain marvellous figures from life was Il Moro of Verona, or
+rather, as others called him, Francesco Turbido, by whose hand is a
+portrait now in the house of Monsignor de' Martini at Venice, of a
+gentleman of the house of Badovaro, painted in the character of a
+shepherd; which portrait appears absolutely alive, and can challenge
+comparison with any of the great number that have been seen in these
+parts. Battista d' Angelo, son-in-law of this Francesco, is also so
+lovely in colouring and so masterly in drawing, that he is rather
+superior than inferior to his father-in-law. But since it is not my
+intention to speak at present of the living, it must suffice me to
+have spoken in this place of some with regard to whose lives, as I
+said at the beginning of this Life, I have not been able to discover
+every particular with equal minuteness, to the end that their
+talents and merits may receive from me at least all that little
+which I, who would fain make it much, am able to give them.
+
+[Illustration: PIETÀ
+
+(_After the panel by =Giovanni Buonconsigli=. Vincenza: Pinacoteca,
+22_)
+
+_Alinari_]
+
+FOOTNOTE:
+
+[5] It is now generally accepted that these two men are
+one, under the name of Lazzaro Bastiani.
+
+[6] This master has been identified with Il Bassiti, under
+the name of Basaiti.
+
+[7] See note on p. 57, Vol. I.
+
+[8] See note on p. 57, Vol. I.
+
+
+
+
+JACOPO, CALLED L'INDACO
+
+
+
+
+LIFE OF JACOPO, CALLED L'INDACO
+
+PAINTER
+
+
+Jacopo, called L'Indaco, who was a disciple of Domenico del
+Ghirlandajo, and who worked in Rome with Pinturicchio, was a passing
+good master in his day; and although he did not make many works, yet
+those that he did make are worthy of commendation. Nor is there any
+need to marvel that only very few works issued from his hands, for
+the reason that, being a gay and humorous fellow and a lover of good
+cheer, he harboured but few thoughts and would never work save when
+he could not help it; and so he used to say that doing nothing else
+but labour, without taking a little pleasure in the world, was no
+life for a Christian. He lived in close intimacy with Michelagnolo,
+for when that craftsman, supremely excellent beyond all who have
+ever lived, wished to have some recreation after his studies and his
+continuous labours of body and mind, no one was more pleasing to him
+for the purpose or more suited to his humour than this man.
+
+Jacopo worked for many years in Rome, or, to be more precise, he
+lived many years in Rome, working very little. By his hand, in that
+city, is the first chapel on the right hand as one enters the Church
+of S. Agostino by the door of the façade; on the vaulting of which
+chapel are the Apostles receiving the Holy Spirit, and on the wall
+below are two stories of Christ--in one His taking Peter and Andrew
+from their nets, and in the other the Feast of Simon and the
+Magdalene, in which there is a ceiling of planks and beams,
+counterfeited very well. In the panel of the same chapel, which he
+painted in oil, is a Dead Christ, wrought and executed with much
+mastery and diligence. In the Trinità at Rome, likewise, there is a
+little panel by his hand with the Coronation of Our Lady. But what
+need is there to say more about this man? What more, indeed, is
+there to say? It is enough that he loved gossiping as much as he
+always hated working and painting.
+
+Now seeing that, as has been said, Michelagnolo used to take
+pleasure in this man's chattering and in the jokes that he was ever
+making, he kept him almost always at his table; but one day Jacopo
+wearied him--as such fellows more often than not do come to weary
+their friends and patrons with their incessant babbling, so often
+ill-timed and senseless; babbling, I call it, for reasonable talk it
+cannot be called, since for the most part there is neither reason
+nor judgment in such people--and Michelagnolo, who, perchance, had
+other thoughts in his mind at the time and wished to get rid of him,
+sent him to buy some figs; and no sooner had Jacopo left the house
+than Michelagnolo bolted the door behind him, determined not to open
+to him when he came back. L'Indaco, then, on returning from the
+market-square, perceived, after having knocked at the door for a
+time in vain, that Michelagnolo did not intend to open to him;
+whereupon, flying into a rage, he took the figs and the leaves and
+spread them all over the threshold of the door. This done, he went
+his way and for many months refused to speak to Michelagnolo; but at
+last, becoming reconciled with him, he was more his friend than
+ever. Finally, having reached the age of sixty-eight, he died in
+Rome.
+
+Not unlike Jacopo was a younger brother of his, whose proper name
+was Francesco, although he too was afterwards called L'Indaco by way
+of surname; and he, likewise, was a painter, and more than passing
+good. He was not unlike Jacopo--I mean, in his unwillingness to work
+(to say the least), and in his love of talking--but in one respect
+he surpassed Jacopo, for he was ever speaking evil of everyone and
+decrying the works of every craftsman. This man, after having
+wrought certain things in Montepulciano both in painting and in
+clay, painted a little panel for the Audience Chamber of the Company
+of the Nunziata in Arezzo, containing an Annunciation, and a God the
+Father in Heaven surrounded by many angels in the form of children.
+And in the same city, on the first occasion when Duke Alessandro
+went there, he made a most beautiful triumphal arch, with many
+figures in relief, at the gate of the Palazzo de' Signori; and also,
+in competition with other painters who executed a number of other
+works for the entry of the said Duke, the scenery for the
+representation of a play, which was held to be very beautiful.
+Afterwards, having gone to Rome at the time when the Emperor Charles
+V was expected there, he made some figures in clay, and a coat of
+arms in fresco for the Roman people on the Campidoglio, which was
+much extolled. But the best work that ever issued from the hands of
+this master, and the most highly praised, was a little study wrought
+in stucco for the Duchess Margherita of Austria in the Palace of the
+Medici at Rome--a thing so beautiful and so ornate that there is
+nothing better to be seen; nor do I believe that it is possible, in
+a certain sense, to do with silver what L'Indaco did in this work
+with stucco. From these things it may be judged that if this man had
+taken pleasure in work and had made use of his intelligence, he
+would have become excellent.
+
+Francesco drew passing well, but Jacopo much better, as may be seen
+in our book.
+
+
+
+
+LUCA SIGNORELLI OF CORTONA
+
+
+
+
+LIFE OF LUCA SIGNORELLI OF CORTONA
+
+[_LUCA DA CORTONA_]
+
+PAINTER
+
+
+Luca Signorelli, an excellent painter, of whom, according to the
+order of time, we have now to speak, was more famous throughout
+Italy in his day, and his works were held in greater price than has
+ever been the case with any other master at any time whatsoever, for
+the reason that in the works that he executed in painting he showed
+the true method of making nudes, and how they can be caused,
+although only with art and difficulty, to appear alive. He was a
+pupil and disciple of Piero dal Borgo a San Sepolcro, and greatly
+did he strive in his youth to imitate his master, and even to
+surpass him; and the while that he was working with Piero at Arezzo,
+living in the house of his uncle Lazzaro Vasari, as it has been
+told, he imitated the manner of the said Piero so well that the one
+could scarcely be distinguished from the other.
+
+The first works of Luca were in S. Lorenzo at Arezzo, where he
+painted the Chapel of S. Barbara in fresco in the year 1472; and he
+painted for the Company of S. Caterina, on cloth and in oil, the
+banner that is borne in processions, and likewise that of the
+Trinità, although this does not appear to be by the hand of Luca,
+but by Piero dal Borgo himself. In S. Agostino in the same city he
+painted the panel of S. Niccola da Tolentino, with most beautiful
+little scenes, executing the work with good drawing and invention;
+and in the same place, in the Chapel of the Sacrament, he made two
+angels wrought in fresco. In the Chapel of the Accolti in the Church
+of S. Francesco, for Messer Francesco, Doctor of Laws, he painted a
+panel in which he portrayed the said Messer Francesco with some of
+his relatives. In this work is a S. Michael weighing souls, who is
+admirable; and in him there is seen the knowledge of Luca, both in
+the splendour of his armour and in the reflected lights, and, in
+short, throughout the whole work. In his hands he placed a pair of
+scales, in which are nude figures, very beautifully foreshortened,
+one going up and the other down; and among other ingenious things
+that are in this picture is a nude figure most skilfully transformed
+into a devil, with a lizard licking the blood from a wound in its
+body. Besides this, there is a Madonna with the Child on her lap,
+with S. Stephen, S. Laurence, S. Catherine, and two angels, of whom
+one is playing on a lute and the other on a rebec; and all these
+figures are draped and adorned so beautifully that it is a marvel.
+But the most miraculous part of this panel is the predella, which is
+full of Friars of the said S. Catherine in the form of little
+figures.
+
+[Illustration: LUCA SIGNORELLI: PAN
+
+(_Berlin: Kaiser Friedrich Museum, 79A. Canvas_)
+
+In Perugia, also, he made many works; among others, a panel in the
+Duomo for Messer Jacopo Vannucci of Cortona, Bishop of that city; in
+which panel are Our Lady, S. Onofrio, S. Ercolano, S. John the
+Baptist, and S. Stephen, with a most beautiful angel, who is tuning
+a lute. At Volterra, over the altar of a Company in the Church of S.
+Francesco, he painted in fresco the Circumcision of Our Lord, which
+is considered beautiful to a marvel, although the Infant, having
+been injured by damp, was restored by Sodoma and made much less
+beautiful than before. And, in truth, it would be sometimes better
+to leave works half spoilt, when they have been made by men of
+excellence, rather than to have them retouched by inferior masters.
+In S. Agostino in the same city he painted a panel in distemper, and
+the predella of little figures, with stories of the Passion of
+Christ; and this is held to be extraordinarily beautiful. At S.
+Maria a Monte he painted a Dead Christ on a panel for the monks of
+that place; and at Città di Castello a Nativity of Christ in S.
+Francesco, with a S. Sebastian on another panel in S. Domenico. In
+S. Margherita, a seat of the Frati del Zoccolo in his native city of
+Cortona, he painted a Dead Christ, one of the rarest of his works;
+and for the Company of the Gesù, in the same city, he executed three
+panels, of which the one that is on the high-altar is marvellous,
+showing Christ administering the Sacrament to the Apostles, and
+Judas placing the Host into his wallet. In the Pieve, now called
+the Vescovado, in the Chapel of the Sacrament, he painted some
+life-size prophets in fresco; and round the tabernacle are some
+angels who are opening out a canopy, with S. Jerome and S. Thomas
+Aquinas at the sides. For the high-altar of the said church he
+painted a panel with a most beautiful Assumption, and he designed
+the pictures for the principal round window of the same church;
+which pictures were afterwards executed by Stagio Sassoli of Arezzo.
+In Castiglione Aretino he made a Dead Christ, with the Maries, over
+the Chapel of the Sacrament; and in S. Francesco, at Lucignano, he
+painted the folding-doors of a press, wherein there is a tree of
+coral surmounted by a cross. At Siena, in the Chapel of S.
+Cristofano in S. Agostino, he painted a panel with some saints, in
+the midst of whom is a S. Cristopher in relief.
+
+Having gone from Siena to Florence in order to see both the works of
+those masters who were then living and those of many already dead,
+he painted for Lorenzo de' Medici certain nude gods on a canvas, for
+which he was much commended, and a picture of Our Lady with two
+little prophets in terretta, which is now at Castello, a villa of
+Duke Cosimo's. These works, both the one and the other, he presented
+to the said Lorenzo, who would never be beaten by any man in
+liberality and magnificence. He also painted a round picture of Our
+Lady, which is in the Audience Chamber of the Captains of the Guelph
+party--a very beautiful work. At Chiusuri in the district of Siena,
+the principal seat of the Monks of Monte Oliveto, he painted eleven
+scenes of the life and acts of S. Benedict on one side of the
+cloister. And from Cortona he sent some of his works to
+Montepulciano; to Foiano the panel which is on the high-altar of the
+Pieve; and other works to other places in Valdichiana. In the
+Madonna, the principal church of Orvieto, he finished with his own
+hand the chapel that Fra Giovanni da Fiesole had formerly begun
+there; in which chapel he painted all the scenes of the end of the
+world with bizarre and fantastic invention--angels, demons, ruins,
+earthquakes, fires, miracles of Antichrist, and many other similar
+things besides, such as nudes, foreshortenings, and many beautiful
+figures; imagining the terror that there shall be on that last and
+awful day. By means of this he encouraged all those who have lived
+after him, insomuch that since then they have found easy the
+difficulties of that manner; wherefore I do not marvel that the
+works of Luca were ever very highly extolled by Michelagnolo, nor
+that in certain parts of his divine Judgment, which he made in the
+chapel, he should have deigned to avail himself in some measure of
+the inventions of Luca, as he did in the angels, the demons, the
+division of the Heavens, and other things, in which Michelagnolo
+himself imitated Luca's method, as all may see. In this work Luca
+portrayed himself and many of his friends; Niccolò, Paolo, and
+Vitelozzo Vitelli, Giovan Paolo and Orazio Baglioni, and others
+whose names are not known. In the Sacristy of S. Maria at Loreto he
+painted in fresco the four Evangelists, the four Doctors, and other
+saints, all very beautiful; and for this work he was liberally
+rewarded by Pope Sixtus.
+
+It is said that a son of his, most beautiful in countenance and in
+person, whom he loved dearly, was killed at Cortona; and that Luca,
+heart-broken as he was, had him stripped naked, and with the
+greatest firmness of soul, without lamenting or shedding a tear,
+portrayed him, to the end that, whenever he might wish, he might be
+able by means of the work of his own hands to see that which nature
+had given him and adverse fortune had snatched away.
+
+Being then summoned by the said Pope Sixtus to work in the chapel of
+his Palace in competition with many other painters, he painted
+therein two scenes, which are held the best among so many; one is
+Moses declaring his testament to the Jewish people on having seen
+the Promised Land, and the other is his death.
+
+[Illustration: THE LAST JUDGMENT
+
+(_Detail, after the fresco by =Luca Signorelli=. Orvieto: Duomo_)
+
+_Anderson_]
+
+Finally, having executed works for almost every Prince in Italy, and
+being now old, he returned to Cortona, where, in those last years of
+his life, he worked more for pleasure than for any other reason, as
+one who, being used to labour, neither could nor would stay idle. In
+this his old age, then, he painted a panel for the Nuns of S.
+Margherita at Arezzo, and one for the Company of S. Girolamo, which
+was paid for in part by Messer Niccolò Gamurrini, Doctor of Laws and
+Auditor of the Ruota,[9] who is portrayed from life in that
+panel, kneeling before the Madonna, to whom he is being presented by
+a S. Nicholas who is in the same panel; there are also S. Donatus
+and S. Stephen, and lower down a nude S. Jerome, and a David who is
+singing to a psaltery; and also two prophets, who, as it appears
+from the scrolls that they have in their hands, are speaking about
+the Conception. This work was brought from Cortona to Arezzo on the
+shoulders of the men of that Company; and Luca, old as he was,
+insisted on coming to set it in place, and partly also in order to
+revisit his friends and relatives. And since he lodged in the house
+of the Vasari, in which I then was, a little boy of eight years old,
+I remember that the good old man, who was most gracious and
+courteous, having heard from the master who was teaching me my first
+letters, that I gave my attention to nothing in lesson-time save to
+drawing figures, I remember, I say, that he turned to my father
+Antonio and said to him: "Antonio, if you wish little Giorgio not to
+become backward, by all means let him learn to draw, for, even were
+he to devote himself to letters, design cannot be otherwise than
+helpful, honourable, and advantageous to him, as it is to every
+gentleman." Then, turning to me, who was standing in front of him,
+he said: "Mind your lessons, little kinsman." He said many other
+things about me, which I withhold, for the reason that I know that I
+have failed by a great measure to justify the opinion which the good
+old man had of me. And since he heard, as was true, that the blood
+used to flow from my nose at that age in such quantities that this
+left me sometimes half dead, with infinite lovingness he bound a
+jasper round my neck with his own hand; and this memory of Luca will
+stay for ever fixed in my mind. The said panel set in place, he
+returned to Cortona, accompanied for a great part of the way by many
+citizens, friends, and relatives, as was due to the excellence of
+Luca, who always lived rather as a noble and a man of rank than as a
+painter.
+
+About the same time a palace had been built for Cardinal Silvio
+Passerini of Cortona, half a mile beyond the city, by Benedetto
+Caporali, a painter of Perugia, who, delighting in architecture, had
+written a commentary on Vitruvius a short time before; and the said
+Cardinal determined to have almost the whole of it painted.
+Wherefore Benedetto, putting his hand to this with the aid of Maso
+Papacello of Cortona (who was his disciple and had also learnt not a
+little from Giulio Romano, as will be told), of Tommaso, and of
+other disciples and lads, did not cease until he had painted it
+almost all over in fresco. But the Cardinal wishing to have some
+painting by the hand of Luca as well, he, old as he was, and
+hindered by palsy, painted in fresco, on the altar-wall of the
+chapel of that palace, the scene of S. John the Baptist baptizing
+the Saviour; but he was not able to finish it completely, for while
+still working at it he died, having reached the age of eighty-two.
+
+Luca was a man of most excellent character, true and loving with his
+friends, sweet and amiable in his dealings with every man, and,
+above all, courteous to all who had need of him, and kindly in
+teaching his disciples. He lived splendidly, and he took delight in
+clothing himself well. And for these good qualities he was ever held
+in the highest veneration both in his own country and abroad.
+
+And so, with the end of this master's life, which was in 1521, we
+will bring to an end the Second Part of these Lives; concluding with
+Luca, as the man who, with his profound mastery of design,
+particularly in nudes, and with his grace in invention and in the
+composition of scenes, opened to the majority of craftsmen the way
+to the final perfection of art, to which those men who followed were
+afterwards enabled to add the crown, of whom we are henceforward to
+speak.
+
+FOOTNOTE:
+
+[9] A judicial court, the members of which sat in rotation.
+
+
+
+
+     THE THIRD PART OF THE LIVES OF THE SCULPTORS, PAINTERS, AND
+     ARCHITECTS, WHO HAVE LIVED FROM CIMABUE TO OUR OWN DAY. WRITTEN
+     BY MESSER GIORGIO VASARI, PAINTER AND ARCHITECT OF AREZZO
+
+
+
+
+PREFACE TO THE THIRD PART
+
+
+Truly great was the advancement conferred on the arts of
+architecture, painting, and sculpture by those excellent masters of
+whom we have written hitherto, in the Second Part of these Lives,
+for to the achievements of the early masters they added rule, order,
+proportion, draughtsmanship, and manner; not, indeed, in complete
+perfection, but with so near an approach to the truth that the
+masters of the third age, of whom we are henceforward to speak, were
+enabled, by means of their light, to aspire still higher and attain
+to that supreme perfection which we see in the most highly prized
+and most celebrated of our modern works. But to the end that the
+nature of the improvement brought about by the aforesaid craftsmen
+may be even more clearly understood, it will certainly not be out of
+place to explain in a few words the five additions that I have
+named, and to give a succinct account of the origin of that true
+excellence which, having surpassed the age of the ancients, makes
+the modern so glorious.
+
+Rule, then, in architecture, was the process of taking measurements
+from antiquities and studying the ground-plans of ancient edifices
+for the construction of modern buildings. Order was the separating
+of one style from another, so that each body should receive its
+proper members, with no more interchanging between Doric, Ionic,
+Corinthian, and Tuscan. Proportion was the universal law applying
+both to architecture and to sculpture, that all bodies should be
+made correct and true, with the members in proper harmony; and so,
+also, in painting. Draughtsmanship was the imitation of the most
+beautiful parts of nature in all figures, whether in sculpture or in
+painting; and for this it is necessary to have a hand and a brain
+able to reproduce with absolute accuracy and precision, on a level
+surface--whether by drawing on paper, or on panel, or on some other
+level surface--everything that the eye sees; and the same is true of
+relief in sculpture. Manner then attained to the greatest beauty
+from the practice which arose of constantly copying the most
+beautiful objects, and joining together these most beautiful things,
+hands, heads, bodies, and legs, so as to make a figure of the
+greatest possible beauty. This practice was carried out in every
+work for all figures, and for that reason it is called the beautiful
+manner.
+
+These things had not been done by Giotto or by the other early
+craftsmen, although they had discovered the rudiments of all these
+difficulties, and had touched them on the surface; as in their
+drawing, which was sounder and more true to nature than it had been
+before, and likewise in harmony of colouring and in the grouping of
+figures in scenes, and in many other respects of which enough has
+been said. Now although the masters of the second age improved our
+arts greatly with regard to all the qualities mentioned above, yet
+these were not made by them so perfect as to succeed in attaining to
+complete perfection, for there was wanting in their rule a certain
+freedom which, without being of the rule, might be directed by the
+rule and might be able to exist without causing confusion or
+spoiling the order; which order had need of an invention abundant in
+every respect, and of a certain beauty maintained in every least
+detail, so as to reveal all that order with more adornment. In
+proportion there was wanting a certain correctness of judgment, by
+means of which their figures, without having been measured, might
+have, in due relation to their dimensions, a grace exceeding
+measurement. In their drawing there was not the perfection of
+finish, because, although they made an arm round and a leg straight,
+the muscles in these were not revealed with that sweet and facile
+grace which hovers midway between the seen and the unseen, as is the
+case with the flesh of living figures; nay, they were crude and
+excoriated, which made them displeasing to the eye and gave hardness
+to the manner. This last was wanting in the delicacy that comes from
+making all figures light and graceful, particularly those of women
+and children, with the limbs true to nature, as in the case of men,
+but veiled with a plumpness and fleshiness that should not be
+awkward, as they are in nature, but refined by draughtsmanship and
+judgment. They also lacked our abundance of beautiful costumes, our
+great number and variety of bizarre fancies, loveliness of
+colouring, wide knowledge of buildings, and distance and variety in
+landscapes. And although many of them, such as Andrea Verrocchio and
+Antonio del Pollaiuolo, and many others more modern, began to seek
+to make their figures with more study, so as to reveal in them
+better draughtsmanship, with a degree of imitation more correct and
+truer to nature, nevertheless the whole was not yet there, even
+though they had one very certain assurance--namely, that they were
+advancing towards the good, and their figures were thus approved
+according to the standard of the works of the ancients, as was seen
+when Andrea Verrocchio restored in marble the legs and arms of the
+Marsyas in the house of the Medici in Florence. But they lacked a
+certain finish and finality of perfection in the feet, hands, hair,
+and beards, although the limbs as a whole are in accordance with the
+antique and have a certain correct harmony in the proportions. Now
+if they had had that minuteness of finish which is the perfection
+and bloom of art, they would also have had a resolute boldness in
+their works; and from this there would have followed delicacy,
+refinement, and supreme grace, which are the qualities produced by
+the perfection of art in beautiful figures, whether in relief or in
+painting; but these qualities they did not have, although they give
+proof of diligent striving. That finish, and that certain something
+that they lacked, they could not achieve so readily, seeing that
+study, when it is used in that way to obtain finish, gives dryness
+to the manner.
+
+After them, indeed, their successors were enabled to attain to it
+through seeing excavated out of the earth certain antiquities cited
+by Pliny as amongst the most famous, such as the Laocoon, the
+Hercules, the Great Torso of the Belvedere, and likewise the Venus,
+the Cleopatra, the Apollo, and an endless number of others, which,
+both with their sweetness and their severity, with their fleshy
+roundness copied from the greatest beauties of nature, and with
+certain attitudes which involve no distortion of the whole figure
+but only a movement of certain parts, and are revealed with a most
+perfect grace, brought about the disappearance of a certain dryness,
+hardness, and sharpness of manner, which had been left to our art by
+the excessive study of Piero della Francesca, Lazzaro Vasari, Alesso
+Baldovinetti, Andrea dal Castagno, Pesello, Ercole Ferrarese,
+Giovanni Bellini, Cosimo Rosselli, the Abbot of S. Clemente,
+Domenico del Ghirlandajo, Sandro Botticelli, Andrea Mantegna,
+Filippo, and Luca Signorelli. These masters sought with great
+efforts to do the impossible in art by means of labour, particularly
+in foreshortenings and in things unpleasant to the eye, which were
+as painful to see as they were difficult for them to execute. And
+although their works were for the most part well drawn and free from
+errors, yet there was wanting a certain resolute spirit which was
+never seen in them, and that sweet harmony of colouring which the
+Bolognese Francia and Pietro Perugino first began to show in their
+works; at the sight of which people ran like madmen to this new and
+more lifelike beauty, for it seemed to them quite certain that
+nothing better could ever be done. But their error was afterwards
+clearly proved by the works of Leonardo da Vinci, who, giving a
+beginning to that third manner which we propose to call the
+modern--besides the force and boldness of his drawing, and the
+extreme subtlety wherewith he counterfeited all the minutenesses of
+nature exactly as they are--with good rule, better order, right
+proportion, perfect drawing, and divine grace, abounding in
+resources and having a most profound knowledge of art, may be truly
+said to have endowed his figures with motion and breath.
+
+There followed after him, although at some distance, Giorgione da
+Castelfranco, who obtained a beautiful gradation of colour in his
+pictures, and gave a sublime movement to his works by means of a
+certain darkness of shadow, very well conceived; and not inferior to
+him in giving force, relief, sweetness, and grace to his pictures,
+with his colouring, was Fra Bartolommeo di San Marco. But more than
+all did the most gracious Raffaello da Urbino, who, studying the
+labours of the old masters and those of the modern, took the best
+from them, and, having gathered it together, enriched the art of
+painting with that complete perfection which was shown in ancient
+times by the figures of Apelles and Zeuxis; nay, even more, if we
+may make bold to say it, as might be proved if we could compare
+their works with his. Wherefore nature was left vanquished by his
+colours; and his invention was facile and peculiar to himself, as
+may be perceived by all who see his painted stories, which are as
+vivid as writings, for in them he showed us places and buildings
+true to reality, and the features and costumes both of our own
+people and of strangers, according to his pleasure; not to mention
+his gift of imparting grace to the heads of young men, old men, and
+women, reserving modesty for the modest, wantonness for the wanton,
+and for children now mischief in their eyes, now playfulness in
+their attitudes; and the folds of his draperies, also, are neither
+too simple nor too intricate, but of such a kind that they appear
+real.
+
+In the same manner, but sweeter in colouring and not so bold, there
+followed Andrea del Sarto, who may be called a rare painter, for his
+works are free from errors. Nor is it possible to describe the
+charming vivacity seen in the works of Antonio da Correggio, who
+painted hair in detail, not in the precise manner used by the
+masters before him, which was constrained, sharp, and dry, but soft
+and feathery, with each single hair visible, such was his facility
+in making them; and they seemed like gold and more beautiful than
+real hair, which is surpassed by that which he painted.
+
+The same did Francesco Mazzuoli of Parma, who excelled him in many
+respects in grace, adornment, and beauty of manner, as may be seen
+in many of his pictures, which smile on whoever beholds them; and
+even as there is a perfect illusion of sight in the eyes, so there
+is perceived the beating of the pulse, according as it best pleased
+his brush. But whosoever shall consider the mural paintings of
+Polidoro and Maturino, will see figures in attitudes that seem
+beyond the bounds of possibility, and he will wonder with amazement
+how it can be possible, not to describe with the tongue, which is
+easy, but to express with the brush the tremendous conceptions which
+they put into execution with such mastery and dexterity, in
+representing the deeds of the Romans exactly as they were.
+
+And how many there are who, having given life to their figures with
+their colours, are now dead, such as Il Rosso, Fra Sebastiano,
+Giulio Romano, and Perino del Vaga! For of the living, who are known
+to all through their own efforts, there is no need to speak here.
+But what most concerns the whole world of art is that they have now
+brought it to such perfection, and made it so easy for him who
+possesses draughtsmanship, invention, and colouring, that, whereas
+those early masters took six years to paint one panel, our modern
+masters can paint six in one year, as I can testify with the
+greatest confidence both from seeing and from doing; and our
+pictures are clearly much more highly finished and perfect than
+those executed in former times by masters of account.
+
+But he who bears the palm from both the living and the dead,
+transcending and eclipsing all others, is the divine Michelagnolo
+Buonarroti, who holds the sovereignty not merely of one of these
+arts, but of all three together. This master surpasses and excels
+not only all those moderns who have almost vanquished nature, but
+even those most famous ancients who without a doubt did so
+gloriously surpass her; and in his own self he triumphs over
+moderns, ancients, and nature, who could scarcely conceive anything
+so strange and so difficult that he would not be able, by the force
+of his most divine intellect and by means of his industry,
+draughtsmanship, art, judgment, and grace, to excel it by a great
+measure; and that not only in painting and in the use of colour,
+under which title are comprised all forms, and all bodies upright or
+not upright, palpable or impalpable, visible or invisible, but also
+in the highest perfection of bodies in the round, with the point of
+his chisel. And from a plant so beautiful and so fruitful, through
+his labours, there have already spread branches so many and so
+noble, that, besides having filled the world in such unwonted
+profusion with the most luscious fruits, they have also given the
+final form to these three most noble arts. And so great and so
+marvellous is his perfection, that it may be safely and surely said
+that his statues are in all their parts much more beautiful than the
+ancient; for if we compare the heads, hands, arms, and feet shaped
+by the one with those of the others, we see in his a greater depth
+and solidity, a grace more completely graceful, and a much more
+absolute perfection, accomplished with a manner so facile in the
+overcoming of difficulties, that it is not possible ever to see
+anything better. And the same may be believed of his pictures,
+which; if we chanced to have some by the most famous Greeks and
+Romans, so that we might compare them face to face, would prove to
+be as much higher in value and more noble as his sculptures are
+clearly superior to all those of the ancients.
+
+But if we admire so greatly those most famous masters who, spurred
+by such extraordinary rewards and by such good-fortune, gave life to
+their works, how much more should we not celebrate and exalt to the
+heavens those rare intellects who, not only without reward, but in
+miserable poverty, bring forth fruits so precious? We must believe
+and declare, then, that if, in this our age, there were a due meed
+of remuneration, there would be without a doubt works greater and
+much better than were ever wrought by the ancients. But the fact
+that they have to grapple more with famine than with fame, keeps our
+hapless intellects submerged, and, to the shame and disgrace of
+those who could raise them up but give no thought to it, prevents
+them from becoming known.
+
+And let this be enough to have said on this subject; for it is now
+time to return to the Lives, and to treat in detail of all those who
+have executed famous works in this third manner, the creator of
+which was Leonardo da Vinci, with whom we will now begin.
+
+
+
+
+LEONARDO DA VINCI
+
+
+
+
+LIFE OF LEONARDO DA VINCI[10]
+
+PAINTER AND SCULPTOR OF FLORENCE
+
+
+The greatest gifts are often seen, in the course of nature, rained
+by celestial influences on human creatures; and sometimes, in
+supernatural fashion, beauty, grace, and talent are united beyond
+measure in one single person, in a manner that to whatever such an
+one turns his attention, his every action is so divine, that,
+surpassing all other men, it makes itself clearly known as a thing
+bestowed by God (as it is), and not acquired by human art. This was
+seen by all mankind in Leonardo da Vinci, in whom, besides a beauty
+of body never sufficiently extolled, there was an infinite grace in
+all his actions; and so great was his genius, and such its growth,
+that to whatever difficulties he turned his mind, he solved them
+with ease. In him was great bodily strength, joined to dexterity,
+with a spirit and courage ever royal and magnanimous; and the fame
+of his name so increased, that not only in his lifetime was he held
+in esteem, but his reputation became even greater among posterity
+after his death.
+
+Truly marvellous and celestial was Leonardo, the son of Ser Piero da
+Vinci; and in learning and in the rudiments of letters he would have
+made great proficience, if he had not been so variable and unstable,
+for he set himself to learn many things, and then, after having
+begun them, abandoned them. Thus, in arithmetic, during the few
+months that he studied it, he made so much progress, that, by
+continually suggesting doubts and difficulties to the master who
+was teaching him, he would very often bewilder him. He gave some
+little attention to music, and quickly resolved to learn to play the
+lyre, as one who had by nature a spirit most lofty and full of
+refinement: wherefore he sang divinely to that instrument,
+improvising upon it. Nevertheless, although he occupied himself with
+such a variety of things, he never ceased drawing and working in
+relief, pursuits which suited his fancy more than any other. Ser
+Piero, having observed this, and having considered the loftiness of
+his intellect, one day took some of his drawings and carried them to
+Andrea del Verrocchio, who was much his friend, and besought him
+straitly to tell him whether Leonardo, by devoting himself to
+drawing, would make any proficience. Andrea was astonished to see
+the extraordinary beginnings of Leonardo, and urged Ser Piero that
+he should make him study it; wherefore he arranged with Leonardo
+that he should enter the workshop of Andrea, which Leonardo did with
+the greatest willingness in the world. And he practised not one
+branch of art only, but all those in which drawing played a part;
+and having an intellect so divine and marvellous that he was also an
+excellent geometrician, he not only worked in sculpture, making in
+his youth, in clay, some heads of women that are smiling, of which
+plaster casts are still taken, and likewise some heads of boys which
+appeared to have issued from the hand of a master; but in
+architecture, also, he made many drawings both of ground-plans and
+of other designs of buildings; and he was the first, although but a
+youth, who suggested the plan of reducing the river Arno to a
+navigable canal from Pisa to Florence. He made designs of
+flour-mills, fulling-mills, and engines, which might be driven by
+the force of water: and since he wished that his profession should
+be painting, he studied much in drawing after nature, and sometimes
+in making models of figures in clay, over which he would lay soft
+pieces of cloth dipped in clay, and then set himself patiently to
+draw them on a certain kind of very fine Rheims cloth, or prepared
+linen: and he executed them in black and white with the point of his
+brush, so that it was a marvel, as some of them by his hand, which I
+have in our book of drawings, still bear witness; besides which, he
+drew on paper with such diligence and so well, that there is no one
+who has ever equalled him in perfection of finish; and I have one, a
+head drawn with the style in chiaroscuro, which is divine.
+
+And there was infused in that brain such grace from God, and a power
+of expression in such sublime accord with the intellect and memory
+that served it, and he knew so well how to express his conceptions
+by draughtsmanship, that he vanquished with his discourse, and
+confuted with his reasoning, every valiant wit. And he was
+continually making models and designs to show men how to remove
+mountains with ease, and how to bore them in order to pass from one
+level to another; and by means of levers, windlasses, and screws, he
+showed the way to raise and draw great weights, together with
+methods for emptying harbours, and pumps for removing water from low
+places, things which his brain never ceased from devising; and of
+these ideas and labours many drawings may be seen, scattered abroad
+among our craftsmen; and I myself have seen not a few. He even went
+so far as to waste his time in drawing knots of cords, made
+according to an order, that from one end all the rest might follow
+till the other, so as to fill a round; and one of these is to be
+seen in stamp, most difficult and beautiful, and in the middle of it
+are these words, "Leonardus Vinci Accademia." And among these models
+and designs, there was one by which he often demonstrated to many
+ingenious citizens, who were then governing Florence, how he
+proposed to raise the Temple of S. Giovanni in Florence, and place
+steps under it, without damaging the building; and with such strong
+reasons did he urge this, that it appeared possible, although each
+man, after he had departed, would recognize for himself the
+impossibility of so vast an undertaking.
+
+He was so pleasing in conversation, that he attracted to himself the
+hearts of men. And although he possessed, one might say, nothing,
+and worked little, he always kept servants and horses, in which
+latter he took much delight, and particularly in all other animals,
+which he managed with the greatest love and patience; and this he
+showed when often passing by the places where birds were sold, for,
+taking them with his own hand out of their cages, and having paid to
+those who sold them the price that was asked, he let them fly away
+into the air, restoring to them their lost liberty. For which
+reason nature was pleased so to favour him, that, wherever he turned
+his thought, brain, and mind, he displayed such divine power in his
+works, that, in giving them their perfection, no one was ever his
+peer in readiness, vivacity, excellence, beauty, and grace.
+
+It is clear that Leonardo, through his comprehension of art, began
+many things and never finished one of them, since it seemed to him
+that the hand was not able to attain to the perfection of art in
+carrying out the things which he imagined; for the reason that he
+conceived in idea difficulties so subtle and so marvellous, that
+they could never be expressed by the hands, be they ever so
+excellent. And so many were his caprices, that, philosophizing of
+natural things, he set himself to seek out the properties of herbs,
+going on even to observe the motions of the heavens, the path of the
+moon, and the courses of the sun.
+
+He was placed, then, as has been said, in his boyhood, at the
+instance of Ser Piero, to learn art with Andrea del Verrocchio, who
+was making a panel-picture of S. John baptizing Christ, when
+Leonardo painted an angel who was holding some garments; and
+although he was but a lad, Leonardo executed it in such a manner
+that his angel was much better than the figures of Andrea; which was
+the reason that Andrea would never again touch colour, in disdain
+that a child should know more than he.
+
+[Illustration: ANDREA VERROCCHIO: THE BAPTISM IN JORDAN
+
+(_Florence: Accademia, 71. Panel_)]
+
+He was commissioned to make a cartoon for a door-hanging that was to
+be executed in Flanders, woven in gold and silk, to be sent to the
+King of Portugal, of Adam and Eve sinning in the Earthly Paradise;
+wherein Leonardo drew with the brush in chiaroscuro, with the lights
+in lead-white, a meadow of infinite kinds of herbage, with some
+animals, of which, in truth, it may be said that for diligence and
+truth to nature divine wit could not make it so perfect. In it is
+the fig-tree, together with the foreshortening of the leaves and the
+varying aspects of the branches, wrought with such lovingness that
+the brain reels at the mere thought how a man could have such
+patience. There is also a palm-tree which has the radiating crown of
+the palm, executed with such great and marvellous art that nothing
+save the patience and intellect of Leonardo could avail to do it.
+This work was carried no farther; wherefore the cartoon is now at
+Florence, in the blessed house of the Magnificent Ottaviano de'
+Medici, presented to him not long ago by the uncle of Leonardo.
+
+It is said that Ser Piero da Vinci, being at his villa, was besought
+as a favour, by a peasant of his, who had made a buckler with his
+own hands out of a fig-tree that he had cut down on the farm, to
+have it painted for him in Florence, which he did very willingly,
+since the countryman was very skilful at catching birds and fishing,
+and Ser Piero made much use of him in these pursuits. Thereupon,
+having had it taken to Florence, without saying a word to Leonardo
+as to whose it was, he asked him to paint something upon it.
+Leonardo, having one day taken this buckler in his hands, and seeing
+it twisted, badly made, and clumsy, straightened it by the fire,
+and, having given it to a turner, from the rude and clumsy thing
+that it was, caused it to be made smooth and even. And afterwards,
+having given it a coat of gesso, and having prepared it in his own
+way, he began to think what he could paint upon it, that might be
+able to terrify all who should come upon it, producing the same
+effect as once did the head of Medusa. For this purpose, then,
+Leonardo carried to a room of his own into which no one entered save
+himself alone, lizards great and small, crickets, serpents,
+butterflies, grasshoppers, bats, and other strange kinds of suchlike
+animals, out of the number of which, variously put together, he
+formed a great ugly creature, most horrible and terrifying, which
+emitted a poisonous breath and turned the air to flame; and he made
+it coming out of a dark and jagged rock, belching forth venom from
+its open throat, fire from its eyes, and smoke from its nostrils, in
+so strange a fashion that it appeared altogether a monstrous and
+horrible thing; and so long did he labour over making it, that the
+stench of the dead animals in that room was past bearing, but
+Leonardo did not notice it, so great was the love that he bore
+towards art. The work being finished, although it was no longer
+asked for either by the countryman or by his father, Leonardo told
+the latter that he might send for the buckler at his convenience,
+since, for his part, it was finished. Ser Piero having therefore
+gone one morning to the room for the buckler, and having knocked at
+the door, Leonardo opened to him, telling him to wait a little; and,
+having gone back into the room, he adjusted the buckler in a good
+light on the easel, and put to the window, in order to make a soft
+light, and then he bade him come in to see it. Ser Piero, at the
+first glance, taken by surprise, gave a sudden start, not thinking
+that that was the buckler, nor merely painted the form that he saw
+upon it, and, falling back a step, Leonardo checked him, saying,
+"This work serves the end for which it was made; take it, then, and
+carry it away, since this is the effect that it was meant to
+produce." This thing appeared to Ser Piero nothing short of a
+miracle, and he praised very greatly the ingenious idea of Leonardo;
+and then, having privately bought from a pedlar another buckler,
+painted with a heart transfixed by an arrow, he presented it to the
+countryman, who remained obliged to him for it as long as he lived.
+Afterwards, Ser Piero sold the buckler of Leonardo secretly to some
+merchants in Florence, for a hundred ducats; and in a short time it
+came into the hands of the Duke of Milan, having been sold to him by
+the said merchants for three hundred ducats.
+
+Leonardo then made a picture of Our Lady, a most excellent work,
+which was in the possession of Pope Clement VII; and, among other
+things painted therein, he counterfeited a glass vase full of water,
+containing some flowers, in which, besides its marvellous
+naturalness, he had imitated the dew-drops on the flowers, so that
+it seemed more real than the reality. For Antonio Segni, who was
+very much his friend, he made, on a sheet of paper, a Neptune
+executed with such careful draughtsmanship that it seemed absolutely
+alive. In it one saw the ocean troubled, and Neptune's car drawn by
+sea-horses, with fantastic creatures, marine monsters and winds, and
+some very beautiful heads of sea-gods. This drawing was presented by
+Fabio, the son of Antonio, to Messer Giovanni Gaddi, with this
+epigram:
+
+  Pinxit Virgilius Neptunum, pinxit Homerus,
+    Dum maris undisoni per vada flectit equos.
+  Mente quidem vates illum conspexit uterque,
+    Vincius ast oculis; jureque vincit eos.
+
+[Illustration: THE ADORATION OF THE MAGI
+
+(_After the panel by =Leonardo da Vinci=. Florence: Uffizi, 1252_)
+
+_Anderson_]
+
+The fancy came to him to paint a picture in oils of the head of a
+Medusa, with the head attired with a coil of snakes, the most
+strange and extravagant invention that could ever be imagined;
+but since it was a work that took time, it remained unfinished, as
+happened with almost all his things. It is among the rare works of
+art in the Palace of Duke Cosimo, together with the head of an
+angel, who is raising one arm in the air, which, coming forward, is
+foreshortened from the shoulder to the elbow, and with the other he
+raises the hand to the breast.
+
+It is an extraordinary thing how that genius, in his desire to give
+the highest relief to the works that he made, went so far with dark
+shadows, in order to find the darkest possible grounds, that he
+sought for blacks which might make deeper shadows and be darker than
+other blacks, that by their means he might make his lights the
+brighter; and in the end this method turned out so dark, that, no
+light remaining there, his pictures had rather the character of
+things made to represent an effect of night, than the clear quality
+of daylight; which all came from seeking to give greater relief, and
+to achieve the final perfection of art.
+
+He was so delighted when he saw certain bizarre heads of men, with
+the beard or hair growing naturally, that he would follow one that
+pleased him a whole day, and so treasured him up in idea, that
+afterwards, on arriving home, he drew him as if he had had him in
+his presence. Of this sort there are many heads to be seen, both of
+women and of men, and I have several of them, drawn by his hand with
+the pen, in our book of drawings, which I have mentioned so many
+times; such was that of Amerigo Vespucci, which is a very beautiful
+head of an old man drawn with charcoal, and likewise that of
+Scaramuccia, Captain of the Gypsies, which afterwards came into the
+hands of M. Donato Valdambrini of Arezzo, Canon of S. Lorenzo, left
+to him by Giambullari.
+
+He began a panel-picture of the Adoration of the Magi, containing
+many beautiful things, particularly the heads, which was in the
+house of Amerigo Benci, opposite the Loggia de' Peruzzi; and this,
+also, remained unfinished, like his other works.
+
+It came to pass that Giovan Galeazzo, Duke of Milan, being dead, and
+Lodovico Sforza raised to the same rank, in the year 1494, Leonardo
+was summoned to Milan in great repute to the Duke, who took much
+delight in the sound of the lyre, to the end that he might play it:
+and Leonardo took with him that instrument which he had made with
+his own hands, in great part of silver, in the form of a horse's
+skull--a thing bizarre and new--in order that the harmony might be
+of greater volume and more sonorous in tone; with which he surpassed
+all the musicians who had come together there to play. Besides this,
+he was the best improviser in verse of his day. The Duke, hearing
+the marvellous discourse of Leonardo, became so enamoured of his
+genius, that it was something incredible: and he prevailed upon him
+by entreaties to paint an altar-panel containing a Nativity, which
+was sent by the Duke to the Emperor.
+
+He also painted in Milan, for the Friars of S. Dominic, at S. Maria
+delle Grazie, a Last Supper, a most beautiful and marvellous thing;
+and to the heads of the Apostles he gave such majesty and beauty,
+that he left the head of Christ unfinished, not believing that he
+was able to give it that divine air which is essential to the image
+of Christ. This work, remaining thus all but finished, has ever been
+held by the Milanese in the greatest veneration, and also by
+strangers as well; for Leonardo imagined and succeeded in expressing
+that anxiety which had seized the Apostles in wishing to know who
+should betray their Master. For which reason in all their faces are
+seen love, fear, and wrath, or rather, sorrow, at not being able to
+understand the meaning of Christ; which thing excites no less marvel
+than the sight, in contrast to it, of obstinacy, hatred, and
+treachery in Judas; not to mention that every least part of the work
+displays an incredible diligence, seeing that even in the tablecloth
+the texture of the stuff is counterfeited in such a manner that
+linen itself could not seem more real.
+
+[Illustration: THE LAST SUPPER
+
+(_After the oil fresco by =Leonardo da Vinci=. Milan: S. Maria delle
+Grazie_)
+
+_M.S._]
+
+It is said that the Prior of that place kept pressing Leonardo, in a
+most importunate manner, to finish the work; for it seemed strange
+to him to see Leonardo sometimes stand half a day at a time, lost in
+contemplation, and he would have liked him to go on like the
+labourers hoeing in his garden, without ever stopping his brush. And
+not content with this, he complained of it to the Duke, and that so
+warmly, that he was constrained to send for Leonardo and delicately
+urged him to work, contriving nevertheless to show him that he was
+doing all this because of the importunity of the Prior. Leonardo,
+knowing that the intellect of that Prince was acute and discerning,
+was pleased to discourse at large with the Duke on the subject, a
+thing which he had never done with the Prior: and he reasoned much
+with him about art, and made him understand that men of lofty genius
+sometimes accomplish the most when they work the least, seeking out
+inventions with the mind, and forming those perfect ideas which the
+hands afterwards express and reproduce from the images already
+conceived in the brain. And he added that two heads were still
+wanting for him to paint; that of Christ, which he did not wish to
+seek on earth; and he could not think that it was possible to
+conceive in the imagination that beauty and heavenly grace which
+should be the mark of God incarnate. Next, there was wanting that of
+Judas, which was also troubling him, not thinking himself capable of
+imagining features that should represent the countenance of him who,
+after so many benefits received, had a mind so cruel as to resolve
+to betray his Lord, the Creator of the world. However, he would seek
+out a model for the latter; but if in the end he could not find a
+better, he should not want that of the importunate and tactless
+Prior. This thing moved the Duke wondrously to laughter, and he said
+that Leonardo had a thousand reasons on his side. And so the poor
+Prior, in confusion, confined himself to urging on the work in the
+garden, and left Leonardo in peace, who finished only the head of
+Judas, which seems the very embodiment of treachery and inhumanity;
+but that of Christ, as has been said, remained unfinished. The
+nobility of this picture, both because of its design, and from its
+having been wrought with an incomparable diligence, awoke a desire
+in the King of France to transport it into his kingdom; wherefore he
+tried by all possible means to discover whether there were
+architects who, with cross-stays of wood and iron, might have been
+able to make it so secure that it might be transported safely;
+without considering any expense that might have been involved
+thereby, so much did he desire it. But the fact of its being painted
+on the wall robbed his Majesty of his desire; and the picture
+remained with the Milanese. In the same refectory, while he was
+working at the Last Supper, on the end wall where is a Passion in
+the old manner, Leonardo portrayed the said Lodovico, with
+Massimiliano, his eldest son; and, on the other side, the Duchess
+Beatrice, with Francesco, their other son, both of whom afterwards
+became Dukes of Milan; and all are portrayed divinely well.
+
+While he was engaged on this work, he proposed to the Duke to make a
+horse in bronze, of a marvellous greatness, in order to place upon
+it, as a memorial, the image of the Duke. And on so vast a scale did
+he begin it and continue it, that it could never be completed. And
+there are those who have been of the opinion (so various and so
+often malign out of envy are the judgments of men) that he began it
+with no intention of finishing it, because, being of so great a
+size, an incredible difficulty was encountered in seeking to cast it
+in one piece; and it might also be believed that, from the result,
+many may have formed such a judgment, since many of his works have
+remained unfinished. But, in truth, one can believe that his vast
+and most excellent mind was hampered through being too full of
+desire, and that his wish ever to seek out excellence upon
+excellence, and perfection upon perfection, was the reason of it.
+"Tal che l' opera fosse ritardata dal desio," as our Petrarca has
+said. And, indeed, those who saw the great model that Leonardo made
+in clay vow that they have never seen a more beautiful thing, or a
+more superb; and it was preserved until the French came to Milan
+with King Louis of France, and broke it all to pieces. Lost, also,
+is a little model of it in wax, which was held to be perfect,
+together with a book on the anatomy of the horse made by him by way
+of study.
+
+[Illustration: THE MADONNA AND CHILD WITH S. ANNE
+
+(_After the cartoon by =Leonardo da Vinci=. London: Burlington
+House_)
+
+_Vasari Society_]
+
+He then applied himself, but with greater care, to the anatomy of
+man, assisted by and in turn assisting, in this research, Messer
+Marc' Antonio della Torre, an excellent philosopher, who was then
+lecturing at Pavia, and who wrote of this matter; and he was one of
+the first (as I have heard tell) that began to illustrate the
+problems of medicine with the doctrine of Galen, and to throw true
+light on anatomy, which up to that time had been wrapped in the
+thick and gross darkness of ignorance. And in this he found
+marvellous aid in the brain, work, and hand of Leonardo, who made a
+book drawn in red chalk, and annotated with the pen, of the bodies
+that he dissected with his own hand, and drew with the greatest
+diligence; wherein he showed all the frame of the bones; and then
+added to them, in order, all the nerves, and covered them with
+muscles; the first attached to the bone, the second that hold the
+body firm, and the third that move it; and beside them, part by
+part, he wrote in letters of an ill-shaped character, which he made
+with the left hand, backwards; and whoever is not practised in
+reading them cannot understand them, since they are not to be read
+save with a mirror. Of these papers on the anatomy of man, a great
+part is in the hands of Messer Francesco da Melzo, a gentleman of
+Milan, who in the time of Leonardo was a very beautiful boy, and
+much beloved by him, and now is a no less beautiful and gentle old
+man; and he holds them dear, and keeps such papers together as if
+they were relics, in company with the portrait of Leonardo of happy
+memory; and to all who read these writings, it seems impossible that
+that divine spirit should have discoursed so well of art, and of the
+muscles, nerves, and veins, and with such diligence of everything.
+So, also, there are in the hands of ----,[11] a painter of Milan,
+certain writings of Leonardo, likewise in characters written with
+the left hand, backwards, which treat of painting, and of the
+methods of drawing and colouring. This man, not long ago, came to
+Florence to see me, wishing to print this work, and he took it to
+Rome, in order to put it into effect; but I do not know what may
+afterwards have become of it.
+
+And to return to the works of Leonardo; there came to Milan, in his
+time, the King of France, wherefore Leonardo being asked to devise
+some bizarre thing, made a lion which walked several steps and then
+opened its breast, and showed it full of lilies.
+
+In Milan he took for his assistant the Milanese Salai, who was most
+comely in grace and beauty, having fine locks, curling in ringlets,
+in which Leonardo greatly delighted; and he taught him many things
+of art; and certain works in Milan, which are said to be by Salai,
+were retouched by Leonardo.
+
+He returned to Florence, where he found that the Servite Friars had
+entrusted to Filippino the painting of the panel for the high-altar
+of the Nunziata; whereupon Leonardo said that he would willingly
+have done such a work. Filippino, having heard this, like the
+amiable fellow that he was, retired from the undertaking; and the
+friars, to the end that Leonardo might paint it, took him into their
+house, meeting the expenses both of himself and of all his
+household; and thus he kept them in expectation for a long time, but
+never began anything. In the end, he made a cartoon containing a
+Madonna and a S. Anne, with a Christ, which not only caused all the
+craftsmen to marvel, but, when it was finished, men and women, young
+and old, continued for two days to flock for a sight of it to the
+room where it was, as if to a solemn festival, in order to gaze at
+the marvels of Leonardo, which caused all those people to be amazed;
+for in the face of that Madonna was seen whatever of the simple and
+the beautiful can by simplicity and beauty confer grace on a picture
+of the Mother of Christ, since he wished to show that modesty and
+that humility which are looked for in an image of the Virgin,
+supremely content with gladness at seeing the beauty of her Son,
+whom she was holding with tenderness in her lap, while with most
+chastened gaze she was looking down at S. John, as a little boy, who
+was playing with a lamb; not without a smile from S. Anne, who,
+overflowing with joy, was beholding her earthly progeny become
+divine--ideas truly worthy of the brain and genius of Leonardo. This
+cartoon, as will be told below, afterwards went to France. He made a
+portrait of Ginevra d' Amerigo Benci, a very beautiful work; and
+abandoned the work for the friars, who restored it to Filippino; but
+he, also, failed to finish it, having been overtaken by death.
+
+Leonardo undertook to execute, for Francesco del Giocondo, the
+portrait of Monna Lisa, his wife; and after toiling over it for four
+years, he left it unfinished; and the work is now in the collection
+of King Francis of France, at Fontainebleau. In this head, whoever
+wished to see how closely art could imitate nature, was able to
+comprehend it with ease; for in it were counterfeited all the
+minutenesses that with subtlety are able to be painted, seeing that
+the eyes had that lustre and watery sheen which are always seen in
+life, and around them were all those rosy and pearly tints, as well
+as the lashes, which cannot be represented without the greatest
+subtlety. The eyebrows, through his having shown the manner in
+which the hairs spring from the flesh, here more close and here more
+scanty, and curve according to the pores of the skin, could not be
+more natural. The nose, with its beautiful nostrils, rosy and
+tender, appeared to be alive. The mouth, with its opening, and with
+its ends united by the red of the lips to the flesh-tints of the
+face, seemed, in truth, to be not colours but flesh. In the pit of
+the throat, if one gazed upon it intently, could be seen the beating
+of the pulse. And, indeed, it may be said that it was painted in
+such a manner as to make every valiant craftsman, be he who he may,
+tremble and lose heart. He made use, also, of this device: Monna
+Lisa being very beautiful, he always employed, while he was painting
+her portrait, persons to play or sing, and jesters, who might make
+her remain merry, in order to take away that melancholy which
+painters are often wont to give to the portraits that they paint.
+And in this work of Leonardo's there was a smile so pleasing, that
+it was a thing more divine than human to behold; and it was held to
+be something marvellous, since the reality was not more alive.
+
+By reason, then, of the excellence of the works of this most divine
+craftsman, his fame had so increased that all persons who took
+delight in art--nay, the whole city of Florence--desired that he
+should leave them some memorial, and it was being proposed
+everywhere that he should be commissioned to execute some great and
+notable work, whereby the commonwealth might be honoured and adorned
+by the great genius, grace and judgment that were seen in the works
+of Leonardo. And it was decided between the Gonfalonier and the
+chief citizens, the Great Council Chamber having been newly
+built--the architecture of which had been contrived with the
+judgment and counsel of Giuliano da San Gallo, Simone Pollaiuolo,
+called Il Cronaca, Michelagnolo Buonarroti, and Baccio d' Agnolo, as
+will be related with more detail in the proper places--and having
+been finished in great haste, it was ordained by public decree that
+Leonardo should be given some beautiful work to paint; and so the
+said hall was allotted to him by Piero Soderini, then Gonfalonier of
+Justice. Whereupon Leonardo, determining to execute this work, began
+a cartoon in the Sala del Papa, an apartment in S. Maria Novella,
+representing the story of Niccolò Piccinino, Captain of Duke
+Filippo of Milan; wherein he designed a group of horsemen who were
+fighting for a standard, a work that was held to be very excellent
+and of great mastery, by reason of the marvellous ideas that he had
+in composing that battle; seeing that in it rage, fury, and revenge
+are perceived as much in the men as in the horses, among which two
+with the fore-legs interlocked are fighting no less fiercely with
+their teeth than those who are riding them do in fighting for that
+standard, which has been grasped by a soldier, who seeks by the
+strength of his shoulders, as he spurs his horse to flight, having
+turned his body backwards and seized the staff of the standard, to
+wrest it by force from the hands of four others, of whom two are
+defending it, each with one hand, and, raising their swords in the
+other, are trying to sever the staff; while an old soldier in a red
+cap, crying out, grips the staff with one hand, and, raising a
+scimitar with the other, furiously aims a blow in order to cut off
+both the hands of those who, gnashing their teeth in the struggle,
+are striving in attitudes of the utmost fierceness to defend their
+banner; besides which, on the ground, between the legs of the
+horses, there are two figures in foreshortening that are fighting
+together, and the one on the ground has over him a soldier who has
+raised his arm as high as possible, that thus with greater force he
+may plunge a dagger into his throat, in order to end his life; while
+the other, struggling with his legs and arms, is doing what he can
+to escape death.
+
+It is not possible to describe the invention that Leonardo showed in
+the garments of the soldiers, all varied by him in different ways,
+and likewise in the helmet-crests and other ornaments; not to
+mention the incredible mastery that he displayed in the forms and
+lineaments of the horses, which Leonardo, with their fiery spirit,
+muscles, and shapely beauty, drew better than any other master. It
+is said that, in order to draw that cartoon, he made a most
+ingenious stage, which was raised by contracting it and lowered by
+expanding. And conceiving the wish to colour on the wall in oils, he
+made a composition of so gross an admixture, to act as a binder on
+the wall, that, going on to paint in the said hall, it began to peel
+off in such a manner that in a short time he abandoned it, seeing it
+spoiling.
+
+[Illustration: LEONARDO DA VINCI: MONNA LISA
+
+(_Formerly Paris: The Louvre, 1601. Canvas on Panel_)]
+
+Leonardo had very great spirit, and in his every action was most
+generous. It is said that, going to the bank for the allowance that
+he used to draw every month from Piero Soderini, the cashier wanted
+to give him certain paper-packets of pence; but he would not take
+them, saying in answer, "I am no penny-painter." Having been blamed
+for cheating Piero Soderini, there began to be murmurings against
+him; wherefore Leonardo so wrought upon his friends, that he got the
+money together and took it to Piero to repay him; but he would not
+accept it.
+
+He went to Rome with Duke Giuliano de' Medici, at the election of
+Pope Leo, who spent much of his time on philosophical studies, and
+particularly on alchemy; where, forming a paste of a certain kind of
+wax, as he walked he shaped animals very thin and full of wind, and,
+by blowing into them, made them fly through the air, but when the
+wind ceased they fell to the ground. On the back of a most bizarre
+lizard, found by the vine-dresser of the Belvedere, he fixed, with a
+mixture of quicksilver, wings composed of scales stripped from other
+lizards, which, as it walked, quivered with the motion; and having
+given it eyes, horns, and beard, taming it, and keeping it in a box,
+he made all his friends, to whom he showed it, fly for fear. He used
+often to have the guts of a wether completely freed of their fat and
+cleaned, and thus made so fine that they could have been held in the
+palm of the hand; and having placed a pair of blacksmith's bellows
+in another room, he fixed to them one end of these, and, blowing
+into them, filled the room, which was very large, so that whoever
+was in it was obliged to retreat into a corner; showing how,
+transparent and full of wind, from taking up little space at the
+beginning they had come to occupy much, and likening them to virtue.
+He made an infinite number of such follies, and gave his attention
+to mirrors; and he tried the strangest methods in seeking out oils
+for painting, and varnish for preserving works when painted.
+
+He made at this time, for Messer Baldassarre Turini da Pescia, who
+was Datary to Pope Leo, a little picture of the Madonna with the
+Child in her arms, with infinite diligence and art; but whether
+through the fault of whoever primed the panel with gesso, or because
+of his innumerable and capricious mixtures of grounds and colours,
+it is now much spoilt. And in another small picture he made a
+portrait of a little boy, which is beautiful and graceful to a
+marvel; and both of them are now at Pescia, in the hands of Messer
+Giuliano Turini. It is related that, a work having been allotted to
+him by the Pope, he straightway began to distil oils and herbs, in
+order to make the varnish; at which Pope Leo said: "Alas! this man
+will never do anything, for he begins by thinking of the end of the
+work, before the beginning."
+
+There was very great disdain between Michelagnolo Buonarroti and
+him, on account of which Michelagnolo departed from Florence, with
+the excuse of Duke Giuliano, having been summoned by the Pope to the
+competition for the façade of S. Lorenzo. Leonardo, understanding
+this, departed and went into France, where the King, having had
+works by his hand, bore him great affection; and he desired that he
+should colour the cartoon of S. Anne, but Leonardo, according to his
+custom, put him off for a long time with words.
+
+Finally, having grown old, he remained ill many months, and, feeling
+himself near to death, asked to have himself diligently informed of
+the teaching of the Catholic faith, and of the good way and holy
+Christian religion; and then, with many moans, he confessed and was
+penitent; and although he could not raise himself well on his feet,
+supporting himself on the arms of his friends and servants, he was
+pleased to take devoutly the most holy Sacrament, out of his bed.
+The King, who was wont often and lovingly to visit him, then came
+into the room; wherefore he, out of reverence, having raised himself
+to sit upon the bed, giving him an account of his sickness and the
+circumstances of it, showed withal how much he had offended God and
+mankind in not having worked at his art as he should have done.
+Thereupon he was seized by a paroxysm, the messenger of death; for
+which reason the King having risen and having taken his head, in
+order to assist him and show him favour, to the end that he might
+alleviate his pain, his spirit, which was divine, knowing that it
+could not have any greater honour, expired in the arms of the King,
+in the seventy-fifth year of his age.
+
+[Illustration: FRAGMENT FROM "THE BATTLE OF THE STANDARD"
+
+(_After the cartoon attributed to_ Leonardo da Vinci. _Oxford:
+Ashmolean Museum_)
+
+_Reproduced by permission of the Visitors of the Ashmolean Museum_]
+
+The loss of Leonardo grieved beyond measure all those who had known
+him, since there was never any one who did so much honour to
+painting. With the splendour of his aspect, which was very
+beautiful, he made serene every broken spirit: and with his
+words he turned to yea, or nay, every obdurate intention. By his
+physical force he could restrain any outburst of rage: and with his
+right hand he twisted the iron ring of a door-bell, or a horse-shoe,
+as if it were lead. With his liberality he would assemble together
+and support his every friend, poor or rich, if only he had intellect
+and worth. He adorned and honoured, in every action, no matter what
+mean and bare dwelling; wherefore, in truth, Florence received a
+very great gift in the birth of Leonardo, and an incalculable loss
+in his death. In the art of painting, he added to the manner of
+colouring in oils a certain obscurity, whereby the moderns have
+given great force and relief to their figures. And in statuary, he
+proved his worth in the three figures of bronze that are over the
+door of S. Giovanni, on the side towards the north, executed by
+Giovan Francesco Rustici, but contrived with the advice of Leonardo;
+which are the most beautiful pieces of casting, the best designed,
+and the most perfect that have as yet been seen in modern days. By
+Leonardo we have the anatomy of the horse, and that of man even more
+complete. And so, on account of all his qualities, so many and so
+divine, although he worked much more by words than by deeds, his
+name and fame can never be extinguished; wherefore it was thus said
+in his praise by Messer Giovan Battista Strozzi:
+
+  Vince costui pur solo
+  Tutti altri; e vince Fidia e vince Apelle
+  E tutto il lor vittorioso stuolo.
+
+[Illustration: MAN AND WOMAN PRAYING
+
+(_After the panel by =Giovan Antonio Boltraffio=. Milan: Brera,
+281_)
+
+_Anderson_]
+
+A disciple of Leonardo was Giovan Antonio Boltraffio of Milan, a
+person of great skill and understanding, who, in the year 1500,
+painted with much diligence, for the Church of the Misericordia,
+without Bologna, a panel in oils containing Our Lady with the Child
+in her arms, S. John the Baptist, S. Sebastian naked, and the patron
+who caused it to be executed, portrayed from the life, on his
+knees--a truly beautiful work, on which he wrote his name, calling
+himself a disciple of Leonardo. He has made other works, both at
+Milan and elsewhere; but it must be enough here to have named this,
+which is the best. Another (of his disciples) was Marco Oggioni, who
+painted, in S. Maria della Pace, the Passing of Our Lady and the
+Marriage of Cana in Galilee.
+
+FOOTNOTE:
+
+[10] Two accurate literal translations of the same original
+must often coincide; and in dealing with this beautiful Life, the
+translator has had to take the risk either of seeming to copy the
+almost perfect rendering of Mr. H. P. Horne, or of introducing
+unsatisfactory variants for mere variety's sake. Having rejected the
+latter course, he feels doubly bound to record once more his deep
+obligation to Mr. Horne's example.
+
+[11] This name is missing in the text.
+
+
+
+
+GIORGIONE DA CASTELFRANCO
+
+
+
+
+LIFE OF GIORGIONE DA CASTELFRANCO
+
+PAINTER OF VENICE
+
+
+At the same time when Florence was acquiring such fame by reason of
+the works of Leonardo, no little adornment was conferred on Venice
+by the talent and excellence of one of her citizens, who surpassed
+by a great measure not only the Bellini, whom the Venetians held in
+such esteem, but also every other master who had painted up to that
+time in that city. This was Giorgio, who was born at Castelfranco in
+the territory of Treviso, in the year 1478, when the Doge was
+Giovanni Mozzenigo, brother of Doge Piero. In time, from the nature
+of his person and from the greatness of his mind, Giorgio came to be
+called Giorgione; and although he was born from very humble stock,
+nevertheless he was not otherwise than gentle and of good breeding
+throughout his whole life. He was brought up in Venice, and took
+unceasing delight in the joys of love; and the sound of the lute
+gave him marvellous pleasure, so that in his day he played and sang
+so divinely that he was often employed for that purpose at various
+musical assemblies and gatherings of noble persons. He studied
+drawing, and found it greatly to his taste; and in this nature
+favoured him so highly, that he, having become enamoured of her
+beauties, would never represent anything in his works without
+copying it from life; and so much was he her slave, imitating her
+continuously, that he acquired the name not only of having surpassed
+Giovanni and Gentile Bellini, but also of being the rival of the
+masters who were working in Tuscany and who were the creators of the
+modern manner. Giorgione had seen some things by the hand of
+Leonardo with a beautiful gradation of colours, and with
+extraordinary relief, effected, as has been related, by means of
+dark shadows; and this manner pleased him so much that he was for
+ever studying it as long as he lived, and in oil-painting he
+imitated it greatly. Taking pleasure in the delights of good work,
+he was ever selecting, for putting into his pictures, the greatest
+beauty and the greatest variety that he could find. And nature gave
+him a spirit so benign, and with this, both in oil-painting and in
+fresco, he made certain living forms and other things so soft, so
+well harmonized, and so well blended in the shadows, that many of
+the excellent masters of his time were forced to confess that he had
+been born to infuse spirit into figures and to counterfeit the
+freshness of living flesh better than any other painter, not only in
+Venice, but throughout the whole world.
+
+[Illustration: GIORGIONE DA CASTELFRANCO: FIGURES IN A LANDSCAPE
+
+(_Venice: Prince Giovanelli. Canvas_)]
+
+In his youth he executed in Venice many pictures of Our Lady and
+other portraits from nature, which are very lifelike and beautiful;
+of which we still have proof in three most beautiful heads in oils
+by his hand, which are in the study of the Very Reverend Grimani,
+Patriarch of Aquileia. One represents David--and it is reported to
+be his own portrait--with long locks reaching to the shoulders, as
+was the custom of those times; it is so vivacious and so fresh in
+colouring that it seems to be living flesh, and there is armour on
+the breast, as there is on the arm with which he is holding the
+severed head of Goliath. The second is a much larger head, portrayed
+from nature; one hand is holding the red cap of a commander, and
+there is a cape of fur, below which is one of the old-fashioned
+doublets. This is believed to represent some military leader. The
+third is that of a boy, as beautiful as could be, with fleecy hair.
+These works demonstrate the excellence of Giorgione, and no less the
+affection which that great Patriarch has ever borne to his genius,
+holding them very dear, and that rightly. In Florence, in the house
+of the sons of Giovanni Borgherini, there is a portrait by his hand
+of the said Giovanni, taken when he was a young man in Venice, and
+in the same picture is the master who was teaching him; and there
+are no two heads to be seen with better touches in the flesh-colours
+or with more beautiful tints in the shadows. In the house of Anton
+de' Nobili there is another head of a captain in armour, very lively
+and spirited, which is said to be one of the captains whom Consalvo
+Ferrante took with him to Venice when he visited Doge Agostino
+Barberigo; at which time, it is related, Giorgione made a
+portrait of the great Consalvo in armour, which was a very rare
+work, insomuch that there was no more beautiful painting than this
+to be seen, and Consalvo took it away with him. Giorgione made many
+other portraits which are scattered throughout many parts of Italy;
+all very beautiful, as may be believed from that of Leonardo
+Loredano, painted by Giorgione when Leonardo was Doge, which I saw
+exhibited on one Ascension day, when I seemed to see that most
+illustrious Prince alive. There is also one at Faenza, in the house
+of Giovanni da Castel Bolognese, an excellent engraver of cameos and
+crystals; which work, executed for his father-in-law, is truly
+divine, since there is such a harmony in the gradation of the
+colours that it appears to be rather in relief than painted.
+
+Giorgione took much delight in painting in fresco, and one among
+many works that he executed was the whole of a façade of the Ca
+Soranzo on the Piazza di S. Polo; wherein, besides many pictures and
+scenes and other things of fancy, there may be seen a picture
+painted in oils on the plaster, a work which has withstood rain,
+sun, and wind, and has remained fresh up to our own day. There is
+also a Spring, which appears to me to be one of the most beautiful
+works that he painted in fresco, and it is a great pity that time
+has consumed it so cruelly. For my part, I know nothing that injures
+works in fresco more than the sirocco, and particularly near the
+sea, where it always brings a salt moisture with it.
+
+There broke out at Venice, in the year 1504, in the Fondaco de'
+Tedeschi by the Ponte del Rialto, a most terrible fire, which
+consumed the whole building and all the merchandise, to the very
+great loss of the merchants; wherefore the Signoria of Venice
+ordained that it should be rebuilt anew, and it was speedily
+finished with more accommodation in the way of living-rooms, and
+with greater magnificence, adornment, and beauty. Thereupon, the
+fame of Giorgione having grown great, it was ordained after
+deliberation by those who had charge of the matter, that Giorgione
+should paint it in fresco with colours according to his own fancy,
+provided only that he gave proof of his genius and executed an
+excellent work, since it would be in the most beautiful place and
+most conspicuous site in the city. And so Giorgione put his hand to
+the work, but thought of nothing save of making figures according
+to his own fancy, in order to display his art, so that, in truth,
+there are no scenes to be found there with any order, or
+representing the deeds of any distinguished person, either ancient
+or modern; and I, for my part, have never understood them, nor have
+I found, for all the inquiries that I have made, anyone who
+understands them, for in one place there is a woman, in another a
+man, in diverse attitudes, while one has the head of a lion near
+him, and another an angel in the guise of a Cupid, nor can one tell
+what it may all mean. There is, indeed, over the principal door,
+which opens into the Merceria, a woman seated who has at her feet
+the severed head of a giant, almost in the form of a Judith; she is
+raising the head with her sword, and speaking with a German, who is
+below her; but I have not been able to determine for what he
+intended her to stand, unless, indeed, he may have meant her to
+represent Germany. However, it may be seen that his figures are well
+grouped, and that he was ever making progress; and there are in it
+heads and parts of figures very well painted, and most vivacious in
+colouring. In all that he did there he aimed at being faithful to
+nature, without any imitation of another's manner; and the work is
+celebrated and famous in Venice, no less for what he painted therein
+than through its convenience for commerce and its utility to the
+commonwealth.
+
+He executed a picture of Christ bearing the Cross, with a Jew
+dragging him along, which in time was placed in the Church of S.
+Rocco, and which now, through the veneration that many feel for it,
+works miracles, as all may see. He worked in various places, such as
+Castelfranco, and throughout the territory of Treviso, and he made
+many portraits for Italian Princes; and many of his works were sent
+out of Italy, as things truly worthy to bear testimony that if
+Tuscany had a superabundance of craftsmen in every age, the region
+beyond, near the mountains, was not always abandoned and forgotten
+by Heaven.
+
+[Illustration: PORTRAIT OF A YOUNG MAN
+
+(_After the painting by =Giorgione da Castelfranco=. Berlin: Kaiser
+Friedrich Museum, 12A_)
+
+_Bruckmann_]
+
+It is related that Giorgione, at the time when Andrea Verrocchio was
+making his bronze horse, fell into an argument with certain
+sculptors, who maintained, since sculpture showed various attitudes
+and aspects in one single figure to one walking round it, that for
+this reason it surpassed painting, which only showed one side
+of a figure. Giorgione was of the opinion that there could be shown
+in a painted scene, without any necessity for walking round, at one
+single glance, all the various aspects that a man can present in
+many gestures--a thing which sculpture cannot do without a change of
+position and point of view, so that in her case the points of view
+are many, and not one. Moreover, he proposed to show in one single
+painted figure the front, the back, and the profile on either side,
+a challenge which brought them to their senses; and he did it in the
+following way. He painted a naked man with his back turned, at whose
+feet was a most limpid pool of water, wherein he painted the
+reflection of the man's front. At one side was a burnished cuirass
+that he had taken off, which showed his left profile, since
+everything could be seen on the polished surface of the piece of
+armour; and on the other side was a mirror, which reflected the
+other profile of the naked figure; which was a thing of most
+beautiful and bizarre fancy, whereby he sought to prove that
+painting does in fact, with more excellence, labour, and effect,
+achieve more at one single view of a living figure than does
+sculpture. And this work was greatly extolled and admired, as
+something ingenious and beautiful.
+
+[Illustration: JUDITH
+
+(_After the painting by =Giorgione da Castelfranco=. S. Petersburg:
+Hermitage, 112_)
+
+_M.S._]
+
+He also made a portrait from life of Caterina, Queen of Cyprus,
+which I once saw in the hands of the illustrious Messer Giovanni
+Cornaro. There is in our book a head coloured in oils, the portrait
+of a German of the Fugger family, who was at that time one of the
+chief merchants in the Fondaco de' Tedeschi, which is an admirable
+work; together with other sketches and drawings made by him with the
+pen.
+
+While Giorgione was employed in doing honour both to himself and to
+his country, and frequenting many houses in order to entertain his
+various friends with his music, he became enamoured of a lady, and
+they took much joy, one with another, in their love. Now it happened
+that in the year 1511 she became infected with plague, without,
+however, knowing anything about it; and Giorgione, visiting her as
+usual, caught the plague in such a manner, that in a short time, at
+the age of thirty-four, he passed away to the other life, not
+without infinite grief on the part of his many friends, who loved
+him for his virtues, and great hurt to the world, which thus lost
+him. However, they could bear up against this hurt and loss, in that
+he left behind him two excellent disciples in Sebastiano, the
+Venetian, who afterwards became Friar of the Piombo[12] at Rome, and
+Tiziano da Cadore, who not only equalled him, but surpassed him
+greatly; of both of whom we will speak at the proper time,
+describing fully the honour and benefit that they have conferred on
+art.
+
+[Illustration: CATERINA, QUEEN OF CYPRUS
+
+(_After the painting by =Giorgione da Castelfranco= (?). Milan:
+Crespi Collection_)
+
+_Anderson_]
+
+FOOTNOTE:
+
+[12] Signet-office, for the sealing of Papal Bulls and
+other papers of the Papal Court.
+
+
+
+
+ANTONIO DA CORREGGIO
+
+
+
+
+LIFE OF ANTONIO DA CORREGGIO
+
+PAINTER
+
+
+I do not wish to leave that country wherein our great mother Nature,
+in order not to be thought partial, gave to the world extraordinary
+men of that sort with which she had already for many and many a year
+adorned Tuscany; among whom was one endowed with an excellent and
+very beautiful genius, by name Antonio da Correggio, a most rare
+painter, who acquired the modern manner so perfectly, that in a few
+years, what with his natural gifts and his practice in art, he
+became a most excellent and marvellous craftsman. He was very timid
+by nature, and with great discomfort to himself he was continually
+labouring at the exercise of his art, for the sake of his family,
+which weighed upon him; and although it was a natural goodness that
+impelled him, nevertheless he afflicted himself more than was right
+in bearing the burden of those sufferings which are wont to crush
+mankind. He was very melancholy in his practice of art, a slave to
+her labours, and an unwearying investigator of all the difficulties
+of her realm; to which witness is borne by a vast multitude of
+figures in the Duomo of Parma, executed in fresco and well finished,
+which are to be found in the great tribune of the said church, and
+are seen foreshortened from below with an effect of marvellous
+grandeur.
+
+Antonio was the first who began to work in the modern manner in
+Lombardy; wherefore it is thought that if he, with his genius, had
+gone forth from Lombardy and lived in Rome, he would have wrought
+miracles, and would have brought the sweat to the brow of many who
+were held to be great men in his time. For, his works being such as
+they are without his having seen any of the ancient or the best of
+the modern, it necessarily follows that, if he had seen them, he
+would have vastly improved his own, and, advancing from good to
+better, would have reached the highest rank. It may, at least, be
+held for certain that no one ever handled colours better than he,
+and that no craftsman ever painted with greater delicacy or with
+more relief, such was the softness of his flesh-painting, and such
+the grace with which he finished his works.
+
+[Illustration: ANTONIO DA CORREGGIO: ANTIOPE
+
+(_Paris: Louvre, 1118. Canvas_)]
+
+In the same place, also, he painted two large pictures executed in
+oils, in one of which, among other figures, there may be seen a Dead
+Christ, which was highly extolled. And in S. Giovanni, in the same
+city, he painted a tribune in fresco, wherein he represented Our
+Lady ascending into Heaven amidst a multitude of angels, with other
+saints around; as to which, it seems impossible that he should have
+been able, I do not say to express it with his hand, but even to
+conceive it in his imagination, so beautiful are the curves of the
+draperies and the expressions that he gave to those figures. Of
+these there are some drawings in our book, done in red chalk by his
+hand, with some very beautiful borders of little boys, and other
+borders drawn in that work by way of ornament, with various fanciful
+scenes of sacrifices in the ancient manner. And in truth, if Antonio
+had not brought his works to that perfection which is seen in them,
+his drawings (although they show excellence of manner, and the charm
+and practised touch of a master) would not have gained for him among
+craftsmen the name that he has won with his wonderful paintings.
+This art is so difficult, and has so many branches, that very often
+a craftsman is not able to practise them all to perfection; for
+there have been many who have drawn divinely well, but have shown
+some imperfection in colouring, and others have been marvellous in
+colouring, but have not drawn half so well. All this depends on
+choice, and on the practice bestowed, in youth, in one case on
+drawing, in another on colour. But since all is learnt in order to
+carry works to the height of perfection, which is to put good
+colouring, together with draughtsmanship, into everything that is
+executed, for this reason Correggio deserves great praise, having
+attained to the height of perfection in the works that he coloured
+either in oils or in fresco; as he did in the Church of the Frati
+de' Zoccoli di S. Francesco, in the same city, where he painted
+an Annunciation in fresco so well, that, when it became necessary to
+pull it down in making some changes in that building, those friars
+caused the wall round it to be bound with timber strengthened with
+iron, and, cutting it away little by little, they saved it; and it
+was built by them into a more secure place in the same convent.
+
+He painted, also, over one of the gates of that city, a Madonna who
+has the Child in her arms; and it is an astounding thing to see the
+lovely colouring of this work in fresco, through which he has won
+from passing strangers, who have seen nothing else of his, infinite
+praise and honour. For S. Antonio, likewise in that city, he painted
+a panel wherein is a Madonna, with S. Mary Magdalene; and near them
+is a boy in the guise of a little angel, holding a book in his hand,
+who is smiling, with a smile that seems so natural that he moves
+whoever beholds him to smile also, nor can any person, be his nature
+ever so melancholy, see him without being cheered. There is also a
+S. Jerome; and the whole work is coloured in a manner so wonderful
+and so astounding, that painters revere it for the marvel of its
+colouring, and it is scarcely possible to paint better.
+
+In like manner, he executed square pictures and other paintings for
+many lords throughout Lombardy; and, among other works, two pictures
+in Mantua for Duke Federigo II, to be sent to the Emperor, a gift
+truly worthy of such a Prince. Giulio Romano, seeing these works,
+said that he had never seen any colouring that attained to such
+perfection. One was a naked Leda, and the other a Venus; both so
+soft in colouring, with the shadows of the flesh so well wrought,
+that they appeared to be not colours, but flesh. In one there was a
+marvellous landscape, nor was there ever a Lombard who painted such
+things better than he; and, besides this, hair so lovely in colour,
+and executed in detail with such exquisite finish, that it is not
+possible to see anything better. There were also certain Loves,
+executed with beautiful art, who were making trial of their arrows,
+some of gold and some of lead, on a stone; and what lent most grace
+to the Venus was a clear and limpid stream, which ran among some
+stones and bathed her feet, but scarcely concealed any part of them,
+so that the sight of their delicate whiteness was a moving thing
+for the eye to behold. For which reason Antonio most certainly
+deserved all praise and honour during his lifetime, and the greatest
+glory from the lips and pens of men after his death.
+
+In Modena, also, he painted a panel-picture of Our Lady, which is
+held in esteem by all painters, as the best picture in that city. In
+Bologna, likewise, in the house of the Ercolani, gentlemen of that
+city, there is a work by his hand, a Christ appearing to Mary
+Magdalene in the Garden, which is very beautiful. In Reggio there
+was a rare and most beautiful picture; and not long since, Messer
+Luciano Pallavigino, who takes much delight in noble paintings,
+passing through the city and seeing it, gave no thought to the cost,
+and, as if he had bought a jewel, sent it to his house in Genoa. At
+Reggio, likewise, is a panel containing a Nativity of Christ,
+wherein the splendour radiating from Him throws its light on the
+shepherds and all around on the figures that are contemplating Him;
+and among the many conceptions shown in that subject, there is a
+woman who, wishing to gaze intently at Christ, and not being able
+with her mortal sight to bear the light of His Divinity, which seems
+to be beating upon her with its rays, places a hand before her eyes;
+which is expressed so well that it is a marvel. Over the hut is a
+choir of angels singing, who are so well executed, that they appear
+rather to have rained down from Heaven than to have been made by the
+hand of a painter. And in the same city there is a little picture, a
+foot square, the rarest and most beautiful work that is to be seen
+by his hand, of Christ in the Garden, representing an effect of
+night, and painted with little figures; wherein the Angel, appearing
+to Christ, illumines Him with the splendour of his light, with such
+truth to nature, that nothing better can be imagined or expressed.
+Below, on a plain at the foot of the mountain, are seen the three
+Apostles sleeping, over whom the mountain on which Christ is praying
+casts a shadow, giving those figures a force which one is not able
+to describe. Far in the background, over a distant landscape, there
+is shown the appearing of the dawn; and on one side are seen coming
+some soldiers, with Judas. And although it is so small, this scene
+is so well conceived, that there is no work of the same kind to
+equal it either in patience or in study.
+
+[Illustration: S. THOMAS AND S. JAMES THE LESS
+
+(_Detail, after the fresco by =Antonio da Correggio=. Parma: S.
+Giovanni Evangelista_)
+
+_Anderson_]
+
+Many things might be said of the works of this master; but since,
+among the eminent men of our art, everything that is to be seen by
+his hand is admired as something divine, I will say no more. I have
+used all possible diligence in order to obtain his portrait, but,
+since he himself did not make it, and he was never portrayed by
+others, for he always lived in retirement, I have not been able to
+find one. He was, in truth, a person who had no opinion of himself,
+nor did he believe himself to be an able master of his art,
+contrasting his deficiencies with that perfection which he would
+have liked to achieve. He was contented with little, and he lived
+like an excellent Christian.
+
+[Illustration: THE MADONNA AND CHILD WITH S. JEROME
+
+(_After the painting by =Antonio da Correggio=. Parma: Gallery,
+351_)
+
+_Anderson_]
+
+Antonio, like a man who was weighed down by his family, was anxious
+to be always saving, and he had thereby become as miserly as he
+could well be. Wherefore it is related that, having received at
+Parma a payment of sixty crowns in copper coins, and wishing to take
+them to Correggio to meet some demand, he placed the money on his
+back and set out to walk on foot; but, being smitten by the heat of
+the sun, which was very great, and drinking water to refresh
+himself, he was seized by pleurisy, and had to take to his bed in a
+raging fever, nor did he ever raise his head from it, but finished
+the course of his life at the age of forty, or thereabout.
+
+His pictures date about 1512; and he bestowed a very great gift on
+painting by his handling of colours, which was that of a true
+master; and it was by means of him that men's eyes were opened in
+Lombardy, where so many beautiful intellects have been seen in
+painting, following him in making works worthy of praise and memory.
+Thus, by showing them his treatment of hair, executed with such
+facility, for all the difficulty of painting it, he taught them how
+it should be painted; for which all painters owe him an everlasting
+debt. At their instance the following epigram was written to him by
+Messer Fabio Segni, a gentleman of Florence:
+
+  Hujus cum regeret mortales spiritus artus
+    Pictoris, Charites supplicuere Jovi.
+  Non alia pingi dextra, Pater alme, rogamus;
+    Hunc præter, nulli pingere nos liceat.
+  Annuit his votis summi regnator Olympi,
+    Et juvenem subito sidera ad alta tulit,
+  Ut posset melius Charitum simulacra referre
+    Præsens, et nudas cerneret inde Deas.
+
+At this same time lived Andrea del Gobbo of Milan, a very pleasing
+painter and colourist, many of whose works are scattered about in
+the houses of his native city of Milan. There is a large
+panel-picture of the Assumption of Our Lady, by his hand, in the
+Certosa of Pavia, but it was left unfinished, on account of death
+overtaking him; which panel shows how excellent he was, and how
+great a lover of the labours of art.
+
+[Illustration: ANTONIO DA CORREGGIO: THE ADORATION OF THE MAGI
+
+(_Milan: Brera, 427. Canvas_)]
+
+
+
+
+PIERO DI COSIMO
+
+
+
+
+LIFE OF PIERO DI COSIMO
+
+PAINTER OF FLORENCE
+
+
+While Giorgione and Correggio, to their own great credit and glory,
+were honouring the regions of Lombardy, Tuscany, on her part, was
+not wanting in men of beautiful intellect; among whom, not one of
+the least was Piero, the son of one Lorenzo, a goldsmith, and a
+pupil of Cosimo Rosselli, after whom he was always called Piero di
+Cosimo, and known by no other name. And in truth, when a man teaches
+us excellence and gives us the secret of living rightly, he deserves
+no less gratitude from us, and should be held no less as a true
+father, than he who begets us and gives us life and nothing more.
+
+Piero was entrusted by his father, who saw in his son a lively
+intelligence and an inclination to the art of design, to the care of
+Cosimo, who took him with no ordinary willingness; and seeing him
+grow no less in ability than in years, among the many disciples that
+he had, he bore him love as to a son, and always held him as such.
+This young man had by nature a most lofty spirit, and he was very
+strange, and different in fancy from the other youths who were
+working with Cosimo in order to learn the same art. He was at times
+so intent on what he was doing, that when some subject was being
+discussed, as often happens, at the end of the discussion it was
+necessary to go back to the beginning and tell him the whole, so far
+had his brain wandered after some other fancy of his own. And he was
+likewise so great a lover of solitude, that he knew no pleasure save
+that of going off by himself with his thoughts, letting his fancy
+roam and building his castles in the air. Right good reason had
+Cosimo, his master, for wishing him well, seeing that he made so
+much use of him in his works, that very often he caused him to
+execute things of great importance, knowing that Piero had a more
+beautiful manner, as well as better judgment, than himself. For this
+reason he took Piero with him to Rome, when he was summoned thither
+by Pope Sixtus in order to paint the scenes in his chapel; in one of
+which Piero executed a very beautiful landscape, as was related in
+the Life of Cosimo.
+
+And since Piero drew most excellently from the life, he made in Rome
+many portraits of distinguished persons; in particular, those of
+Virginio Orsino and Ruberto Sanseverino, which he placed in the
+aforesaid scenes. Afterwards, also, he made a portrait of Duke
+Valentino, the son of Pope Alexander VI; which painting, to my
+knowledge, is not now to be found; but the cartoon by his hand still
+exists, being in the possession of the reverend and cultured M.
+Cosimo Bartoli, Provost of S. Giovanni. In Florence, he painted many
+pictures for a number of citizens, which are dispersed among their
+various houses, and of such I have seen some that are very good; and
+so, also, various things for many other persons. In the Noviciate of
+S. Marco is a picture by his hand of Our Lady, standing, with the
+Child in her arms, coloured in oils. And for the Chapel of Gino
+Capponi, in the Church of S. Spirito at Florence, he painted a panel
+wherein is the Visitation of Our Lady, with S. Nicholas, and a S.
+Anthony who is reading with a pair of spectacles on his nose, a very
+spirited figure. Here he counterfeited a book bound in parchment,
+somewhat old, which seems to be real, and also some balls that he
+gave to the S. Nicholas, shining and casting gleams of light and
+reflections from one to another; from which even by that time men
+could perceive the strangeness of his brain, and his constant
+seeking after difficulties.
+
+[Illustration: PIERO DI COSIMO: THE DEATH OF PROCRIS
+
+(_London: National Gallery, 698. Panel_)]
+
+Even better did he show this after the death of Cosimo, when he kept
+himself constantly shut up, and would not let himself be seen at
+work, leading the life of a man who was less man than beast. He
+would never have his rooms swept, he would only eat when hunger came
+to him, and he would not let his garden be worked or his fruit-trees
+pruned; nay, he allowed his vines to grow, and the shoots to trail
+over the ground, nor were his fig-trees ever trimmed, or any other
+trees, for it pleased him to see everything wild, like his own
+nature; and he declared that Nature's own things should be left to
+her to look after, without lifting a hand to them. He set himself
+often to observe such animals, plants, or other things as Nature at
+times creates out of caprice, or by chance; in which he found a
+pleasure and satisfaction that drove him quite out of his mind with
+delight; and he spoke of them so often in his discourse, that at
+times, although he found pleasure in them, it became wearisome to
+others. He would sometimes stop to gaze at a wall against which sick
+people had been for a long time discharging their spittle, and from
+this he would picture to himself battles of horsemen, and the most
+fantastic cities and widest landscapes that were ever seen; and he
+did the same with the clouds in the sky.
+
+He gave his attention to colouring in oils, having seen some works
+of Leonardo's, executed with that gradation of colour, and finished
+with that extraordinary diligence, which Leonardo used to employ
+when he wished to display his art. And so Piero, being pleased with
+his method, sought to imitate it, although he was afterwards very
+distant from Leonardo, and worlds away from any other manner. It may
+be said, in truth, that he changed his manner almost for every work
+that he executed.
+
+If Piero had not been so solitary, and had taken more care of
+himself in his way of living than he did, he would have made known
+the greatness of his intellect in such a way that he would have been
+revered, whereas, by reason of his uncouth ways, he was rather held
+to be a madman, although in the end he did no harm save to himself
+alone, while his works were beneficial and useful to his art. For
+which reason every good intellect and every excellent craftsman
+should always be taught, from such an example, to keep his eyes on
+the end of life.
+
+Nor will I refrain from saying that Piero, in his youth, being
+fanciful and extravagant in invention, was much employed for the
+masquerades that are held during the Carnival; and he became very
+dear to the young noblemen of Florence, having improved their
+festivals much in invention, adornment, grandeur, and pomp. As to
+that kind of pastime, it is said that he was one of the first to
+contrive to marshal them in the form of triumphal processions; at
+least, he improved them greatly, by accompanying the invention of
+the story represented, not only with music and with words suited to
+the subject, but also with a train of incredible pomp, formed of
+men on foot and on horseback, with habits and ornaments in keeping
+with the story; which produced a very rich and beautiful effect, and
+had in it something both grand and ingenious. And it was certainly a
+very beautiful thing to see, by night, twenty-five or thirty pairs
+of horses, most richly caparisoned, with their riders in costume,
+according to the subject of the invention, and six or eight grooms
+to each rider, with torches in their hands, and all clothed in one
+and the same livery, sometimes more than four hundred in number; and
+then the chariot, or triumphal car, covered with ornaments,
+trophies, and most bizarre things of fancy; altogether, a thing
+which makes men's intellects more subtle, and gives great pleasure
+and satisfaction to the people.
+
+[Illustration: PERSEUS DELIVERING ANDROMEDA
+
+(_After the panel by =Piero di Cosimo=. Florence: Uffizi, 1312_)
+
+_Brogi_]
+
+Among these spectacles, which were numerous and ingenious, it is my
+pleasure to give a brief description of one, which was contrived
+mostly by Piero, when he was already of a mature age, and which was
+not, like many, pleasing through its beauty, but, on the contrary,
+on account of a strange, horrible, and unexpected invention, gave no
+little satisfaction to the people: for even as in the matter of food
+bitter things sometimes give marvellous delight to the human palate,
+so do horrible things in such pastimes, if only they be carried out
+with judgment and art; which is evident in the representation of
+tragedies. This was the Car of Death, wrought by him with the
+greatest secrecy in the Sala del Papa, so that nothing could ever be
+found out about it, until it was seen and known at one and the same
+moment. This triumphal chariot was an enormous car drawn by
+buffaloes, black all over and painted with skeletons and white
+crosses; and upon the highest point of the car stood a colossal
+figure of Death, scythe in hand, and right round the car were a
+number of covered tombs; and at all the places where the procession
+halted for the chanting of dirges, these tombs opened, and from them
+issued figures draped in black cloth, upon which were painted all
+the bones of a skeleton, over their arms, breasts, flanks, and legs;
+which, what with the white over the black, and the appearing in the
+distance of some figures carrying torches, with masks that
+represented a death's head both in front and behind, as well as the
+neck, not only gave an appearance of the greatest reality, but was
+also horrible and terrifying to behold. And these figures of the
+dead, at the sound of certain muffled trumpets, low and mournful in
+tone, came half out of their tombs, and, seating themselves upon
+them, sang to music full of melancholy that song so celebrated at
+the present day: "Dolor, pianto, e penitenzia." Before and after the
+car came a great number of the dead, riding on certain horses picked
+out with the greatest diligence from among the leanest and most
+meagre that could be found, with black caparisons covered with white
+crosses; and each had four grooms draped in the garb of death, with
+black torches, and a large black standard with crosses, bones, and
+death's heads. After the car were trailed ten black standards; and
+as they walked, the whole company sang in unison, with trembling
+voices, that Psalm of David that is called the Miserere.
+
+This dread spectacle, through its novelty and terror, as I have
+said, filled the whole city with fear and marvel together; and
+although at the first sight it did not seem suited to a Carnival,
+nevertheless, being new and very well arranged, it pleased the minds
+of all, and Piero, the creator and inventor of the whole, gained
+consummate praise and commendation for it; and it was the reason
+that afterwards, going from one thing to another, men continued to
+contrive lively and ingenious inventions, so that in truth, for such
+representations and for holding similar festivals, this city has
+never had an equal. And in those old men who saw it there still
+remains a vivid memory of it, nor are they ever weary of celebrating
+this fantastic invention. I have heard from the lips of Andrea di
+Cosimo, who helped him to carry out the work, and of Andrea del
+Sarto, who was Piero's disciple, and who also had a hand in it, that
+it was a common opinion at that time that this invention was
+intended to foreshadow the return of the Medici family to Florence
+in the year 1512, since at the time when the procession was held
+they were exiles, and, so to speak, dead, but destined in a short
+time to come to life; and in this sense were interpreted the
+following words in the song--
+
+  Morti siam come vedete,
+  Così morti vedrem voi;
+  Fummo già come voi siete,
+  Voi sarete come noi, etc.
+
+whereby men wished to signify the return of that family (a
+resurrection, as it were, from death to life), and the expulsion and
+abasement of their enemies; or it may have been that many gave it
+that significance from the subsequent fact of the return of that
+illustrious house to Florence--so prone is the human intellect to
+applying every word and act that has come previously, to the events
+that happen afterwards. Certain it is that this was the opinion of
+many at that time; and it was much spoken of.
+
+[Illustration: VENUS, MARS, AND CUPID
+
+(_After the panel by =Piero di Cosimo=. Berlin: Kaiser Friedrich
+Museum, 107_)
+
+_Hanfstaengl_]
+
+But to return to the art and actions of Piero; he was given the
+commission for a panel in the Church of the Servite Friars, in the
+Chapel of the Tedaldi, where they keep the garment and the pillow of
+S. Filippo, a brother of their Order; wherein he depicted Our Lady
+standing, raised from the ground on a pedestal, and uplifting her
+head towards Heaven, with a book in her hand, but without her Son;
+and above her is the Holy Spirit, bathing her with light. Nor did he
+wish that any other light than that of the Dove should illumine her
+and the figures that are round her, such as a S. Margaret and a S.
+Catherine, who are on their knees, adoring her, while S. Peter and
+S. John the Evangelist are standing, contemplating her, together
+with S. Filippo, the Servite Friar, and S. Antonino, Archbishop of
+Florence. Moreover, he made there a landscape that is very bizarre,
+what with the strange trees and certain grottoes. And in truth,
+there are some very beautiful things in this work, such as certain
+heads that reveal both draughtsmanship and grace; besides the
+colouring, which is very harmonious, for it is certain that Piero
+was a great master of colouring in oils. In the predella he painted
+some little scenes, very well executed; and, among others, there is
+one of S. Margaret issuing from the belly of the Dragon, wherein he
+made that animal so monstrous and hideous, that I do not think that
+there is anything better of that kind to be seen, for with its eyes
+it reveals venom, fire, and death, in an aspect truly terrifying.
+And certainly, as for such things, I do not believe that any one
+ever did them better than he, or came near him in imagining them; to
+which witness is borne by a marine monster that he made and
+presented to the Magnificent Giuliano de' Medici, which is so
+extravagant, bizarre, and fantastic in its deformity, that it seems
+impossible that Nature should produce anything so deformed and
+strange among her creations. This monster is now in the guardaroba
+of Duke Cosimo de' Medici, as is also a book, likewise by the hand
+of Piero, of animals of the same kind, most beautiful and bizarre,
+hatched very diligently with the pen, and finished with an
+incredible patience; which book was presented to him by M. Cosimo
+Bartoli, Provost of S. Giovanni, who is very much my friend, as he
+is of all our craftsmen, being a man who has always delighted, and
+still delights, in our profession.
+
+He also executed, round a chamber in the house of Francesco del
+Pugliese, various scenes with little figures; nor is it possible to
+describe the different fantastic things that he delighted to paint
+in all those scenes, what with the buildings, the animals, the
+costumes, the various instruments, and any other fanciful things
+that came into his head, since the stories were drawn from fables.
+These scenes, after the death of Francesco del Pugliese and his
+sons, were taken away, nor do I know what has become of them; and
+the same thing has happened to a picture of Mars and Venus, with her
+Loves and Vulcan, executed with great art and with an incredible
+patience.
+
+Piero painted, for the elder Filippo Strozzi, a picture with little
+figures of Perseus delivering Andromeda from the Monster, in which
+are some very beautiful things. It is now in the house of Signor
+Sforza Almeni, First Chamberlain to Duke Cosimo, having been
+presented to him by Messer Giovanni Battista, the son of Lorenzo
+Strozzi, who knew how much that nobleman delighted in painting and
+sculpture; and he holds it in great account, for Piero never made a
+more lovely or more highly finished picture than this one, seeing
+that it is not possible to find a more bizarre or more fantastic
+sea-monster than that which Piero imagined and painted, or a fiercer
+attitude than that of Perseus, who is raising his sword in the air
+to smite the beast. In it, trembling between fear and hope,
+Andromeda is seen bound, most beautiful in countenance; and in the
+foreground are many people in various strange costumes, playing
+instruments and singing; among whom are some heads, smiling and
+rejoicing at seeing the deliverance of Andromeda, that are divine.
+The landscape is very beautiful, and the colouring sweet and full of
+grace. In short, with regard to the harmony and gradation of the
+colours, he executed this work with the greatest possible diligence.
+
+He painted, also, a picture containing a nude Venus, with a Mars,
+likewise nude, who is sleeping in a meadow full of flowers, and all
+around are various Loves, who are carrying away, some here, some
+there, the helmet, armlets, and other pieces of armour of Mars;
+there is a grove of myrtle, with a Cupid that is afraid of a rabbit,
+and there are also the Doves of Venus and the other emblems of Love.
+This picture is at Florence, in the house of Giorgio Vasari, who
+keeps it in memory of that master, whose caprices have always
+pleased him.
+
+The Director of the Hospital of the Innocenti was much the friend of
+Piero; and wishing to have a panel painted, which was to be placed
+in the Pugliese Chapel, near the entrance into the church, on the
+left hand, he gave the commission for it to Piero, who brought it to
+completion at his leisure; but first he reduced his patron to
+despair, for on no account would he let him see it until it was
+finished. How strange this seemed to the patron, both because of
+their friendship, and because of his supplying Piero continually
+with money, without seeing what was being done, he himself showed,
+when, on the occasion of the final payment, he refused to give it to
+him without seeing the work. But, on Piero threatening that he would
+destroy all that he had painted, he was forced to give him the rest,
+and to wait patiently, in a greater rage than ever, for it to be set
+in place. This picture contains much that is truly beautiful.
+
+He undertook to paint a panel for a chapel in the Church of S. Piero
+Gattolini, and in this he represented Our Lady seated, with four
+figures round her, and two angels in the sky, who are crowning her;
+which work, executed with such diligence that it brought him praise
+and honour, is now to be seen in S. Friano, the other church having
+been ruined. For the tramezzo[13] of the Church of S. Francesco, at
+Fiesole, he painted a little panel-picture of the Conception, which
+is a passing good little work, the figures being of no great size.
+For Giovanni Vespucci, who lived in a house now belonging to Piero
+Salviati, opposite to S. Michele, in the Via de' Servi, he executed
+some bacchanalian scenes, which are round an apartment; wherein he
+made such strange fauns, satyrs, sylvan gods, little boys, and
+bacchanals, that it is a marvel to see the diversity of the bay
+horses and garments, and the variety of the goatlike features, and
+all with great grace and most vivid truth to nature. In one scene is
+Silenus riding on an ass, with many children, some supporting him,
+and some giving him drink; and throughout the whole is a feeling of
+the joy of life, produced by the great genius of Piero. And in
+truth, in all that there is to be seen by his hand, one recognizes a
+spirit very different and far distant from that of other painters,
+and a certain subtlety in the investigation of some of the deepest
+and most subtle secrets of Nature, without grudging time or labour,
+but only for his own delight and for his pleasure in the art. And it
+could not well be otherwise; since, having grown enamoured of her,
+he cared nothing for his own comfort, and reduced himself to eating
+nothing but boiled eggs, which, in order to save firing, he cooked
+when he was boiling his glue, and not six or eight at a time, but in
+fifties; and, keeping them in a basket, he would eat them one by
+one. In this life he found such peculiar pleasure that any other, in
+comparison with his own, seemed to him slavery. He could not bear
+the crying of children, the coughing of men, the sound of bells, and
+the chanting of friars; and when the rain was pouring in torrents
+from the sky, it pleased him to see it streaming straight down from
+the roofs and splashing on the ground. He had the greatest terror of
+lightning; and, when he heard very loud thunder, he wrapped himself
+in his mantle, and, having closed the windows and the door of the
+room, he crouched in a corner until the storm should pass. He was
+very varied and original in his discourse, and sometimes said such
+beautiful things, that he made his hearers burst with laughter. But
+when he was old, and near the age of eighty, he had become so
+strange and eccentric that nothing could be done with him. He would
+not have assistants standing round him, so that his misanthropy had
+robbed him of all possible aid. He was sometimes seized by a desire
+to work, but was not able, by reason of the palsy, and fell into
+such a rage that he tried to force his hands to labour; but, as he
+muttered to himself, the mahlstick fell from his grasp, and even his
+brushes, so that it was pitiable to behold. Flies enraged him, and
+even shadows annoyed him. And so, having become ill through old age,
+he was visited by one or two friends, who besought him to make his
+peace with God; but he would not believe that he was dying, and put
+them off from one day to another; not that he was hard of heart, or
+an unbeliever, for he was a most zealous Christian, although his
+life was that of a beast. He discoursed at times on the torments of
+those ills that destroy men's bodies, and of the suffering endured
+by those who come to die with their strength wasting away little by
+little, which he called a great affliction. He spoke evil of
+physicians, apothecaries, and those who nurse the sick, saying that
+they cause them to die of hunger; besides the tortures of syrups,
+medicines, clysters, and other martyrdoms, such as not being allowed
+to sleep when you are drowsy, making your will, seeing your
+relatives round you, and staying in a dark room. He praised death by
+the hand of justice, saying that it was a fine thing to go to your
+death in that way; to see the broad sky about you, and all that
+throng; to be comforted with sweetmeats and with kind words; to have
+the priest and the people praying for you; and to go into Paradise
+with the Angels; so that whoever departed from this life at one
+blow, was very fortunate. And as he discoursed, he would twist
+everything to the strangest meanings that were ever heard.
+Wherefore, living in such strange fashion, he reduced himself to
+such a state with his extravagant fancies, that one morning he was
+found dead at the foot of a staircase, in the year 1521; and he was
+given burial in S. Piero Maggiore.
+
+His disciples were many, and one among them was Andrea del Sarto,
+who was a host in himself. Piero's portrait I received from
+Francesco da San Gallo, who was much his friend and intimate
+companion, and who made it when Piero was old; which Francesco still
+has a work by the hand of Piero that I must not pass by, a very
+beautiful head of Cleopatra, with an asp wound round her neck, and
+two portraits, one of his father Giuliano, and the other of his
+grandfather Francesco Giamberti, which seem to be alive.
+
+[Illustration: FRANCESCO GIAMBERTI
+
+(_After the panel by =Piero di Cosimo=. Hague: Royal Museum, 255_)
+
+_Bruckmann_]
+
+FOOTNOTE:
+
+[13] See note on p. 57, Vol. I.
+
+
+
+
+BRAMANTE DA URBINO
+
+
+
+
+LIFE OF BRAMANTE DA URBINO
+
+ARCHITECT
+
+
+Of very great advantage to architecture, in truth, was the new
+method of Filippo Brunelleschi, who imitated and restored to the
+light, after many ages, the noble works of the most learned and
+marvellous ancients. But no less useful to our age was Bramante, in
+following the footsteps of Filippo, and making the path of his
+profession of architecture secure for all who came after him, by
+means of his courage, boldness, intellect, and science in that art,
+wherein he had the mastery not of theory only, but of supreme skill
+and practice. Nor could nature have created a more vigorous
+intellect, or one to exercise his art and carry it into execution
+with greater invention and proportion, or with a more thorough
+knowledge, than Bramante. But no less essential than all this was
+the election to the Pontificate, at that time, of Julius II, a Pope
+of great spirit, full of desire to leave memorials behind him. And
+it was fortunate both for us and for Bramante that he found such a
+Prince (a thing which rarely happens to men of great genius), at
+whose expense he might be able to display the worth of his
+intellect, and that mastery over difficulties which he showed in
+architecture. His ability was so universal in the buildings that he
+erected, that the outlines of the cornices, the shafts of the
+columns, the graceful capitals, the bases, the consoles and corners,
+the vaults, the staircases, the projections, and every detail of
+every Order of architecture, contrived from the counsel or model of
+this craftsman, never failed to astonish all who saw them. Wherefore
+it appears to me that the everlasting gratitude which is due to the
+ancients from the intellects that study their works, is also due
+from them to the labours of Bramante; for if the Greeks were the
+inventors of architecture, and the Romans their imitators, Bramante
+not only imitated what he saw, with new invention, and taught it to
+us, but also added very great beauty and elaboration to the art,
+which we see embellished by him at the present day.
+
+He was born at Castel Durante, in the State of Urbino, of poor but
+honest parentage. In his boyhood, besides reading and writing, he
+gave much attention to arithmetic; but his father, who had need that
+he should earn money, perceiving that he delighted much in drawing,
+applied him, when still a mere boy, to the art of painting;
+whereupon Bramante gave much study to the works of Fra Bartolommeo,
+otherwise called Fra Carnovale da Urbino, who painted the
+panel-picture of S. Maria della Bella at Urbino. But since he always
+delighted in architecture and perspective, he departed from Castel
+Durante, and made his way to Lombardy, where he went now to one
+city, and now to another, working as best he could, but not on
+things of great cost or much credit, having as yet neither name nor
+reputation. For this reason he determined at least to see some
+noteworthy work, and betook himself to Milan, in order to see the
+Duomo. In that city there was then living one Cesare Cesariano,
+reputed to be a good geometrician and an able architect, who wrote a
+commentary on Vitruvius, and, out of despair at not having received
+for this the remuneration that he had expected, became so strange
+that he would work no more; and, having grown almost savage, he died
+more like a beast than like a human being. There was also one
+Bernardino da Trevio, a Milanese, engineer and architect for the
+Duomo, and an excellent draughtsman, who was held by Leonardo da
+Vinci to be a rare master, although his manner was rather crude and
+somewhat hard in painting. By his hand is a Resurrection of Christ
+to be seen at the upper end of the cloister of the Grazie, with some
+very beautiful foreshortenings; and a chapel in fresco in S.
+Francesco, containing the deaths of S. Peter and S. Paul. He painted
+many other works in Milan, and he also made a good number in the
+surrounding district, which are held in esteem; and in our book
+there is a head of a very beautiful woman, in charcoal and
+lead-white, which still bears witness to the manner that he
+followed.
+
+[Illustration: INTERIOR OF SACRISTY
+
+(_After_ Bramante da Urbino. _Milan: S. Satiro_)
+
+_Brogi_]
+
+But to return to Bramante; having studied that building, and having
+come to know those engineers, he so took courage, that he resolved
+to devote himself wholly to architecture. Having therefore departed
+from Milan, he betook himself, just before the holy year of 1500, to
+Rome, where he was recognized by some friends, both from his own
+country and from Lombardy, and received a commission to paint, over
+the Porta Santa of S. Giovanni Laterano, which is opened for the
+Jubilee, the coat of arms of Pope Alexander VI, to be executed in
+fresco, with angels and other figures acting as supporters.
+
+Bramante had brought some money from Lombardy, and he earned some
+more in Rome by executing certain works; and this he spent with the
+greatest economy, since he wished to be able to live independently,
+and at the same time, without having to work, to be free to take
+measurements, at his ease, of all the ancient buildings in Rome. And
+having put his hand to this, he set out, alone with his thoughts;
+and within no great space of time he had measured all the buildings
+in that city and in the Campagna without; and he went as far as
+Naples, and wherever he knew that there were antiquities. He
+measured all that was at Tivoli and in the Villa of Hadrian, and, as
+will be related afterwards in the proper place, made great use of
+it. The mind of Bramante becoming known in this way, the Cardinal of
+Naples, having noticed him, began to favour him. Whereupon, while
+Bramante was continuing his studies, the desire came to the said
+Cardinal to have the cloister of the Frati della Pace rebuilt in
+travertine, and he gave the charge of this cloister to Bramante, and
+he, desiring to earn money and to gain the good will of that
+Cardinal, set himself to work with all possible industry and
+diligence, and brought it quickly to perfect completion. And
+although it was not a work of perfect beauty, it gave him a very
+great name, since there were not many in Rome who followed the
+profession of architecture with such zeal, study, and resolution as
+Bramante.
+
+At the beginning he served as under-architect to Pope Alexander VI
+for the fountain of Trastevere, and likewise for that which was made
+on the Piazza di S. Pietro. He also took part, together with other
+excellent architects, when his reputation had increased, in the
+planning of a great part of the Palace of S. Giorgio, and of the
+Church of S. Lorenzo in Damaso, at the commission of Raffaello
+Riario, Cardinal of S. Giorgio, near the Campo di Fiore; which
+palace, whatever better work may have been executed afterwards,
+nevertheless was and still is held, on account of its greatness, to
+be a commodious and magnificent habitation; and the building of this
+edifice was carried out by one Antonio Montecavallo. Bramante was
+consulted with regard to the enlargement of S. Jacopo degli
+Spagnuoli, on the Piazza Navona, and likewise in the deliberations
+for the building of S. Maria de Anima, which was afterwards carried
+out by a German architect. From his design, also, was the Palace of
+Cardinal Adriano da Corneto in the Borgo Nuovo, which was built
+slowly, and then finally remained unfinished by reason of the flight
+of that Cardinal; and in like manner, the enlargement of the
+principal chapel of S. Maria del Popolo was executed from his
+design.
+
+These works brought him so much credit in Rome, that he was
+considered the best architect, in that he was resolute, prompt, and
+most fertile in invention; and he was continually employed by all
+the great persons in that city for their most important
+undertakings. Wherefore, after Julius II had been elected Pope, in
+the year 1503, he entered into his service. The fancy had taken that
+Pontiff to so transform the space that lay between the Belvedere and
+the Papal Palace, as to give it the aspect of a square theatre,
+embracing a little valley that ran between the old Papal Palace and
+the new buildings that Innocent VIII had erected as a habitation for
+the Popes; and he intended, by means of two corridors, one on either
+side of this little valley, to make it possible to go from the
+Belvedere to the Palace under loggie, and also to go from the Palace
+to the Belvedere in the same way, and likewise, by means of various
+flights of steps, to ascend to the level of the Belvedere. Whereupon
+Bramante, who had very good judgment and an inventive genius in such
+matters, distributed two ranges of columns along the lowest part;
+first, a very beautiful Doric loggia, similar to the Colosseum of
+the Savelli (although, in place of half-columns, he used pilasters),
+and all built of travertine; and over this a second range of the
+Ionic Order, full of windows, of such a height as to come to the
+level of the first-floor rooms of the Papal Palace, and to the
+level of those of the Belvedere; intending to make, afterwards, a
+loggia more than four hundred paces long on the side towards Rome,
+and likewise another on the side towards the wood, with which, one
+on either hand, he proposed to enclose the valley; into which, after
+it had been levelled, was to be brought all the water from the
+Belvedere; and for this a very beautiful fountain was to be made. Of
+this design, Bramante finished the first corridor, which issues from
+the Palace and leads to the Belvedere on the side towards Rome,
+except the upper loggia, which was to go above it. As for the
+opposite part, on the side towards the wood, the foundations,
+indeed, were laid, but it could not be finished, being interrupted
+by the death of Julius, and then by that of Bramante. His design was
+held to be so beautiful in invention, that it was believed that from
+the time of the ancients until that day, Rome had seen nothing
+better. But of the other corridor, as has been said, he left only
+the foundations, and the labour of finishing it has dragged on down
+to our own day, when Pius IV has brought it almost to completion.
+
+Bramante also erected the head-wall of the Museum of ancient statues
+in the Belvedere, together with the range of niches; wherein were
+placed, in his lifetime, the Laocoon, one of the rarest of ancient
+statues, the Apollo, and the Venus; and the rest of the statues were
+set up there afterwards by Leo X, such as the Tiber, the Nile, and
+the Cleopatra, with some others added by Clement VII; and in the
+time of Paul III and Julius III many important improvements were
+made, at great expense.
+
+But to return to Bramante; he was very resolute, although he was
+hindered by the avarice of those who supplied him with the means to
+work, and he had a marvellous knowledge of the craft of building.
+This construction at the Belvedere was executed by him with
+extraordinary speed, and such was his eagerness as he worked, and
+that of the Pope, who would have liked to see the edifice spring up
+from the ground, without needing to be built, that the builders of
+the foundations brought the sand and the solid foundation-clay by
+night and let[14] it down by day in the presence of Bramante, who
+caused the foundations to be made without seeing anything more of
+the work. This inadvertence was the reason that all his buildings
+have cracked, and are in danger of falling down, as did this same
+corridor, of which a piece eighty braccia in length fell to the
+ground in the time of Clement VII, and was afterwards rebuilt by
+Pope Paul III, who also had the foundations restored and the whole
+strengthened.
+
+From his design, also, are many flights of steps in the Belvedere,
+varied according to their situations, whether high or low, in the
+Doric, Ionic, and Corinthian Orders--a very beautiful work, executed
+with extraordinary grace. And he had made a model for the whole,
+which is said to have been a marvellous thing, as may still be
+imagined from the beginning of the work, unfinished as it is.
+Moreover, he made a spiral staircase upon mounting columns, in such
+a way that one can ascend it on horseback; wherein the Doric passes
+into the Ionic, and the Ionic into the Corinthian, rising from one
+into the other; a work executed with supreme grace, and with truly
+excellent art, which does him no less honour than any other thing by
+his hand that is therein. This invention was copied by Bramante from
+S. Niccolò at Pisa, as was said in the Lives of Giovanni and Niccola
+of Pisa.
+
+The fancy took Bramante to make, in a frieze on the outer façade of
+the Belvedere, some letters after the manner of ancient
+hieroglyphics, representing the name of the Pope and his own, in
+order to show his ingenuity: and he had begun thus, "Julio II, Pont.
+Massimo," having caused a head in profile of Julius Cæsar to be
+made, and a bridge, with two arches, which signified, "Julio II,
+Pont.," and an obelisk from the Circus Maximus, to represent "Max."
+At which the Pope laughed, and caused him to make the letters in the
+ancient manner, one braccio in height, which are there at the
+present day; saying that he had copied this folly from a door at
+Viterbo, over which one Maestro Francesco, an architect, had placed
+his name, carved in the architrave, and represented by a S. Francis
+(S. Francesco), an arch (arco), a roof (tetto), and a tower (torre),
+which, interpreted in his own way, denoted, "Maestro Francesco
+Architettore." The Pope, on account of his ability in architecture,
+was very well disposed towards him.
+
+[Illustration: TEMPIETTO
+
+(_After_ Bramante da Urbino. _Rome: S. Pietro in Montorio_)
+
+_Anderson_]
+
+For these reasons he was rightly held worthy by the aforesaid Pope,
+who loved him very dearly for his great gifts, to be appointed to
+the Office of the Piombo, for which he made a machine for printing
+Bulls, with a very beautiful screw. In the service of that Pontiff
+Bramante went to Bologna, in the year 1504, when that city returned
+to the Church; and he occupied himself, throughout the whole war
+against Mirandola, on many ingenious things of the greatest
+importance. He made many designs for ground-plans and complete
+buildings, which he drew very well; and of such there are some to be
+seen in our book, accurately drawn and executed with very great art.
+He taught many of the rules of architecture to Raffaello da Urbino;
+designing for him, for example, the buildings that Raffaello
+afterwards drew in perspective in that apartment of the Pope wherein
+there is Mount Parnassus; in which apartment he made a portrait of
+Bramante taking measurements with a pair of compasses.
+
+The Pope resolved, having had the Strada Julia straightened out by
+Bramante, to place in it all the public offices and tribunals of
+Rome, on account of the convenience which this would bring to the
+merchants in their business, which up to that time had always been
+much hindered. Wherefore Bramante made a beginning with the palace
+that is to be seen by S. Biagio sul Tevere, wherein there is still
+an unfinished Corinthian temple, a thing of rare excellence. The
+rest of this beginning is in rustic work, and most beautiful; and it
+is a great pity that a work so honourable, useful, and magnificent,
+which is held by the masters of the profession to be the most
+beautiful example of design in that kind that has ever been seen,
+should not have been finished. He made, also, in the first cloister
+of S. Pietro a Montorio, a round temple of travertine, than which
+nothing more shapely or better conceived, whether in proportion,
+design, variety, or grace, could be imagined; and even more
+beautiful would it have been, if the whole extent of the cloister,
+which is not finished, had been brought to the form that is to be
+seen in a drawing by his hand. He directed the building, in the
+Borgo, of the palace which afterwards belonged to Raffaello da
+Urbino, executed with bricks and mould-castings, the columns and
+bosses being of the Doric Order and of rustic work--a very
+beautiful work--with a new invention in the making of these
+castings. He also made the design and preparations for the
+decoration of S. Maria at Loreto, which was afterwards continued by
+Andrea Sansovino; and an endless number of models for palaces and
+temples, which are in Rome and throughout the States of the Church.
+
+So sublime was the intellect of this marvellous craftsman, that he
+made a vast design for restoring and rearranging the Papal Palace.
+And so greatly had his courage grown, on seeing the powers and
+desires of the Pope rise to the level of his own wishes and genius,
+that, hearing that he was minded to throw the Church of S. Pietro to
+the ground, in order to build it anew, he made him an endless number
+of designs. And among those that he made was one that was very
+wonderful, wherein he showed the greatest possible judgment, with
+two bell-towers, one on either side of the façade, as we see it in
+the coins afterwards struck for Julius II and Leo X by Caradosso, a
+most excellent goldsmith, who had no peer in making dies, as may
+still be seen from the medal of Bramante, executed by him, which is
+very beautiful. And so, the Pope having resolved to make a beginning
+with the vast and sublime structure of S. Pietro, Bramante caused
+half of the old church to be pulled down, and put his hand to the
+work, with the intention that it should surpass, in beauty, art,
+invention, and design, as well as in grandeur, richness, and
+adornment, all the buildings that had been erected in that city by
+the power of the Commonwealth, and by the art and intellect of so
+many able masters; and with his usual promptness he laid the
+foundations, and carried the greater part of the building, before
+the death of the Pope and his own, to the height of the cornice,
+where are the arches to all the four piers; and these he turned with
+supreme expedition and art. He also executed the vaulting of the
+principal chapel, where the recess is, giving his attention at the
+same time to pressing on the building of the chapel that is called
+the Chapel of the King of France.
+
+For this work he invented the method of casting vaults in wooden
+moulds, in such a manner that patterns of friezes and foliage, like
+carvings, come out in the plaster; and in the arches of this edifice
+he showed how they could be turned with flying scaffoldings, a
+method that we have since seen followed by Antonio da San Gallo. In
+the part that was finished by him, the cornice that runs right round
+the interior is seen to be so graceful, that no other man's hand
+could take away or alter anything from its design without spoiling
+it. It is evident from his capitals, which are of olive leaves
+within, and from all the Doric work on the outer side, which is
+extraordinarily beautiful, how sublime was the courage of Bramante,
+whereby, in truth, if he had possessed physical powers equal to the
+intellect that adorned his spirit, he would most certainly have
+achieved even more unexampled things than he did. This work, as will
+be related in the proper places, since his death and down to the
+present day, has been much mutilated by other architects, insomuch
+that it may be said that with the exception of four arches which
+support the tribune, nothing of his has remained there. For
+Raffaello da Urbino and Giuliano da San Gallo, who carried on the
+work after the death of Julius II, together with Fra Giocondo of
+Verona, thought fit to begin to alter it; and after the death of
+those masters, Baldassarre Peruzzi, in building the Chapel of the
+King of France, in the transept on the side towards the Campo Santo,
+changed Bramante's design; and under Paul III Antonio da San Gallo
+changed it again entirely. Finally, Michelagnolo Buonarroti,
+sweeping away the countless opinions and superfluous expenses, has
+brought it to such beauty and perfection as not one of those others
+ever thought of, which all comes from his judgment and power of
+design; although he said to me several times that he was only the
+executor of the design and arrangements of Bramante, seeing that he
+who originally lays the foundations of a great edifice is its true
+creator. Vast, indeed, seemed the conception of Bramante in this
+work, and he gave it a very great beginning, which, even if he had
+begun on a smaller scale, neither San Gallo nor the others, nor even
+Buonarroti, would have had enough power of design to increase,
+although they were able to diminish it; so immense, stupendous, and
+magnificent was this edifice, and yet Bramante had conceived
+something even greater.
+
+It is said that he was so eager to see this structure making
+progress, that he pulled down many beautiful things in S. Pietro,
+such as tombs of Popes, paintings, and mosaics, and that for this
+reason we have lost all trace of many portraits of distinguished
+persons, which were scattered throughout that church, which was the
+principal church of all Christendom. He preserved only the altar of
+S. Pietro, and the old tribune, round which he made a most beautiful
+ornament of the Doric Order, all of peperino-stone, to the end that
+when the Pope came to S. Pietro to say Mass, he might be able to
+stand within it with all his Court and with the Ambassadors of the
+Christian Princes; but death prevented him from finishing it
+entirely, and the Sienese Baldassarre afterwards brought it to
+completion.
+
+Bramante was a very merry and pleasant person, ever delighting to
+help his neighbour. He was very much the friend of men of ability,
+and favoured them in whatever way he could; as may be seen from his
+kindness to the gracious Raffaello da Urbino, most celebrated of
+painters, whom he brought to Rome. He always lived in the greatest
+splendour, doing honour to himself; and in the rank to which his
+merits had raised him, what he possessed was nothing to what he
+would have been able to spend. He delighted in poetry, and loved to
+improvise upon the lyre, or to hear others doing this: and he
+composed some sonnets, if not as polished as we now demand them, at
+least weighty and without faults. He was much esteemed by the
+prelates, and was received by an endless number of noblemen who made
+his acquaintance. In his lifetime he had very great renown, and even
+greater after his death, because of which the building of S. Pietro
+was interrupted for many years. He lived to the age of seventy, and
+he was borne to his tomb in Rome, with most honourable obsequies, by
+the Court of the Pope and by all the sculptors, architects, and
+painters. He was buried in S. Pietro, in the year 1514.
+
+[Illustration: PALAZZO GIRAUD
+
+(_After_ Bramante da Urbino. _Rome_)
+
+_Anderson_]
+
+Very great was the loss that architecture suffered in the death of
+Bramante, who was the discoverer of many good methods wherewith he
+enriched that art, such as the invention of casting vaults, and the
+secret of stucco; both of which were known to the ancients, but had
+been lost until his time through the ruin of their buildings. And
+those who occupy themselves with measuring ancient works of
+architecture, find in the works of Bramante no less science and
+design than in any of the former; wherefore, among those who are
+versed in the profession, he can be accounted one of the rarest
+intellects that have adorned our age. He left behind him an intimate
+friend, Giuliano Leno, who had much to do with the buildings of his
+time, but was employed rather to make preparations and to carry out
+the wishes of whoever designed them, than to work on his own
+account, although he had judgment and great experience.
+
+During his lifetime, Bramante employed in his works one Ventura, a
+carpenter of Pistoia, who was a man of very good ability, and drew
+passing well. This Ventura, while in Rome, delighted much in taking
+measurements of antiquities; and afterwards, wishing to live once
+more in his native place, he returned to Pistoia. Now it happened in
+that city, in the year 1509, that a Madonna, which is now called the
+Madonna della Umiltà, worked miracles; and since many offerings were
+brought to her, the Signoria that was then governing the city
+determined to build a temple in her honour. Whereupon Ventura,
+confronted with this opportunity, made with his own hand a model of
+an octagonal temple ...[15] braccia in breadth and ... braccia in
+height, with a vestibule or closed portico in front, very ornate
+within and truly beautiful. This having given satisfaction to the
+Signoria and to the chief men of the city, the building was begun
+according to the plans of Ventura, who, having laid the foundations
+of the vestibule and the temple, completely finished the vestibule,
+which he made very rich in pilasters and cornices of the Corinthian
+Order, with other carved stonework; while all the vaults in that
+work were made in like manner, with squares surrounded by mouldings,
+also in stone, and filled with rosettes. Afterwards, the octagonal
+temple was also carried to the height of the last cornice, from
+which the vaulting of the tribune was to rise, during the lifetime
+of Ventura; and since he was not very experienced in works of that
+size, he did not consider how the weight of the tribune might be
+safely laid on the building, but made within the thickness of the
+wall, at the first range of windows, and at the second, where the
+others are, a passage that runs right round, whereby he contrived to
+weaken the walls so much, that, the edifice being without buttresses
+at the base, it was dangerous to raise a vault over it, and
+particularly on the angles at the corners, upon which all the weight
+of the vault of that tribune must rest. Wherefore, after the death
+of Ventura, there was no architect with courage enough to raise that
+vault: nay, they had caused long and stout beams of timber to be
+brought to the place, in order to make a tent-shaped roof; but this
+did not please the citizens, and they would not have it put into
+execution. And so the building remained for many years without a
+roof, until, in the year 1561, the Wardens of Works besought Duke
+Cosimo that his Excellency should so favour them as to cause that
+tribune to be vaulted. Whereupon, in order to meet their wishes, the
+Duke ordered Giorgio Vasari to go there and see whether he could
+find some method of vaulting it; and he, having done this, made a
+model raising the building to the height of eight braccia above the
+cornice that Ventura had left, in order to make buttresses for it;
+and he decreased the breadth of the passage that runs right round
+between the walls, and reinforced the building with buttresses,
+besides binding the corners and the parts below the passages that
+Ventura had made, between the windows, with stout keys of iron,
+double at the angles; which secured the whole in such a manner that
+the vault could be raised with safety. Whereupon his Excellency was
+pleased to visit the place, and, being satisfied with everything,
+gave orders for the work to be executed; and so all the buttresses
+have been built, and a beginning has already been made with the
+raising of the cupola. Thus, then, the work of Ventura will become
+richer, greater in size and adornment, and better in proportions;
+but he truly deserves to have record made of him, since that
+building is the most noteworthy modern work in the city of Pistoia.
+
+FOOTNOTE:
+
+[14] The word "calavano" has been substituted here for the
+"cavavano" of the text, which gives no sense.
+
+[15] These numbers are missing from the text.
+
+
+
+
+FRA BARTOLOMMEO DI SAN MARCO
+
+
+
+
+LIFE OF FRA BARTOLOMMEO DI SAN MARCO
+
+[_BACCIO DELLA PORTA_]
+
+PAINTER OF FLORENCE
+
+
+Near the territory of Prato, which is ten miles distant from
+Florence, in a village called Savignano, was born Bartolommeo,
+known, according to the Tuscan custom, by the name of Baccio. He,
+having shown in his childhood not merely inclination, but also
+aptitude, for drawing, was placed, through the good services of
+Benedetto da Maiano, with Cosimo Rosselli, and lodged in the house
+of some relatives of his own, who lived at the Porta a S. Piero
+Gattolini; where he stayed for many years, so that he was never
+called or known by any other name than that of Baccio della Porta.
+
+After taking his leave of Cosimo Rosselli, he began to study with
+great devotion the works of Leonardo da Vinci; and in a short time
+he made such proficience and such progress in colouring, that he
+acquired the name and reputation of being one of the best young men
+of his art, both in colouring and in drawing. He had a companion in
+Mariotto Albertinelli, who in a short time acquired his manner
+passing well; and together with him he executed many pictures of Our
+Lady, which are scattered throughout Florence. To speak of all these
+would take too long, and I will mention only some excellently
+painted by Baccio. There is one, containing a Madonna, in the house
+of Filippo di Averardo Salviati, which is most beautiful, and which
+he holds very dear and in great price. Another was bought not long
+since, at a sale of old furniture, by Pier Maria delle Pozze, a
+person greatly devoted to pictures, who, having recognized its
+beauty, will not let it go for any sum of money; in which work is a
+Madonna executed with extraordinary diligence. Piero del Pugliese
+had a little Madonna of marble, in very low relief, a very rare work
+by the hand of Donatello, for which, in order to do it honour, he
+caused a wooden tabernacle to be made, with two little doors to
+enclose it. This he gave to Baccio della Porta, who painted, on the
+inner side of the doors, two little scenes, of which one was the
+Nativity of Christ, and the other His Circumcision; which Baccio
+executed with little figures after the manner of miniatures, in such
+a way that it would not be possible to do better work in oils; and
+then he painted Our Lady receiving the Annunciation from the Angel,
+in chiaroscuro, and likewise in oils, on the outer side of the same
+little doors, so as to be seen when they are closed. This work is
+now in the study of Duke Cosimo, wherein he keeps all his little
+antique figures of bronze, medals, and other rare pictures in
+miniature; and it is treasured by his most illustrious Excellency as
+a rare thing, as indeed it is.
+
+[Illustration: FRA BARTOLOMMEO DI SAN MARCO: THE DEPOSITION FROM THE
+CROSS
+
+(_Florence: Pitti, 64. Panel_)]
+
+Baccio was beloved in Florence for his virtues, for he was assiduous
+in his work, quiet and good by nature, and a truly God-fearing man;
+he had a great liking for a life of peace, and he shunned vicious
+company, delighted much in hearing sermons, and always sought the
+society of learned and serious persons. And in truth, it is seldom
+that nature creates a man of good parts and a gentle craftsman,
+without also providing him, after some time, with peace and favour,
+as she did for Baccio, who, as will be told below, obtained all that
+he desired. The report having spread abroad that he was no less good
+than able, his fame so increased that he was commissioned by Gerozzo
+di Monna Venna Dini to paint the chapel wherein the bones of the
+dead are kept, in the cemetery of the Hospital of S. Maria Nuova.
+There he began a Judgment in fresco, which he executed with such
+diligence and beauty of manner in the part which he finished, that
+he acquired extraordinary fame thereby, in addition to what he had
+already, and became greatly celebrated, on account of his having
+represented with excellent conceptions the Glory of Paradise, and
+Christ with the twelve Apostles judging the twelve Tribes, wherein
+the figures are soft in colouring and most beautifully draped.
+Moreover, in those figures that are being dragged to Hell, in the
+part that was designed but left unfinished, one sees the despair,
+grief, and shame of everlasting death, even as one perceives
+contentment and gladness in those that are being saved; although
+this work remained unfinished, since Baccio was inclined to give his
+attention more to religion than to painting. For there was living in
+S. Marco, at this time, Fra Girolamo Savonarola of Ferrara, of the
+Order of Preaching Friars, a very famous theologian; and Baccio,
+going continually to hear his preaching, on account of the devotion
+that he felt for him, contracted a very strait intimacy with him,
+and passed almost all his time in the convent, having also become
+the friend of the other friars. Now it happened that Fra Girolamo,
+continuing his preaching, and crying out every day from the pulpit
+that lascivious pictures, music, and amorous books often lead the
+mind to evil, became convinced that it was not right to keep in
+houses where there were young girls painted figures of naked men and
+women. And at the next Carnival--when it was the custom in the city
+to make little huts of faggots and other kinds of wood on the public
+squares, and on the Tuesday evening, according to ancient use, to
+burn these, with amorous dances, in which men and women, joining
+hands, danced round these fires, singing certain airs--the people
+were so inflamed by Fra Girolamo, and he wrought upon them so
+strongly with his words, that on that day they brought to the place
+a vast quantity of nude figures, both in painting and in sculpture,
+many by the hand of excellent masters, and likewise books, lutes,
+and volumes of songs, which was a most grievous loss, particularly
+for painting. Thither Baccio carried all the drawings of nudes that
+he had made by way of studies, and he was followed by Lorenzo di
+Credi and by many others, who had the name of Piagnoni. And it was
+not long before Baccio, on account of the affection that he bore to
+Fra Girolamo, made a very beautiful portrait of him in a picture,
+which was then taken to Ferrara; but not long ago it came back to
+Florence, and it is now in the house of Filippo di Alamanno
+Salviati, who, since it is by the hand of Baccio, holds it very
+dear.
+
+It happened, after this, that one day the opponents of Fra Girolamo
+rose against him, in order to take him and deliver him over to the
+hands of justice, on account of the disturbances that he had caused
+in the city; and his friends, seeing this, also banded themselves
+together, to the number of more than five hundred, and shut
+themselves up in S. Marco, and Baccio with them, on account of the
+great affection that he had for their party. It is true that, being
+a person of little courage, nay, even timorous and mean-spirited,
+and hearing an attack being made a little time after this on the
+convent, and men being wounded and killed, he began to have serious
+doubts about himself. For which reason he made a vow that if he were
+to escape from that turmoil, he would straightway assume the habit
+of that Order; which vow he carried out afterwards most faithfully,
+for when the uproar had ceased, and Fra Girolamo had been taken and
+condemned to death, as the writers of history relate with more
+detail, Baccio betook himself to Prato and became a monk in S.
+Domenico, in that city, on July 26, in the year 1500, as is found
+written in the chronicles of that same convent in which he assumed
+the habit; to the great displeasure of all his friends, who were
+grieved beyond measure at having lost him, and particularly because
+they heard that he had taken it into his head to forsake his
+painting.
+
+Whereupon Mariotto Albertinelli, his friend and companion, at the
+entreaties of Gerozzo Dini, took over the materials of Fra
+Bartolommeo--which was the name given by the Prior to Baccio, on
+investing him with the habit--and brought to completion the work of
+the Ossa in S. Maria Nuova; where he portrayed from life the
+Director of the Hospital at that time, and some friars skilled in
+surgery, with Gerozzo, the patron of the work, and his wife,
+full-length figures on their knees, upon the walls on either side;
+and in a nude figure that is seated, he portrayed Giuliano
+Bugiardini, his pupil, as a young man, with long locks according to
+the custom of that time, in which each separate hair might be
+counted, so carefully are they painted. He made there, likewise, his
+own portrait, in the head, with long locks, of a figure that is
+issuing from one of the tombs; and in that work, in the region of
+the blessed, there is also the portrait of Fra Giovanni da Fiesole,
+the painter, whose Life we have written. This painting was executed
+wholly in fresco, both by Fra Bartolommeo and by Mariotto, so that
+it has remained, and still remains, marvellously fresh, and is held
+in esteem by craftsmen, since it is scarcely possible to do better
+in that kind of work.
+
+[Illustration: THE HOLY FAMILY
+
+(_After the panel by =Fra Bartolommeo di San Marco=. Rome: Corsini
+Gallery, 579_)
+
+_Anderson_]
+
+When Fra Bartolommeo had been many months in Prato, he was sent by
+his superiors to take up his abode in S. Marco at Florence, and on
+account of his virtues he was received very warmly by the friars of
+that convent. In those days Bernardo del Bianco had caused to be
+erected, in the Badia of Florence, a chapel of grey-stone, full of
+carving, and very rich and beautiful, from the design of Benedetto
+da Rovezzano: which chapel was and still is much esteemed on account
+of some ornamental work of great variety, wherein Benedetto Buglioni
+placed, in some niches, angels and other figures made of glazed
+terra-cotta, in the round, to adorn it the more, with friezes
+containing cherubs and the devices of Bianco. And Bernardo, wishing
+to set up in the chapel a panel-picture that should be worthy of
+that adornment, and conceiving the idea that Fra Bartolommeo would
+be the right man for the work, sought in every possible way, through
+the intervention of his friends, to persuade him. Fra Bartolommeo
+was living in his convent, giving his attention to nothing save the
+divine offices and the duties of his Rule, although often besought
+by the Prior and by his dearest friends that he should work again at
+his painting; and for more than four years he had refused to touch a
+brush. But on this occasion, being pressed by Bernardo del Bianco,
+at length he began the panel-picture of S. Bernard, in which the
+Saint is writing, and gazing with such deep contemplation at the
+Madonna, with the Child in her arms, being borne by many angels and
+children, all coloured with great delicacy, that there is clearly
+perceived in him a certain celestial quality, I know not what, which
+seems, to him who studies it with attention, to shine out over that
+work, into which Baccio put much diligence and love; not to mention
+an arch executed in fresco, which is above it. He also made some
+pictures for Cardinal Giovanni de' Medici; and for Agnolo Doni he
+painted a picture of Our Lady, which stands on the altar of a chapel
+in his house--a work of extraordinary beauty.
+
+At this time the painter Raffaello da Urbino came to Florence to
+study his art, and taught the best principles of perspective to Fra
+Bartolommeo; and desiring to acquire the friar's manner of
+colouring, and being pleased with his handling of colours and his
+method of harmonizing them, Raffaello was always in his company.
+Fra Bartolommeo painted about the same time, in S. Marco at
+Florence, a panel with an infinite number of figures, which is now
+in the possession of the King of France, having been presented to
+him after being exposed to view for many months in S. Marco.
+Afterwards, he painted another in that convent, containing an
+endless number of figures, in place of the one that was sent into
+France; in which picture are some children who are flying in the air
+and holding open a canopy, executed with such good drawing and art,
+and with such strong relief, that they appear to stand out from the
+panel, while the colouring of the flesh reveals that beauty and
+excellence which every able craftsman seeks to give to his pictures;
+and this work is still considered at the present day to be most
+excellent. In it are many figures surrounding a Madonna, all most
+admirable, and executed with grace, feeling, boldness, spirit, and
+vivacity; and coloured, moreover, in so striking a manner, that they
+seem to be in relief, since he wished to show that he was able not
+only to draw, but also to give his figures force and make them stand
+out by means of the darkness of the shadows, as may be seen in some
+children who are round a canopy, upholding it, who, as they fly
+through the air, almost project from the panel. Besides this, there
+is an Infant Christ who is marrying S. Catherine the Nun, than which
+it would not be possible to paint anything more lifelike with the
+dark colouring that he used. There is a circle of saints on one side
+diminishing in perspective, round the depth of a great recess, who
+are distributed with such fine design that they seem to be real; and
+the same may be seen on the other side. And in truth, in this manner
+of colouring, he imitated to a great extent the works of Leonardo;
+particularly in the darks, for which he used printer's smoke-black
+and the black of burnt ivory. This panel has now become much darker
+than it was when he painted it, on account of those blacks, which
+have kept growing heavier and darker. In the foreground, among the
+principal figures, he made a S. George in armour, who has a standard
+in his hand, a bold, spirited, and vivacious figure, in a beautiful
+attitude. There is also a S. Bartholomew, standing, a figure that
+deserves the highest praise; with two children who are playing, one
+on a lute, and the other on a lyre, one of whom he made with a leg
+drawn up and his instrument resting upon it, and with the hands
+touching the strings in the act of running over them, an ear intent
+on the harmony, the head upraised, and the mouth slightly open, in
+such a way that whoever beholds him cannot persuade himself that he
+should not also hear the voice. No less lifelike is the other, who,
+leaning on one side, and bending over with one ear to the lyre,
+appears to be listening to learn how far it is in accord with the
+sound of the lute and the voice, while, with his eyes fixed on the
+ground, and his ear turned intently towards his companion, who is
+playing and singing, he seeks to follow in harmony with the air.
+These conceptions and expressions are truly ingenious; the children,
+who are seated, and clothed in veiling, are marvellous and executed
+with great industry by the practised hand of Fra Bartolommeo; and
+the whole work is brought out into strong relief by a fine gradation
+of dark shadows.
+
+A little time afterwards he painted another panel, to stand opposite
+to the former, and containing a Madonna surrounded by some saints,
+which is held to be a good work. He won extraordinary praise for
+having introduced a method of blending the colouring of his figures
+in such a way as to add a marvellous degree of harmony to art,
+making them appear to be in relief and alive, and executing them
+with supreme perfection of manner.
+
+Hearing much of the noble works made in Rome by Michelagnolo, and
+likewise those of the gracious Raffaello, and being roused by the
+fame, which was continually reaching him, of the marvels wrought by
+those two divine craftsmen, with leave from his Prior he betook
+himself to Rome. There he was entertained by Fra Mariano Fetti,
+Friar of the Piombo, for whom he painted two pictures of S. Peter
+and S. Paul at his Convent of S. Silvestro a Monte Cavallo. But
+since he did not succeed in working as well in the air of Rome as he
+had done in that of Florence, while the vast number of works that he
+saw, what with the ancient and the modern, bewildered him so that
+much of the ability and excellence that he believed himself to
+possess, fell away from him, he determined to depart, leaving to
+Raffaello the charge of finishing one of those pictures, that of S.
+Peter, which he had not completed; which picture was retouched all
+over by the hand of the marvellous Raffaello, and given to Fra
+Mariano.
+
+Thus, then, Fra Bartolommeo returned to Florence. There he had been
+accused many times of not knowing how to paint nudes; for which
+reason he resolved to put himself to the test, and to show by means
+of his labour that he was as well fitted as any other master for the
+highest achievements of his art. Whereupon, to prove this, he
+painted a picture of S. Sebastian, naked, very lifelike in the
+colouring of the flesh, sweet in countenance, and likewise executed
+with corresponding beauty of person, whereby he won infinite praise
+from the craftsmen. It is said that, while this figure was exposed
+to view in the church, the friars found, through the confessional,
+women who had sinned at the sight of it, on account of the charm and
+melting beauty of the lifelike reality imparted to it by the genius
+of Fra Bartolommeo; for which reason they removed it from the church
+and placed it in the chapter-house, where it did not remain long
+before it was bought by Giovan Battista della Palla and sent to the
+King of France.
+
+[Illustration: S. MARK
+
+(_After the painting by =Fra Bartolommeo di San Marco=. Florence:
+Pitti, 125_)
+
+_Anderson_]
+
+Fra Bartolommeo had fallen into a rage against the joiners who made
+the ornamental frames for his panels and pictures, for it was their
+custom, as it still is at the present day, always to cover an eighth
+part of the figures with the projecting inner edges of the frames.
+He determined, therefore, to invent some means of doing without
+frames for panels; and for this S. Sebastian he caused the panel to
+be made in the form of a half-circle, wherein he drew a niche in
+perspective, which has the appearance of being carved in relief in
+the panel. Thus, painting a frame all round, he made an ornament for
+the figure in the middle; and he did the same for our S. Vincent,
+and for the S. Mark that will be described after the S. Vincent. For
+the arch of a door leading into the sacristy, he painted in oils, on
+wood, a figure of S. Vincent, a brother of that Order, representing
+him in the act of preaching on the Judgment, so that there may be
+perceived in his gestures, and particularly in his head, that
+vehemence and fury which are generally seen in the faces of
+preachers, when they are doing their utmost, with threats of the
+vengeance of God, to lead men hardened in sin into the perfect life;
+in such a manner that this figure appears, to one who studies it
+with attention, to be not painted but real and alive, with such
+strong relief is it executed; and it is a pity that it is all
+cracking and spoiling, on account of its having been painted with
+fresh coats of colour on fresh size, as I said of the works of
+Pietro Perugino in the Convent of the Ingesuati.
+
+The fancy took him, in order to show that he was able to make large
+figures--for he had been told that his manner was that of a
+miniaturist--to paint on panel, for the wall in which is the door of
+the choir, a figure of S. Mark the Evangelist, five braccia in
+height, and executed with very good draughtsmanship and supreme
+excellence.
+
+After this, Salvadore Billi, a Florentine merchant, on his return
+from Naples, having heard the fame of Fra Bartolommeo, and having
+seen his works, caused him to paint a panel-picture of Christ the
+Saviour, in allusion to his own name, with the four Evangelists
+round Him; wherein, at the foot, are also two little boys upholding
+the globe of the world, whose flesh, fresh and tender, is
+excellently painted, as is the whole work, in which there are
+likewise two prophets that are much extolled. This panel stands in
+the Nunziata at Florence, below the great organ, according to the
+wish of Salvadore; it is a very beautiful work, finished by Fra
+Bartolommeo with much lovingness and great perfection; and it is
+surrounded by an ornament of marble, all carved by the hand of
+Pietro Rosselli.
+
+Afterwards, having need of a change of air, the Prior at that time,
+who was his friend, sent him away to a monastery of his Order,
+wherein, while he stayed there, he combined the labour of his hands
+with the contemplation of death, with profit[16] both for his soul
+and for the convent. For S. Martino in Lucca he painted a panel
+wherein, at the feet of a Madonna, there is a little angel playing
+on a lute, together with S. Stephen and S. John; in which picture,
+executed with excellent draughtsmanship and colouring, he proved his
+ability. For S. Romano, likewise, he painted a panel on canvas of
+the Madonna della Misericordia, who is placed on a pedestal of
+stone, with some angels holding her mantle; and together with her
+he depicted a throng of people on some steps, some standing, others
+seated, and others kneeling, but all gazing at a figure of Christ on
+high, who is sending down lightnings and thunderbolts upon the
+people. Clearly did Fra Bartolommeo prove in this work how well he
+was able to manage the gradation of shadows and darks in painting,
+giving extraordinary relief to his figures, and showing a rare and
+excellent mastery over the difficulties of his art in colouring,
+drawing, and invention; and the work is as perfect as any that he
+ever made. For the same church he painted another panel, also on
+canvas, containing a Christ and S. Catherine the Martyr, together
+with a S. Catherine of Siena, rapt in ecstasy from the earth, a
+figure as good as any that could possibly be painted in that manner.
+
+[Illustration: GOD THE FATHER, WITH SS. MARY MAGDALEN AND CATHARINE
+
+(_After the painting by =Fra Bartolommeo di San Marco=. Lucca:
+Gallery, 12_)
+
+_Alinari_]
+
+Returning to Florence, he gave some attention to the study of music;
+and, delighting much therein, he would sometimes sing to pass the
+time. At Prato, opposite to the prison, he painted a panel-picture
+of the Assumption. He executed some pictures of Our Lady for the
+house of the Medici, and also other paintings for various people,
+such as a picture of Our Lady which Lodovico di Lodovico Capponi has
+in his apartment, and likewise another of the Virgin holding the
+Child in her arms, with two heads of saints, that is in the
+possession of the very Excellent Messer Lelio Torelli, Chief
+Secretary to the most Illustrious Duke Cosimo, who holds it very
+dear both on account of the genius of Fra Bartolommeo, and because
+he delights in, loves, and favours not only the men of our art, but
+every fine intellect. In the house of Piero del Pugliese, which now
+belongs to Matteo Botti, a citizen and merchant of Florence, in an
+antechamber at the head of a staircase, he painted a S. George in
+armour, on horseback, who is slaying the Dragon with his lance--a
+very spirited figure. This he executed in chiaroscuro, in oils, a
+method that he much delighted to use for all his works, sketching
+them in the manner of a cartoon, with ink or with bitumen, before
+colouring them; as may still be seen from many beginnings of
+pictures and panels, which he left unfinished on account of his
+death, and as may also be perceived from many drawings by his hand,
+executed in chiaroscuro, of which the greater part are now in the
+Monastery of S. Caterina da Siena on the Piazza di S. Marco, in
+the possession of a nun who paints, and of whom record will be made
+in the proper place; while many made in the same way adorn our book
+of drawings, honouring his memory, and some are in the hands of
+Messer Francesco del Garbo, a most excellent physician.
+
+Fra Bartolommeo always liked to have living objects before him when
+he was working; and in order to be able to draw draperies, armour,
+and other suchlike things, he caused a life-size figure of wood to be
+made, which moved at the joints; and this he clothed with real
+draperies, from which he painted most beautiful things, being able
+to keep them in position as long as he pleased, until he had brought
+his work to perfection. This figure, worm-eaten and ruined as it is,
+is in our possession, treasured in memory of him.
+
+At Arezzo, for the Abbey of the Black Friars, he made a head of
+Christ in dark tints--a very beautiful work. He painted, also, the
+panel of the Company of the Contemplanti, which was preserved in the
+house of the Magnificent Messer Ottaviano de' Medici, and has now
+been placed in a chapel of that house, with many ornaments, by his
+son Messer Alessandro, who holds it very dear in memory of Fra
+Bartolommeo, and also because he takes vast pleasure in painting. In
+the chapel of the Noviciate of S. Marco there is a panel-picture of
+the Purification, very lovely, which he executed with good
+draughtsmanship and high finish. At S. Maria Maddalena, a seat of
+the Friars of his Order, without Florence, while staying there for
+his own pleasure, he made a Christ and a Magdalene; and he also
+painted certain things in fresco in that convent. In like manner, he
+wrought in fresco an arch over the strangers' apartment in S. Marco,
+in which he painted Christ with Cleophas and Luke, and made a
+portrait of Fra Niccolò della Magna, who was then a young man, and
+who afterwards became Archbishop of Capua, and finally a Cardinal.
+He began a panel for S. Gallo, afterwards finished by Giuliano
+Bugiardini, which is now on the high-altar of S. Jacopo fra Fossi,
+on the Canto degli Alberti; and likewise a picture of the Rape of
+Dinah, now in the possession of Messer Cristofano Rinieri, and
+afterwards coloured by the same Giuliano, in which are buildings and
+conceptions that are much extolled.
+
+From Piero Soderini he received the commission for the panel of the
+Council Chamber, which he began in such a manner, drawing it in
+chiaroscuro, that it seemed destined to do him very great credit;
+and, unfinished as it is, it now has a place of honour in the Chapel
+of the Magnificent Ottaviano de' Medici, in S. Lorenzo. In it are
+all the Patron Saints of the city of Florence, and those saints on
+whose days that city has gained her victories; and there is also the
+portrait of Fra Bartolommeo himself, made by him with a mirror. He
+had begun this picture, and had drawn the whole design, when it
+happened that, from working continually under a window, with the
+light from it beating on his back, he became completely paralyzed on
+that side of his body, and quite unable to move. Thereupon he was
+advised--such being the orders of his physicians--to go to the baths
+of San Filippo; where he stayed a long time, but became very little
+better thereby. Now Fra Bartolommeo was a great lover of fruit,
+which pleased his palate mightily, although it was ruinous to his
+health. Wherefore one morning, having eaten many figs, there came
+upon him, in addition to his other infirmity, a very violent fever,
+which cut short the course of his life in four days, at the age of
+forty-eight; when, still wholly conscious, he rendered up his soul
+to Heaven.
+
+His death grieved his friends, and particularly the friars, who gave
+him honourable sepulture in their burial-place in S. Marco, on
+October 8, in the year 1517. He had a dispensation from attending
+any of the offices in the choir with the other friars, and the gains
+from his works went to the convent, enough money being left in his
+hands to pay for colours and other materials necessary for his
+painting.
+
+He left disciples in Cecchino del Frate, Benedetto Cianfanini,
+Gabriele Rustici, and Fra Paolo Pistoiese, the latter inheriting all
+his possessions. This Fra Paolo painted many panels and pictures
+from his master's drawings, after his death; of which three are in
+S. Domenico at Pistoia, and one at S. Maria del Sasso in the
+Casentino.
+
+Fra Bartolommeo gave such grace to his figures with his colouring,
+and made them so novel and so modern in manner, that for these
+reasons he deserves to be numbered by us among the benefactors of
+art.
+
+FOOTNOTE:
+
+[16] The word "utilmente" is substituted here for the
+"ultimamente" of the text, which makes no sense.
+
+
+
+
+MARIOTTO ALBERTINELLI
+
+
+
+
+LIFE OF MARIOTTO ALBERTINELLI
+
+PAINTER OF FLORENCE
+
+
+Mariotto Albertinelli, the closest and most intimate friend of Fra
+Bartolommeo--his other self, one might call him, not only on account
+of the constant connection and intercourse between them, but also
+through their similarity of manner during the period when Mariotto
+gave proper attention to art--was the son of Biagio di Bindo
+Albertinelli. At the age of twenty he abandoned his calling of
+gold-beater, in which he had been employed up to that time; and he
+learnt the first rudiments of painting in the workshop of Cosimo
+Rosselli, where he formed such an intimacy with Baccio della Porta,
+that they were one soul and one body. Such, indeed, was the
+brotherly friendship between them, that when Baccio took his leave
+of Cosimo, in order to practise his art as a master by himself,
+Mariotto went off with him; whereupon they lived for a long time,
+both one and the other, at the Porta a S. Piero Gattolini, executing
+many works in company. And since Mariotto was not so well grounded
+in drawing as was Baccio, he devoted himself to the study of such
+antiquities as were then in Florence, the greater part and the best
+of which were in the house of the Medici. He made a number of
+drawings of certain little panels in half-relief that were under the
+loggia in the garden, on the side towards S. Lorenzo, in one of
+which is Adonis with a very beautiful dog, and in another two nude
+figures, one seated, with a dog at its feet, and the other standing
+with the legs crossed, leaning on a staff. Both these panels are
+marvellous; and there are likewise two others of the same size, in
+one of which are two little boys carrying Jove's thunderbolt, while
+in the other is the nude figure of an old man, with wings on his
+shoulders and feet, representing Chance, and balancing a pair of
+scales in his hands. In addition to these works, that garden was
+full of torsi of men and women, which were a school not only for
+Mariotto, but for all the sculptors and painters of his time. A good
+part of these are now in the guardaroba of Duke Cosimo, and others,
+such as the two torsi of Marsyas, the heads over the windows, and
+those of the Emperors over the doors, are still in the same place.
+
+By studying these antiquities, Mariotto made great proficience in
+drawing; and he entered into the service of the mother of Duke
+Lorenzo, Madonna Alfonsina, who, desiring that he should devote
+himself to becoming an able master, offered him all possible
+assistance. Dividing his time, therefore, between drawing and
+colouring, he became a passing good craftsman, as is proved by some
+pictures that he executed for that lady, which were sent by her to
+Rome, for Carlo and Giordano Orsini, and which afterwards came into
+the hands of Cæsar Borgia. He made a very good portrait of Madonna
+Alfonsina from the life; and it seemed to him, on account of his
+friendship with her, that his fortune was made, when, in the year
+1494, Piero de' Medici was banished, and her assistance and favour
+failed him. Whereupon he returned to the workshop of Baccio, where
+he set himself with even greater zeal to make models of clay and to
+increase his knowledge, labouring at the study of nature, and
+imitating the works of Baccio, so that in a few years he became a
+sound and practised master. And then, seeing his work succeeding so
+well, he so grew in courage, that, imitating the manner and method
+of his companion, the hand of Mariotto was taken by many for that of
+Fra Bartolommeo.
+
+[Illustration: THE MADONNA ENTHRONED, WITH SAINTS
+
+(_After the panel by =Mariotto Albertinelli=. Florence: Accademia,
+167_)
+
+_Alinari_]
+
+But when he heard that Baccio had gone off to become a monk,
+Mariotto was almost overwhelmed and out of his mind; and so strange
+did the news seem to him, that he was in despair, and nothing could
+cheer him. If it had not been, indeed, that Mariotto could not then
+endure having anything to do with monks, against whom he was ever
+railing, and belonged to the party that was opposed to the faction
+of Fra Girolamo of Ferrara, his love for Baccio would have wrought
+upon him so strongly, that it would have forced him to don the cowl
+in the same convent as his companion. However, he was besought by
+Gerozzo Dini, who had given the commission for the Judgment that
+Baccio had left unfinished in the Ossa, that he, having a manner
+similar to Baccio's, should undertake to finish it; whereupon, being
+also moved by the circumstance that the cartoon completed by the
+hand of Baccio and other drawings were there, and by the entreaties
+of Fra Bartolommeo himself, who had received money on account of the
+painting, and was troubled in conscience at not having kept his
+promise, he finished the work, and executed all that was wanting
+with diligence and love, in such a way that many, not knowing this,
+think that it was painted by one single hand; and this brought him
+vast credit among craftsmen.
+
+In the Chapter-house of the Certosa of Florence he executed a
+Crucifixion, with Our Lady and the Magdalene at the foot of the
+Cross, and some angels in the sky, who are receiving the blood of
+Christ; a work wrought in fresco, with diligence and lovingness, and
+passing well painted. Now some of the young men who were learning
+art under him, thinking that the friars were not giving them proper
+food, had counterfeited, without the knowledge of Mariotto, the keys
+of those windows opening into the friar's rooms, through which their
+pittance is passed; and sometimes, in secret, they stole some of it,
+now from one and now from another. There was a great uproar about
+this among the friars, since in the matter of eating they are as
+sensitive as any other person; but the lads did it with great
+dexterity, and, since they were held to be honest fellows, the blame
+fell on some of the friars, who were said to be doing it from hatred
+of one another. However, one day the truth was revealed, and the
+friars, to the end that the work might be finished, gave a double
+allowance to Mariotto and his lads, who finished the work with great
+glee and laughter.
+
+For the Nuns of S. Giuliano in Florence he painted the panel of
+their high-altar, which he executed in a room that he had in the
+Gualfonda; together with another for the same church, with a
+Crucifix, some Angels, and God the Father, representing the Trinity,
+in oils and on a gold ground.
+
+Mariotto was a most restless person, devoted to the pleasures of
+love, and a good liver in the matter of eating; wherefore,
+conceiving a hatred for the subtleties and brain-rackings of
+painting, and being often wounded by the tongues of other painters
+(according to the undying custom among them, handed down from one to
+another), he resolved to turn to a more humble, less fatiguing, and
+more cheerful art. And so, having opened a very fine inn, without
+the Porta S. Gallo, and a tavern and inn on the Ponte Vecchio, at
+the Dragon, he followed that calling for many months, saying that he
+had chosen an art without foreshortenings, muscles, and
+perspectives, and, what was much more important, free from censure,
+and that the art which he had given up was quite the contrary of his
+new one, since the former imitated flesh and blood, and the latter
+made both blood and flesh; and now, having good wine, he heard
+himself praised all day long, whereas before he used to hear nothing
+but censure.
+
+[Illustration: MARIOTTO ALBERTINELLI: THE SALUTATION
+
+(_Florence: Uffizi, 1259. Panel_)]
+
+However, having grown weary of this as well, and ashamed of the
+baseness of his calling, he returned to painting, and executed
+pictures and paintings for the houses of citizens in Florence. For
+Giovan Maria Benintendi he painted three little scenes with his own
+hand; and for the house of the Medici, at the election of Leo X, he
+painted a round picture of his arms, in oils, with Faith, Hope, and
+Charity, which hung for a long time over the door of their palace.
+He undertook to make, in the Company of S. Zanobi, near the
+Chapter-house of S. Maria del Fiore, a panel-picture of the
+Annunciation, which he executed with great labour. For this he
+caused special windows to be made, wishing to work on the spot, in
+order to be able to make the views recede, where they were high and
+distant, by lowering the tones, or to bring them forward, at his
+pleasure. Now he had conceived the idea that pictures which have no
+relief and force, combined with delicacy, are of no account; but
+since he knew that they cannot be made to stand out from the surface
+without shadows, which, if they are too dark, remain indistinct,
+while, if they are delicate, they have no force, he was eager to
+combine this delicacy with a certain method of treatment to which up
+to that time, so it seemed to him, art had not attained in any
+satisfactory manner. Wherefore, looking on this work as an
+opportunity for accomplishing this, he set himself, to this end, to
+make extraordinary efforts, which may be recognized in a figure
+of God the Father, which is in the sky, and in some little children,
+who stand out from the panel in strong relief against a dark
+background in perspective that he made there with a ceiling in the
+form of a barrel-shaped vault, which, with its arches curving and
+its lines diminishing to a point, recedes inwards in such a manner
+that it appears to be in relief; besides which, there are some
+angels scattering flowers as they fly, that are very graceful.
+
+This work was painted out and painted in again many times by
+Mariotto before he could bring it to completion. He was for ever
+changing the colouring, making it now lighter, now darker, and
+sometimes more lively and glowing, sometimes less; but, never being
+completely satisfied, and never persuaded that he had done justice
+with his hand to the thoughts of his intellect, he wished to find a
+white that should be more brilliant than lead-white, and set
+himself, therefore, to clarify the latter, in order to be able to
+heighten the highest light to his own satisfaction. However, having
+recognized that he was not able to express by means of art all that
+the intelligence of the human brain grasps and comprehends, he
+contented himself with what he had achieved, since he could not
+attain to what it was not possible to reach. This work brought
+Mariotto praise and honour among craftsmen, but by no means as much
+profit as he hoped to gain from his patrons in return for his
+labours, since a dispute arose between him and those who had
+commissioned him to paint it. But Pietro Perugino, then an old man,
+Ridolfo Ghirlandajo, and Francesco Granacci valued it, and settled
+the price of the work by common consent.
+
+For S. Pancrazio, in Florence, Mariotto painted a semicircular
+picture of the Visitation of Our Lady. For S. Trinità, likewise, he
+executed with diligence a panel-picture of Our Lady, S. Jerome, and
+S. Zanobi, at the commission of Zanobi del Maestro; and for the
+Church of the Congregation of the Priests of S. Martino, he painted
+a picture on panel of the Visitation, which is much extolled. He was
+invited to the Convent of La Quercia, without Viterbo; but after
+having begun a panel there, he conceived a desire to see Rome.
+Having made his way to that city, therefore, he executed to
+perfection for the Chapel of Fra Mariano Fetti in S. Silvestro di
+Monte Cavallo, a panel-picture in oils of S. Dominic, S. Catherine
+of Siena, with Christ marrying her, and Our Lady, in a delicate
+manner. He then returned to La Quercia, where he had a mistress, to
+whom, on account of the desire that he had felt while he was in Rome
+and could not enjoy her love, he sought to show that he was valiant
+in the lists; wherefore he exerted himself so much, that, being no
+longer young and so stalwart in such efforts, he was forced to take
+to his bed. And laying the blame for this on the air of the place,
+he had himself carried to Florence in a litter; but no expedients or
+remedies availed him in his sickness, from which he died in a few
+days, at the age of forty-five. He was buried in S. Piero Maggiore,
+in that city.
+
+There are some drawings by the hand of this master in our book,
+executed with the pen and in chiaroscuro, which are very good;
+particularly a spiral staircase, drawn with great ingenuity in
+perspective, of which he had a good knowledge.
+
+Mariotto had many disciples; among others, Giuliano Bugiardini and
+Franciabigio, both Florentines, and Innocenzio da Imola, of whom we
+will speak in the proper place. Visino, a painter of Florence, was
+likewise his disciple, and excelled all these others in drawing,
+colouring, and industry, showing, also, a better manner in the works
+that he made, which he executed with great diligence. A few of them
+are still in Florence; and one can study his work at the present day
+in the house of Giovan Battista d' Agnol Doni, in a mirror[17]--picture
+painted in oils after the manner of a miniature, wherein are Adam and
+Eve naked, eating the apple, a work executed with great care; and from
+another picture, of Christ being taken down from the Cross, together
+with the Thieves, in which there is a beautifully contrived
+complication of ladders, with some men aiding each other to take down
+the body of Christ, and others bearing one of the Thieves on their
+shoulders to burial, and all the figures in varied and fantastic
+attitudes, suited to that subject, and proving that he was an able
+man. The same master was brought by some Florentine merchants to
+Hungary, where he executed many works and gained great renown. But the
+poor man was soon in danger of coming to an evil end, because, being
+of a frank and free-spoken nature, he was not able to endure the
+wearisome persistence of some Hungarians, who kept tormenting him all
+day long with praises of their own country, as if there were no
+pleasure or happiness in anything except eating and drinking in their
+stifling rooms, and no grandeur or nobility save in their King and his
+Court, all the rest of the world being rubbish. It seemed to him (and
+indeed it is true) that in Italy there was another kind of excellence,
+culture, and beauty; and one day, being weary of their nonsense, and
+chancing to be a little merry, he let slip the opinion that a flask of
+Trebbiano and a berlingozzo[18] were worth all the Kings and Queens
+that had ever reigned in those regions. And if the matter had not
+happened to fall into the hands of a Bishop, who was a gentleman and a
+man of the world, and also, above all, a tactful person, both able and
+willing to turn the thing into a joke, Visino would have learnt not to
+play with savages; for those brutes of Hungarians, not understanding
+his words, and thinking that he had uttered something terrible, such
+as a threat that he would rob their King of his life and throne,
+wished to give him short shrift and crucify him by mob-law. But the
+good Bishop drew him out of all embarrassment, and, appraising the
+merit of the excellent master at its true value, and putting a good
+complexion on the affair, restored him to the favour of the King, who,
+on hearing the story, was much amused by it. His good fortune,
+however, did not last long, for, not being able to endure the stifling
+rooms and the cold air, which ruined his constitution, in a short time
+this brought his life to an end; although his repute and fame survived
+in the memory of those who knew him when alive, and of those who saw
+his works in the years after his death. His pictures date about the
+year 1512.
+
+FOOTNOTE:
+
+[17] The words of the text, "un quadro d' una spera," are a
+little obscure; but the translator has been strengthened in his
+belief that his rendering is correct by seeing a little picture,
+painted on a mirror, and numbered 7697, in the Victoria and Albert
+Museum. The subject of this picture, which the translator was
+enabled to see by the courtesy of Mr. B. S. Long, of the Department
+of Paintings, is the same as that of the work mentioned by Vasari,
+and it may be a copy.
+
+[18] Florentine puff-pastry.
+
+
+
+
+RAFFAELLINO DEL GARBO
+
+
+
+
+LIFE OF RAFFAELLINO DEL GARBO
+
+PAINTER OF FLORENCE
+
+
+Raffaello del Garbo, while he was a little boy, was called by the pet
+name of Raffaellino, which he retained ever afterwards; and in his
+earliest days he gave such promise in his art, that he was already
+numbered among the most excellent masters, a thing which happens to
+few. But still fewer meet the fate which afterwards came upon him,
+in that from a splendid beginning and almost certain hopes, he
+arrived at a very feeble end. For it is a general rule, in the world
+both of nature and of art, for things to grow gradually from small
+beginnings, little by little, until they reach their highest
+perfection. It is true, however, that many laws both of art and of
+nature are unknown to us, nor do they hold to one unvarying order at
+all times and in every case, a thing which very often renders
+uncertain the judgments of men. How this may happen is seen in
+Raffaellino, since it appeared that in him nature and art did their
+utmost to set out from extraordinary beginnings, the middle stage of
+which was below mediocrity, and the end almost nothing.
+
+In his youth he drew as much as any painter who has ever exercised
+himself in drawing in order to become perfect; wherefore there may
+still be seen, throughout the world of art, a great number of his
+drawings, which have been dispersed by a son of his for ridiculous
+prices, partly drawn with the style, partly with the pen or in
+water-colours, but all on tinted paper, heightened with lead-white,
+and executed with marvellous boldness and mastery; and there are
+many of them in our book, drawn in a most beautiful manner. Besides
+this, he learnt to paint so well in distemper and in fresco, that
+his first works were executed with an incredible patience and
+diligence, as has been related.
+
+In the Minerva, round the tomb of Cardinal Caraffa, he painted the
+vaulted ceiling, with such delicacy, that it seems like the work of
+an illuminator; wherefore it was held in great estimation by
+craftsmen at that time. His master, Filippo, regarded him in some
+respects as a much better painter than himself; and Raffaellino had
+acquired Filippo's manner so well, that there were few who could
+distinguish the one from the other. Later, after having left his
+master, he gave much more delicacy to that manner in the draperies,
+and greater softness to hair and to the expressions of the heads;
+and he was held in such expectation by craftsmen, that, while he
+followed this manner, he was considered the first of the young
+painters of his day. Now the family of the Capponi, having built a
+chapel that is called the Paradiso, on the hill below the Church of
+S. Bartolommeo a Monte Oliveto, without the Porta a S. Friano,
+wished to have the panel executed by Raffaellino, and gave him the
+commission; whereupon he painted in oils the Resurrection of Christ,
+with some soldiers who have fallen, as if dead, round the Sepulchre.
+These figures are very spirited and beautiful, and they have the
+most graceful heads that it is possible to see; among which, in the
+head of a young man, is a marvellous portrait of Niccola Capponi,
+while, in like manner, the head of one who is crying out because the
+stone covering of the tomb has fallen upon him, is most beautiful
+and bizarre. Wherefore the Capponi, having seen that Raffaellino's
+picture was a rare work, caused a frame to be made for it, all
+carved, with round columns richly adorned with burnished gold on a
+ground of bole. Before many years had passed, the campanile of that
+building was struck by lightning, which pierced the vault and fell
+near that panel, which, having been executed in oils, suffered no
+harm; but where the fluid passed near the gilt frame, it consumed
+the gold, leaving nothing there but the bare bole. It has seemed to
+me right to say that much with regard to oil-painting, to the end
+that all may see how important it is to know how to guard against
+such injury, which lightning has done not only to this work, but to
+many others.
+
+[Illustration: THE RESURRECTION
+
+(_After the panel by =Raffaellino del Garbo=. Florence: Accademia,
+90_)
+
+_Anderson_]
+
+He painted in fresco, at the corner of a house that now belongs to
+Matteo Botti, between the Canto del Ponte alla Carraja and the Canto
+della Cuculia, a little shrine containing Our Lady with the Child
+in her arms, with S. Catherine and S. Barbara kneeling, a very
+graceful and carefully executed work. For the Villa of Marignolle,
+belonging to the Girolami, he painted two most beautiful panels,
+with Our Lady, S. Zanobi, and other saints; and he filled the
+predella below both of these with little figures representing scenes
+from the lives of those saints, executed with great diligence. On
+the wall above the door of the Church of the Nuns of S. Giorgio, he
+painted a Pietà, with a group of the Maries; and in like manner, in
+another arch below this, a figure of Our Lady, a work worthy of
+great praise, executed in the year 1504. In the Church of S. Spirito
+at Florence, in a panel over that of the Nerli, which his master
+Filippo had executed, he painted a Pietà, which is held to be a very
+good and praiseworthy work; but in another, representing S. Bernard,
+he fell short of that standard. Below the door of the sacristy are
+two panel-pictures by his hand; one showing S. Gregory the Pope
+saying Mass, when Christ appears to him, naked, with the Cross on
+His shoulder, and shedding blood from His side, with the deacon and
+sub-deacon, in their vestments, serving the Mass, and two angels
+swinging censers over the body of Christ. For another chapel, lower
+down, he executed a panel-picture containing Our Lady, S. Jerome,
+and S. Bartholomew. On these two works he bestowed no little labour;
+but he went on deteriorating from day to day. I do not know to what
+I should attribute his misfortune, for poor Raffaellino was not
+wanting in industry, diligence, and application; yet they availed
+him little. It is believed, indeed, that, becoming overburdened and
+impoverished by the cares of a family, and being compelled to use
+for his daily needs whatever he earned, not to mention that he was a
+man of no great spirit and undertook to do work for small prices, in
+this way he went on growing worse little by little; although there
+is always something of the good to be seen in his works.
+
+For the Monks of Cestello, on the wall of their refectory, he
+painted a large scene coloured in fresco, in which he depicted the
+miracle wrought by Jesus Christ with the five loaves and two fishes,
+with which he satisfied five thousand people. For the Abbot de'
+Panichi he executed the panel-picture of the high-altar in the
+Church of S. Salvi, without the Porta alla Croce, painting therein
+Our Lady, S. Giovanni Gualberto, S. Salvi, S. Bernardo, a Cardinal
+of the Uberti family, and S. Benedetto the Abbot, and, at the sides,
+S. Batista and S. Fedele in armour, in two niches on either hand of
+the picture, which had a rich frame; and in the predella are several
+scenes, with little figures, from the Life of S. Giovanni Gualberto.
+In all this he acquitted himself very well, because he was assisted
+in his wretchedness by that Abbot, who took pity on him for the sake
+of his talents; and in the predella of the panel Raffaellino made a
+portrait of him from life, together with one of the General who was
+then ruling his Order. In S. Piero Maggiore, on the right as one
+enters the church, there is a panel by his hand, and in the Murate
+there is a picture of S. Sigismund, the King. For Girolamo
+Federighi, in that part of S. Pancrazio where he was afterwards
+buried, he painted a Trinity in fresco, with portraits of him and of
+his wife on their knees; and here he began to decline into pettiness
+of manner. He also made two figures in distemper for the Monks of
+Cestello, a S. Rocco and a S. Ignazio, which are in the Chapel of S.
+Sebastiano. And in a little chapel on the abutment of the Ponte
+Rubaconte, on the side towards the Mills, he painted a Madonna, a S.
+Laurence, and another saint.
+
+In the end he was reduced to undertaking any work, however mean; and
+he was employed by certain nuns and other persons, who were
+embroidering a quantity of church vestments and hangings at that
+time, to make designs in chiaroscuro and ornamental borders
+containing saints and stories, for ridiculous prices. For although
+he had deteriorated, there sometimes issued from his hand most
+beautiful designs and fancies, as is proved by many drawings that
+were sold and dispersed after the death of those who used them for
+embroidery; of which there are many in the book of the illustrious
+hospital-director,[19] that show how able he was in draughtsmanship.
+This was the reason that many vestments, hangings, and ornaments,
+which are held to be very beautiful, were made for the churches of
+Florence and throughout the Florentine territory, and also for
+Cardinals and Bishops in Rome. At the present day this method of
+embroidery, which was used by Paolo da Verona, the Florentine
+Galieno, and others like them, is almost lost, and another method,
+with wide stitches, has been introduced, which has neither the same
+beauty nor the same careful workmanship, and is much less durable
+than the other. Wherefore, in return for this benefit, although
+poverty caused him misery and hardship during his lifetime, he
+deserves to have honour and glory for his talents after his death.
+
+And in truth Raffaellino was unfortunate in his connections, for he
+always mixed with poor and humble people, like a man who had sunk
+and become ashamed of himself, seeing that in his youth he had given
+such great promise, and now knew how distant he was from the
+extraordinary excellence of the works that he had made at that time.
+And thus, growing old, he fell away so much from his early standard,
+that his works no longer appeared to be by his hand; and forgetting
+his art more and more every day, he was reduced to painting, in
+addition to his usual panels and pictures, the meanest kinds of
+works. And he sank so low that everything was a torment to him, but
+above all his burdensome family of children, which turned all his
+ability in art into mere clumsiness. Wherefore, being overtaken by
+infirmities and impoverished, he finished his life in misery at the
+age of fifty-eight, and was buried in S. Simone, at Florence, by the
+Company of the Misericordia, in the year 1524.
+
+He left behind him many pupils who became able masters. One, who
+went in his boyhood to learn the rudiments of art from Raffaellino,
+was the Florentine painter Bronzino, who afterwards acquitted
+himself so well under the wing of Jacopo da Pontormo, another
+painter of Florence, that he has made as much proficience in the art
+as his master Jacopo. The portrait of Raffaellino was copied from a
+drawing that belonged to Bastiano da Monte Carlo, who was also his
+disciple, and who, for a man with no draughtsmanship, became a
+passing good master.
+
+FOOTNOTE:
+
+[19] Don Vincenzio Borghini.
+
+
+
+
+TORRIGIANO
+
+
+
+
+LIFE OF TORRIGIANO
+
+SCULPTOR OF FLORENCE
+
+
+Great is the power of anger in the soul of one who is seeking, with
+arrogance and pride, to gain a reputation for excellence in some
+profession, when he sees rising in the same art, at a time when he
+does not expect it, some unknown man of beautiful genius, who not
+only equals him, but in time surpasses him by a great measure. Of
+such persons, in truth, it may be said that there is no iron that
+they would not gnaw in their rage, nor any evil which they would not
+do if they were able, for it seems to them too grievous an affront
+in the eyes of the world, that children whom they saw born should
+have reached maturity almost in one bound from their cradles. They
+do not reflect that every day one may see the will of young men,
+spurred on by zeal in their tender years, and exercised by them in
+continual studies, rise to infinite heights; while the old, led by
+fear, pride, and ambition, lose the cunning of their hands, so that
+the better they think to work, the worse they do it, and where they
+believe that they are advancing, they are going backwards.
+Wherefore, out of envy, they never give credit to the young for the
+perfection of their works, however clearly they may see it, on
+account of the obstinacy that possesses them. And it is known from
+experience that when, in order to show what they can do, they exert
+themselves to the utmost of their power, they often produce works
+that are ridiculous and a mere laughing-stock. In truth, when
+craftsmen have reached the age when the eye is no longer steady and
+the hand trembles, their place, if they have saved the wherewithal
+to live, is to give advice to men who can work, for the reason that
+the arts of painting and sculpture call for a mind in every way
+vigorous and awake (as it is at the age when the blood is boiling),
+full of burning desire, and a capital enemy of the pleasures of the
+world. And whoever is not temperate with regard to the delights of
+the world should shun the studies of any art or science whatsoever,
+seeing that such pleasures and study can never agree well together.
+Since, therefore, these arts involve so many burdens, few, indeed,
+are they who attain to the highest rank; and those who start with
+eagerness from the post are greater in number than those who run
+well in the race and win the prize.
+
+Now there was more pride than art, although he was very able, to be
+seen in Torrigiano, a sculptor of Florence, who in his youth was
+maintained by the elder Lorenzo de' Medici in the garden which that
+magnificent citizen possessed on the Piazza di S. Marco in Florence.
+This garden was in such wise filled with the best ancient statuary,
+that the loggia, the walks, and all the apartments were adorned with
+noble ancient figures of marble, pictures, and other suchlike
+things, made by the hands of the best masters who ever lived in
+Italy or elsewhere. And all these works, in addition to the
+magnificence and adornment that they conferred on that garden, were
+as a school or academy for the young painters and sculptors, as well
+as for all others who were studying the arts of design, and
+particularly for the young nobles; since the Magnificent Lorenzo had
+a strong conviction that those who are born of noble blood can
+attain to perfection in all things more readily and more speedily
+than is possible, for the most part, for men of humble birth, in
+whom there are rarely seen those conceptions and that marvellous
+genius which are perceived in men of illustrious stock. Moreover,
+the less highly born, having generally to defend themselves from
+hardship and poverty, and being forced in consequence to undertake
+any sort of work, however mean, are not able to exercise their
+intellect, or to attain to the highest degree of excellence.
+Wherefore it was well said by the learned Alciato--when speaking of
+men of beautiful genius, born in poverty, who are not able to raise
+themselves, because, in proportion as they are impelled upwards by
+the wings of their genius, so are they held down by their poverty--
+
+  Ut me pluma levat, sic grave mergit onus.
+
+Lorenzo the Magnificent, then, always favoured men of genius, and
+particularly such of the nobles as showed an inclination for these
+our arts; wherefore it is no marvel that from that school there
+should have issued some who have amazed the world. And what is more,
+he not only gave the means to buy food and clothing to those who,
+being poor, would otherwise not have been able to pursue the studies
+of design, but also bestowed extraordinary gifts on any one among
+them who had acquitted himself in some work better than the others;
+so that the young students of our arts, competing thus with each
+other, thereby became very excellent, as I will relate.
+
+The guardian and master of these young men, at that time, was the
+Florentine sculptor Bertoldo, an old and practised craftsman, who
+had once been a disciple of Donato. He taught them, and likewise had
+charge of the works in the garden, and of many drawings, cartoons,
+and models by the hand of Donato, Pippo,[20] Masaccio, Paolo
+Uccello, Fra Giovanni, Fra Filippo, and other masters, both native
+and foreign. It is a sure fact that these arts can only be acquired
+by a long course of study in drawing and diligently imitating works
+of excellence; and whoever has not such facilities, however much he
+may be assisted by nature, can never arrive at perfection, save late
+in life.
+
+But to return to the antiquities of the garden; they were in great
+part dispersed in the year 1494, when Piero, the son of the
+aforesaid Lorenzo, was banished from Florence, all being sold by
+auction. The greater part of them, however, were restored to the
+Magnificent Giuliano in the year 1512, at the time when he and the
+other members of the House of Medici returned to their country; and
+at the present day they are for the most part preserved in the
+guardaroba of Duke Cosimo. Truly magnificent was the example thus
+given by Lorenzo, and whenever Princes and other persons of high
+degree choose to imitate it, they will always gain everlasting
+honour and glory thereby; since he who assists and favours, in their
+noble undertakings, men of rare and beautiful genius, from whom the
+world receives such beauty, honour, convenience and benefit,
+deserves to live for ever in the minds and memories of mankind.
+
+Among those who studied the arts of design in that garden, the
+following all became very excellent masters; Michelagnolo, the son
+of Lodovico Buonarroti; Giovan Francesco Rustici; Torrigiano
+Torrigiani; Francesco Granacci; Niccolò, the son of Jacopo[21]
+Soggi; Lorenzo di Credi, and Giuliano Bugiardini; and, among the
+foreigners, Baccio da Montelupo, Andrea Contucci of Monte Sansovino,
+and others, of whom mention will be made in the proper places.
+
+Torrigiano, then, whose Life we are now about to write, was a
+student in the garden with those named above; and he was not only
+powerful in person, and proud and fearless in spirit, but also by
+nature so overbearing and choleric, that he was for ever tyrannizing
+over all the others both with words and deeds. His chief profession
+was sculpture, yet he worked with great delicacy in terra-cotta, in
+a very good and beautiful manner. But not being able to endure that
+any one should surpass him, he would set himself to spoil with his
+hands such of the works of others as showed an excellence that he
+could not achieve with his brain; and if these others resented this,
+he often had recourse to something stronger than words. He had a
+particular hatred for Michelagnolo, for no other reason than that he
+saw him attending zealously to the study of art, and knew that he
+used to draw in secret at his own house by night and on feast-days,
+so that he came to succeed better in the garden than all the others,
+and was therefore much favoured by Lorenzo the Magnificent.
+Wherefore, moved by bitter envy, Torrigiano was always seeking to
+affront him, both in word and deed; and one day, having come to
+blows, Torrigiano struck Michelagnolo so hard on the nose with his
+fist, that he broke it, insomuch that Michelagnolo had his nose
+flattened for the rest of his life. This matter becoming known to
+Lorenzo, he was so enraged that Torrigiano, if he had not fled from
+Florence, would have suffered some heavy punishment.
+
+[Illustration: TOMB OF HENRY VII
+
+(_After_ Torrigiano. _London: Westminster Abbey_)
+
+_Mansell_]
+
+Having therefore made his way to Rome, where Alexander VI was then
+pressing on the work of the Borgia Tower, Torrigiano executed in it
+a great quantity of stucco-work, in company with other masters.
+Afterwards, money being offered in the service of Duke Valentino,
+who was making war against the people of Romagna, Torrigiano was
+led away by certain young Florentines; and, having changed himself
+in a moment from a sculptor to a soldier, he bore himself valiantly
+in those campaigns of Romagna. He did the same under Paolo Vitelli
+in the war with Pisa; and he was with Piero de' Medici at the action
+on the Garigliano, where he won the right to arms, and the name of a
+valiant standard-bearer.
+
+But in the end, recognizing that he was never likely to reach the
+rank of captain that he desired, although he deserved it, and that
+he had saved nothing in the wars, and had, on the contrary, wasted
+his time, he returned to sculpture. For certain Florentine
+merchants, then, he made small works in marble and bronze, little
+figures, which are scattered throughout the houses of citizens in
+Florence, and he executed many drawings in a bold and excellent
+manner, as may be seen from some by his hand that are in our book,
+together with others which he made in competition with Michelagnolo.
+And having been brought by those merchants to England, he executed
+there, in the service of the King, an endless number of works in
+marble, bronze, and wood, competing with some masters of that
+country, to all of whom he proved superior. For this he was so well
+and so richly rewarded, that, if he had not been as reckless and
+unbridled as he was proud, he might have lived a life of ease and
+ended his days in comfort; but what happened to him was the very
+opposite.
+
+After this, having been summoned from England into Spain, he made
+many works there, which are scattered about in various places, and
+are held in great estimation; and, among others, he made a Crucifix
+of terra-cotta, which is the most marvellous thing that there is in
+all Spain. For a monastery of Friars of S. Jerome, without the city
+of Seville, he made another Crucifix; a S. Jerome in Penitence, with
+his lion, the figure of that Saint being a portrait of an old
+house-steward of the Botti family, Florentine merchants settled in
+Spain; and a Madonna with the Child. This last figure was so
+beautiful that it led to his making another like it for the Duke of
+Arcus, who, in order to obtain it, made such promises to Torrigiano,
+that he believed that it would make him rich for the rest of his
+life. The work being finished, the Duke gave him so many of those
+coins that are called "maravedis," which are worth little or
+nothing, that Torrigiano, to whose house there came two persons
+laden with them, became even more confirmed in his belief that he
+was to be a very rich man. But afterwards, having shown this money
+to a Florentine friend of his, and having asked him to count it and
+reckon its value in Italian coin, he saw that all that vast sum did
+not amount to thirty ducats; at which, holding himself to have been
+fooled, he went in a violent rage to where the figure was that he
+had made for the Duke, and wholly destroyed it. Whereupon that
+Spaniard, considering himself affronted, denounced Torrigiano as a
+heretic; on which account he was thrown into prison, and after being
+examined every day, and sent from one inquisitor to the other, he
+was finally judged to deserve the severest penalty. But this was
+never put into execution, because Torrigiano himself was plunged
+thereby into such melancholy, that, remaining many days without
+eating, and thus becoming very weak, little by little he put an end
+to his own life; and in this way, by denying himself his food, he
+avoided the shame into which he would perchance have fallen, for it
+was believed that he had been condemned to death.
+
+The works of this master date about the year of our salvation, 1515,
+and he died in the year 1522.
+
+FOOTNOTE:
+
+[20] Filippo Brunelleschi.
+
+[21] The name given in the text is Domenico.
+
+
+
+
+GIULIANO AND ANTONIO DA SAN GALLO
+
+
+
+
+LIVES OF GIULIANO AND ANTONIO DA SAN GALLO
+
+ARCHITECTS OF FLORENCE
+
+
+Francesco di Paolo Giamberti, who was a passing good architect in
+the time of Cosimo de' Medici, and was much employed by him, had two
+sons, Giuliano and Antonio, whom he apprenticed to the art of
+wood-carving. One of these two sons, Giuliano, he placed with
+Francione, a joiner, an ingenious person, who gave attention at the
+same time to wood-carving and to perspective, and with whom
+Francesco was very intimate, since they had executed many works in
+company, both in carving and in architecture, for Lorenzo de'
+Medici. This Giuliano learnt so well all that Francione taught him,
+that the carvings and beautiful perspectives that he afterwards
+executed by himself in the choir of the Duomo of Pisa are still
+regarded not without marvel at the present day, even among the many
+new perspectives.
+
+While Giuliano was studying design, and his young blood ran hot in
+his veins, the army of the Duke of Calabria, by reason of the hatred
+which that lord bore to Lorenzo de' Medici, encamped before
+Castellina, in order to occupy the dominions of the Signoria of
+Florence, and also, if this should be successful, in order to
+accomplish some greater design. Wherefore Lorenzo the Magnificent
+was forced to send an engineer to Castellina, who might make mills
+and bastions, and should have the charge of handling the artillery,
+which few men at that time were able to do; and he sent thither
+Giuliano, considering him to have a mind more able, more ready, and
+more resolute than any other man, and knowing him already as the son
+of Francesco, who had been a devoted servant of the House of Medici.
+
+Arriving at Castellina, therefore, Giuliano fortified that place
+with good walls and mills, both within and without, and furnished
+it with everything else necessary for the defence. Then, observing
+that the artillery-men stood at a great distance from their pieces,
+handling, loading, and discharging them with much timidity, he gave
+his attention to this, and so contrived that from that time onwards
+the artillery did harm to no one, whereas it had previously killed
+many of them, since they had not had judgment and knowledge enough
+to avoid suffering injury from the recoil. Having therefore taken
+charge of the artillery, Giuliano showed great skill in discharging
+it to the best possible advantage; and the Duke's forces so lost
+heart by reason of this and other adverse circumstances, that they
+were glad to make terms and depart from the town. In consequence of
+this Giuliano won no little praise from Lorenzo in Florence, and was
+looked upon with favour and affection ever afterwards.
+
+Having meanwhile given his attention to architecture, he began the
+first cloister of the Monastery of Cestello, and executed that part
+of it that is seen to be of the Ionic Order; placing capitals on the
+columns with volutes curving downwards to the collarino, where the
+shaft of the column ends, and making, below the ovoli and the
+fusarole, a frieze, one-third in height of the diameter of the
+column. This capital was copied from a very ancient one of marble,
+found at Fiesole by Messer Leonardo Salutati, Bishop of that place,
+who kept it for some time, together with other antiquities, in a
+house and garden that he occupied in the Via di S. Gallo, opposite
+to S. Agata; and it is now in the possession of Messer Giovan
+Battista da Ricasoli, Bishop of Pistoia, and is prized for its beauty
+and variety, since among the ancient capitals there has not been
+seen another like it. But that cloister remained unfinished, because
+those monks were not then able to bear such an expense.
+
+Meanwhile Giuliano had come into even greater credit with Lorenzo;
+and the latter, who was intending to build a palace at Poggio a
+Cajano, a place between Florence and Pistoia, and had caused several
+models to be made for it by Francione and by others, commissioned
+Giuliano, also, to make one of the sort of building that he proposed
+to erect. And Giuliano made it so completely different in form from
+the others, and so much to Lorenzo's fancy, that he began
+straightway to have it carried into execution, as the best of all
+the models; on which account he took Giuliano even more into his
+favour, and ever afterwards gave him an allowance.
+
+After this, Giuliano wishing to make a vaulted ceiling for the great
+hall of that palace in the manner that we call barrel-shaped,
+Lorenzo could not believe, on account of the great space, that it
+could be raised. Whereupon Giuliano, who was building a house for
+himself in Florence, made a ceiling for his hall according to the
+design of the other, in order to convince the mind of that
+Magnificent Prince; and Lorenzo therefore gave orders for the
+ceiling at the Poggio to be carried out, which was successfully
+done.
+
+By that time the fame of Giuliano had so increased, that, at the
+entreaty of the Duke of Calabria, he was commissioned by Lorenzo the
+Magnificent to make the model for a palace that was to be built at
+Naples; and he spent a long time over executing it. Now while he was
+working at this, the Castellan of Ostia, then Bishop della Rovere,
+who after a time became Pope Julius II, wishing to restore that
+stronghold and to put it into good order, and having heard the fame
+of Giuliano, sent to Florence for him; and, having supplied him with
+a good provision, he kept him employed for two years in making
+therein all the useful improvements that he was able to execute by
+means of his art. And to the end that the model for the Duke of
+Calabria might not be neglected, but might be brought to conclusion,
+he left it to his brother Antonio, who finished it according to his
+directions, which, in executing it and carrying it to completion, he
+followed with great diligence, for he was no less competent in that
+art than Giuliano himself. Now Giuliano was advised by the elder
+Lorenzo to present it in person, to the end that he might show from
+the model itself the difficulties that he had triumphed over in
+making it. Whereupon he departed for Naples, and, having presented
+the work, was received with honour; for men were as much impressed
+by the gracious manner in which the Magnificent Lorenzo had sent
+him, as they were struck with marvel at the masterly work in the
+model, which gave such satisfaction that the building was
+straightway begun near the Castel Nuovo.
+
+After Giuliano had been some time in Naples, he sought leave from
+the Duke to return to Florence; whereupon he was presented by the
+King with horses and garments, and, among other things, with a
+silver cup containing some hundreds of ducats. These things Giuliano
+would not accept, saying that he served a patron who had no need of
+silver or gold, but that if he did indeed wish to give him some
+present or some token of approbation, to show that he had been in
+that city, he might bestow upon him some of his antiquities, which
+he would choose himself. These the King granted to him most
+liberally, both for love of the Magnificent Lorenzo and on account
+of Giuliano's own worth; and they were a head of the Emperor
+Hadrian, which is now above the door of the garden at the house of
+the Medici, a nude woman, more than life-size, and a Cupid sleeping,
+all in marble and in the round. Giuliano sent them as presents to
+the Magnificent Lorenzo, who expressed vast delight at the gift, and
+never tired of praising the action of this most liberal of
+craftsmen, who had refused gold and silver for the sake of art, a
+thing which few would have done. That Cupid is now in the guardaroba
+of Duke Cosimo.
+
+[Illustration: FAÇADE OF S. MARIA DELLE CARCERI
+
+(_After_ Giuliano da San Gallo. _Prato_)
+
+_Alinari_]
+
+Having then returned to Florence, Giuliano was received most
+graciously by the Magnificent Lorenzo. Now the fancy had taken that
+Prince to build a convent capable of holding a hundred friars,
+without the Porta S. Gallo, in order to give satisfaction to Fra
+Mariano da Ghinazzano, a most learned member of the Order of Eremite
+Friars of S. Augustine. For this convent models were made by many
+architects, and in the end that of Giuliano was put into execution,
+which was the reason that Lorenzo, from this work, gave him the name
+of Giuliano da San Gallo. Wherefore Giuliano, who heard himself
+called by everyone "da San Gallo," said one day in jest to the
+Magnificent Lorenzo, "By giving me this new name of 'da San Gallo,'
+you are making me lose the ancient name of my house, so that, in
+place of going forward in the matter of lineage, as I thought to do,
+I am going backward." Whereupon Lorenzo answered that he would
+rather have him become the founder of a new house through his own
+worth, than depend on others; at which Giuliano was well content.
+
+Meanwhile the work of S. Gallo was carried on, together with
+Lorenzo's other buildings; but neither the convent nor the others
+were finished, by reason of the death of Lorenzo. And even the
+completed part of this structure of S. Gallo did not long remain
+standing, because in 1530, on account of the siege of Florence, it
+was destroyed and thrown to the ground, together with the whole
+suburb, the piazza of which was completely surrounded by very
+beautiful buildings; and at the present day there is no trace to be
+seen there of house, church, or convent.
+
+At this time there took place the death of the King of Naples,
+whereupon Giuliano Gondi, a very rich Florentine merchant, returned
+from that city to Florence, and commissioned Giuliano da San Gallo,
+with whom he had become very intimate on account of his visit to
+Naples, to build him a palace in rustic work, opposite to S.
+Firenze, above the place where the lions used to be. This palace was
+to form the angle of the piazza and to face the old Mercatanzia; but
+the death of Giuliano Gondi put a stop to the work. In it, among
+other things, Giuliano made a chimney-piece, very rich in carvings,
+and so varied and beautiful in composition, that up to that time
+there had never been seen the like, nor one with such a wealth of
+figures. The same master made a palace for a Venetian in Camerata,
+without the Porta a Pinti, and many houses for private citizens, of
+which there is no need to make mention.
+
+Lorenzo the Magnificent, in order to benefit the commonwealth and
+adorn the State, and at the same time to leave behind him some
+splendid monument, in addition to the endless number that he had
+already erected, wished to execute the fortification of the Poggio
+Imperiale, above Poggibonsi, on the road to Rome, with a view to
+founding a city there; and he would not lay it out without the
+advice and design of Giuliano. Wherefore that master began that most
+famous structure, in which he made the well-designed and beautiful
+range of fortifications that we see at the present day.
+
+These works brought him such fame, that he was then summoned to
+Milan, through the mediation of Lorenzo, by the Duke of Milan, to
+the end that he might make for him the model of a palace; and there
+Giuliano was no less honoured by the Duke than he had previously
+been honoured by the King of Naples, when that Sovereign had invited
+him to that city. For when he had presented the model to him, on
+the part of the Magnificent Lorenzo, the Duke was filled with
+astonishment and marvel at seeing the vast number of beautiful
+adornments in it, so well arranged and distributed, and all
+accommodated in their places with art and grace; for which reason
+all the materials necessary for the work were got together, and they
+began to put it into execution. In the same city, together with
+Giuliano, was Leonardo da Vinci, who was working for the Duke; and
+Leonardo, speaking with Giuliano about the casting of the horse that
+he was proposing to make, received from him some excellent
+suggestions. This work was broken to pieces on the arrival of the
+French, so that the horse was never finished; nor could the palace
+be brought to completion.
+
+Having returned to Florence, Giuliano found that his brother
+Antonio, who worked for him on his models, had become so excellent,
+that there was no one in his day who was a better master in carving,
+particularly for large Crucifixes of wood; to which witness is borne
+by the one over the high-altar of the Nunziata in Florence, by
+another that is kept by the Friars of S. Gallo in S. Jacopo tra
+Fossi, and by a third in the Company of the Scalzo, which are all
+held to be very good. But Giuliano removed him from that profession
+and caused him to give his attention to architecture, in company
+with himself, since he had many works to execute, both public and
+private.
+
+Now it happened, as it is always happening, that Fortune, the enemy
+of talent, robbed the followers of the arts of their hope and
+support by the death of Lorenzo de' Medici, which was a heavy loss
+not only to all able craftsmen and to his country, but also to all
+Italy. Wherefore Giuliano, together with all the other lofty
+spirits, was left wholly inconsolable; and in his grief he betook
+himself to Prato, near Florence, in order to build the Temple of the
+Madonna delle Carcere, since all building in Florence, both public
+and private, was at a standstill. He lived in Prato, therefore,
+three whole years, supporting the expense, discomfort, and sorrow as
+best he could.
+
+At the end of that time, it being proposed to roof the Church of the
+Madonna at Loreto, and to raise the cupola, which had been formerly
+begun but not finished by Giuliano da Maiano, and those who had
+charge of the matter doubting that the piers were too weak to bear
+such a weight, they wrote, therefore, to Giuliano, that if he
+desired such a work, he should go and see it for himself. And having
+gone, like the bold and able man that he was, he showed them that
+the cupola could be raised with ease, and that he had courage enough
+for the task; and so many, and of such a kind, were the reasons that
+he put before them, that the work was allotted to him. After
+receiving this commission, he caused the work in Prato to be
+despatched, and made his way, with the same master-builders and
+stone-cutters, to Loreto. And to the end that this structure,
+besides beauty of form, might be firm, solid, stable, and well bound
+in the stonework, he sent to Rome for pozzolana[22]; nor was any
+lime used that was not mixed with it, nor any stone built in without
+it; and thus, within the space of three years, it was brought to
+perfect completion, ready for use.
+
+Giuliano then went to Rome, where, for Pope Alexander VI, he
+restored the roof of S. Maria Maggiore, which was falling into ruin;
+and he made there the ceiling that is to be seen at the present day.
+While he was thus employed about the Court, Bishop della Rovere, who
+had been the friend of Giuliano from the time when he was Castellan
+of Ostia, and who had been created Cardinal of S. Pietro in Vincula,
+caused him to make a model for the Palace of S. Pietro in Vincula.
+And a little time after, desiring to build a palace in his own city
+of Savona, he wished to have it erected likewise from the design and
+under the eye of Giuliano. But such a journey was difficult for
+Giuliano, for the reason that his ceiling was not yet finished, and
+Pope Alexander would not let him go. He entrusted the finishing of
+it, therefore, to his brother Antonio, who, having a good and
+versatile intelligence, and coming thus into contact with the Court,
+entered into the service of the Pope, who conceived a very great
+affection for him; and this he proved when he resolved to restore,
+with new foundations and with defences after the manner of a castle,
+the Mausoleum of Hadrian, now called the Castello di S. Angelo, for
+Antonio was made overseer of this undertaking, and under his
+direction were made the great towers below, the ditches, and the
+rest of the fortifications that we see at the present day. This work
+brought him great credit with the Pope, and with his son, Duke
+Valentino; and it led to his building the fortress that is now to be
+seen at Cività Castellana. Thus, then, while that Pontiff was alive,
+he was continually employed in building; and while working for him,
+he was rewarded by him no less than he was esteemed.
+
+Giuliano had already carried well forward the work at Savona, when
+the Cardinal returned to Rome on some business of his own, leaving
+many workmen to bring the building to completion after the
+directions and design of Giuliano, whom he took with him to Rome.
+Giuliano made that journey willingly, wishing to see Antonio and his
+works; and he stayed there some months. During that time, however,
+the Cardinal fell into disgrace with the Pope, and departed from
+Rome, in order not to be taken prisoner, and Giuliano, as before,
+went in his company. On arriving at Savona, they set a much greater
+number of master-builders and other artificers to work on the
+building. But the threats of the Pope against the Cardinal becoming
+every day louder, it was not long before he made his way to Avignon.
+From there he sent as a present to the King of France a model for a
+palace that Giuliano had made for him, which was marvellous, very
+rich in ornament, and spacious enough for the accommodation of his
+whole Court. The royal Court was at Lyons when Giuliano presented
+his model; and the gift was so welcome and acceptable to the King,
+that he rewarded Giuliano liberally and gave him infinite praise,
+besides rendering many thanks for it to the Cardinal, who was at
+Avignon.
+
+Meanwhile they received news that the palace at Savona was already
+nearly finished; whereupon the Cardinal determined that Giuliano
+should once more see the work, and Giuliano, having gone for this
+purpose to Savona, had not been there long when it was completely
+finished. Then, desiring to return to Florence, where he had not
+been for a long time, Giuliano took the road for that city together
+with his master-builders. Now at that time the King of France had
+restored Pisa her liberty, and the war between the Florentines and
+the Pisans was still raging; and Giuliano, wishing to pass through
+Pisan territory, had a safe-conduct made out for his company at
+Lucca, for they had no small apprehension about the Pisan soldiers.
+Nevertheless, while passing near Altopascio, they were captured by
+the Pisans, who cared nothing for safe-conducts or for any other
+warrant that they might have. And for six months Giuliano was
+detained in Pisa, his ransom being fixed at three hundred ducats;
+nor was he able to return to Florence until he had paid it.
+
+Antonio had heard this news in Rome, and, desiring to see his native
+city and his brother again, obtained leave to depart from Rome; and
+on his way he designed for Duke Valentino the fortress of
+Montefiascone. Finally, in the year 1503, he reached Florence, where
+the two brothers and their friends took joyful pleasure in each
+other's company.
+
+There now ensued the death of Alexander VI, and the election of Pius
+III, who lived but a short time; whereupon the Cardinal of S. Pietro
+in Vincula was created Pontiff, under the name of Pope Julius II;
+which brought great joy to Giuliano, on account of his having been
+so long in his service, and he determined, therefore, to go to kiss
+the Pope's foot. Having then arrived in Rome, he was warmly received
+and welcomed lovingly, and was straightway commissioned to execute
+the first buildings undertaken by that Pope before the coming of
+Bramante.
+
+Antonio, who had remained in Florence, continued, in the absence of
+Giuliano (Piero Soderini being Gonfalonier), the building of the
+Poggio Imperiale, to which all the Pisan prisoners were sent to
+labour, in order to finish the work the quicker. After this, by
+reason of the troubles at Arezzo, the old fortress was destroyed,
+and Antonio made the model for the new one, with the consent of
+Giuliano, who had come from Rome for this purpose, but soon returned
+thither; and this work was the reason that Antonio was appointed
+architect to the Commune of Florence for all the fortifications.
+
+On the return of Giuliano to Rome, the question was being debated as
+to whether the divine Michelagnolo Buonarroti should make the tomb
+of Pope Julius; whereupon Giuliano exhorted the Pope to pursue that
+undertaking, adding that it seemed to him that it was necessary to
+build a special chapel for such a monument, and that it should not
+be placed in the old S. Pietro, in which there was no space for it,
+whereas a new chapel would bring out all the perfection of the work.
+After many architects, then, had made designs, the matter little by
+little became one of such importance, that, in place of erecting a
+chapel, a beginning was made with the great fabric of the new S.
+Pietro. There had arrived in Rome, about that time, the architect
+Bramante of Castel Durante, who had been in Lombardy; and he went to
+work in such a manner, with various extraordinary means and methods
+of his own, and with his fantastic ideas, having on his side
+Baldassarre Peruzzi, Raffaello da Urbino, and other architects, that
+he put the whole undertaking into confusion; whereby much time was
+consumed in discussions. Finally--so well did he know how to set
+about the matter--the work was entrusted to him, as the man who had
+shown the finest judgment, the best intelligence, and the greatest
+invention.
+
+Giuliano, resenting this, for it appeared to him that he had
+received an affront from the Pope, in view of the faithful service
+that he had rendered to him when his rank was not so high, and of
+the promise made to him by the Pope that he should have that
+building, sought leave to go; and so, notwithstanding that he was
+appointed companion to Bramante for other edifices that were being
+erected in Rome, he departed, and returned, with many gifts received
+from that Pontiff, to Florence.
+
+This was a great joy to Piero Soderini, who straightway set him to
+work. Nor had six months gone by, when Messer Bartolommeo della
+Rovere, the nephew of the Pope, and a friend of Giuliano, wrote to
+him in the name of his Holiness that he should return for his own
+advantage to Rome; but neither terms nor promises availed to move
+Giuliano, who considered that he had been put to shame by the Pope.
+Finally, however, a letter was written to Piero Soderini, urging him
+in one way or another to send Giuliano to Rome, since his Holiness
+wished to finish the fortifications of the Great Round Tower, which
+had been begun by Nicholas V, and likewise those of the Borgo and
+the Belvedere, with other works; and Giuliano allowed himself to be
+persuaded by Soderini, and therefore went to Rome, where he received
+a gracious welcome and many gifts from the Pope.
+
+Having afterwards gone to Bologna, from which the Bentivogli had
+just been driven out, the Pope resolved, by the advice of Giuliano,
+to have a figure of himself in bronze made by Michelagnolo
+Buonarroti; and this was carried out, as will be related in the Life
+of Michelagnolo himself. Giuliano also followed the Pope to
+Mirandola, and after it was taken, having endured much fatigue and
+many discomforts, he returned with the Court to Rome. But the
+furious desire to drive the French out of Italy not having yet got
+out of the head of the Pope, he strove to wrest the government of
+Florence out of the hands of Piero Soderini, whose power was no
+small hindrance to him in the project that he had in mind.
+Whereupon, since the Pontiff, for these reasons, had turned aside
+from building and had embroiled himself in wars, Giuliano, by this
+time weary, and perceiving that attention was being given only to
+the construction of S. Pietro, and not much even to that, sought
+leave from him to depart. But the Pope answered him in anger, "Do
+you believe that you are the only Giuliano da San Gallo to be
+found?" To which he replied that none could be found equal to him in
+faithful service, while he himself would easily find Princes truer
+to their promises than the Pope had been towards him. However, the
+Pontiff would by no means give him leave to go, saying that he would
+speak to him about it another time.
+
+Meanwhile Bramante, having brought Raffaello da Urbino to Rome, set
+him to work at painting the Papal apartments; whereupon Giuliano,
+perceiving that the Pope took great delight in those pictures, and
+knowing that he wished to have the ceiling of the chapel of his
+uncle Sixtus painted, spoke to him of Michelagnolo, adding that he
+had already executed the bronze statue in Bologna. Which news
+pleased the Pope so much that he sent for Michelagnolo, who, on
+arriving in Rome, received the commission for the ceiling of that
+chapel.
+
+A little time after this, Giuliano coming back once more to seek
+leave from the Pope to depart, his Holiness, seeing him determined
+on this, was content that he should return to Florence, without
+forfeiting his favour; and, after having blessed him, he gave him a
+purse of red satin containing five hundred crowns, telling him that
+he might return home to rest, but that he would always be his
+friend. Giuliano, then, having kissed the sacred foot, returned to
+Florence, at the very time when Pisa was surrounded and besieged by
+the army of Florence. No sooner had he arrived, therefore, than
+Piero Soderini, after the due greetings, sent him to the camp to
+help the military commissaries, who had found themselves unable to
+prevent the Pisans from passing provisions into Pisa by way of the
+Arno. Giuliano made a design for a bridge of boats to be built at
+some better season, and then went back to Florence; and when spring
+had come, taking with him his brother Antonio, he made his way to
+Pisa, where they constructed a bridge, which was a very ingenious
+piece of work, since, besides the fact that, rising or falling with
+the water, and being well bound with chains, it stood safe and sound
+against floods, it carried out the desires of the commissaries in
+such a manner, cutting off Pisa from access to the sea by way of the
+Arno, that the Pisans, having no other expedient in their sore
+straits, were forced to come to terms with the Florentines; and so
+they surrendered. Nor was it long before the same Piero Soderini
+again sent Giuliano, with a vast number of master-builders, to Pisa,
+where with extraordinary swiftness he erected the fortress that
+still stands at the Porta a S. Marco, and also the gate itself,
+which he built in the Doric Order. And the while that Giuliano was
+engaged on this work, which was until the year 1512, Antonio went
+through the whole dominion, inspecting and restoring the fortresses
+and other public buildings.
+
+After this, by the favour of the same Pope Julius, the house of
+Medici was reinstated in the government of Florence, from which they
+had been driven out on the invasion of Italy by Charles VIII, King
+of France, and Piero Soderini was expelled from the Palace; and the
+Medici showed their gratitude to Giuliano and Antonio for the
+services that they had rendered in the past to their illustrious
+family. Now Cardinal Giovanni de' Medici having been elected Pope a
+short time after the death of Julius II, Giuliano was forced once
+again to betake himself to Rome; where, Bramante dying not long
+after his arrival, it was proposed to give to Giuliano the charge of
+the building of S. Pietro. But he, being worn out by his labours,
+and crushed down by old age and by the stone, which made his life a
+burden, returned by leave of his Holiness to Florence; and that
+commission was given to the most gracious Raffaello da Urbino. And
+Giuliano, after two years, was pressed so sorely by his malady, that
+he died at the age of seventy-four in the year 1517, leaving his
+name to the world, his body to the earth, and his soul to God.
+
+By his departure he left a heavy burden of sorrow to his brother
+Antonio, who loved him tenderly, and to a son of his own named
+Francesco, who was engaged in sculpture, although he was still quite
+young. This Francesco, who has preserved up to our own day all the
+treasures of his elders, and holds them in veneration, executed many
+works at Florence and elsewhere, both in sculpture and in
+architecture, and by his hand is the Madonna of marble, with the
+Child in her arms, and lying in the lap of S. Anne, that is in
+Orsanmichele; which work, with the figures carved in the round out
+of one single block, was held, as it still is, to be very beautiful.
+He has also executed the tomb that Pope Clement caused to be made
+for Piero de' Medici at Monte Cassino, besides many other works, of
+which no mention is here made because the said Francesco is still
+alive.
+
+After the death of Giuliano, Antonio, being a man who was not
+willing to stay idle, made two large Crucifixes of wood, one of
+which was sent into Spain, while the other, by order of the
+Vice-Chancellor, Cardinal Giulio de' Medici, was taken by Domenico
+Buoninsegni into France. It being then proposed to build the
+fortress of Livorno, Antonio was sent thither by Cardinal de' Medici
+to make the design for it; which he did, although it was afterwards
+not carried completely into execution, nor even after the method
+suggested by Antonio. After this, the men of Montepulciano
+determining, by reason of the miracles wrought by an image of Our
+Lady, to build a temple for it at very great cost, Antonio made the
+model for this, and became head of the undertaking; on which account
+he visited that building twice a year. At the present day it is to
+be seen carried to perfect completion, having been executed with
+supreme grace, and with truly marvellous beauty and variety of
+composition, by the genius of Antonio, and all the masonry is of a
+certain stone that has a tinge of white, after the manner of
+travertine. It stands without the Porta di S. Biagio, on the right
+hand, half-way up the slope of the hill. At this time, he made a
+beginning with a palace in the township of Monte San Sovino, for
+Antonio di Monte, Cardinal of Santa Prassedia; and he built another
+for the same man at Montepulciano, both being executed and finished
+with extraordinary grace.
+
+He made the design for the side of the buildings of the Servite
+Friars (in Florence), on their Piazza, following the order of the
+Loggia of the Innocenti; and at Arezzo he made models for the aisles
+of the Madonna delle Lacrime, although that work was very badly
+conceived, because it is out of harmony with the original part of
+the building, and the arches at the ends are not in true line with
+the centre. He also made a model for the Madonna of Cortona; but I
+do not think that this was put into execution. He was employed in
+the siege on the bastions and fortifications within the city, and in
+this undertaking he had as a companion his nephew Francesco. After
+this, the Giant of the Piazza, executed by the hand of Michelagnolo,
+having been set into place in the time of Giuliano, the brother of
+our Antonio, it was proposed to set up the other, which had been
+made by Baccio Bandinelli; and the task of bringing it safely into
+position was given to Antonio, who, taking Baccio d' Agnolo as his
+companion, carried this out by means of very powerful machines, and
+placed it in safety on the base that had been prepared for that
+purpose.
+
+In the end, having become old, he took no pleasure in anything save
+agriculture, of which he had an excellent knowledge. And then, when
+on account of old age he was no longer able to bear the discomforts
+of this world, he rendered up his soul to God, in the year 1534, and
+was laid to rest by the side of his brother Giuliano in the tomb of
+the Giamberti, in the Church of S. Maria Novella.
+
+The marvellous works of these two brothers will bear witness before
+the world to the extraordinary genius that they possessed; and for
+their lives, their honourable ways, and their every action, they
+were held in estimation by all men. Giuliano and Antonio bequeathed
+to the art of architecture methods that gave the Tuscan Order of
+building better form than any other architect had yet achieved, and
+the Doric Order they enriched with better measures and proportions
+than their predecessors, following the rules and canons of
+Vitruvius, had been wont to use. They collected in their houses at
+Florence an infinite number of most beautiful antiquities in marble,
+which adorned Florence, and still adorn her, no less than those
+masters honoured themselves and their art. Giuliano brought from
+Rome the method of casting vaults with such materials as made them
+ready carved; examples of which may be seen in a room in his own
+house, and in the vaulting of the Great Hall at Poggio a Cajano,
+which is still to be seen there. Wherefore we should acknowledge our
+obligation to their labours, whereby they fortified the dominion of
+Florence, adorned the city, and gave a name, throughout the many
+regions where they worked, to Florence and to the intellects of
+Tuscany, who, to honour their memory, have written to them these
+verses--
+
+  Cedite Romani structores, cedite Graii,
+    Artis, Vitruvi, tu quoque cede parens.
+  Etruscos celebrare viros, testudinis arcus,
+    Urna, tholus, statuæ, templa, domusque petunt.
+
+FOOTNOTE:
+
+[22] A friable volcanic tufa.
+
+
+
+
+RAFFAELLO DA URBINO
+
+
+
+
+LIFE OF RAFFAELLO DA URBINO
+
+[_RAFFAELLO SANZIO_]
+
+PAINTER AND ARCHITECT
+
+
+How bountiful and benign Heaven sometimes shows itself in showering
+upon one single person the infinite riches of its treasures, and all
+those graces and rarest gifts that it is wont to distribute among
+many individuals, over a long space of time, could be clearly seen
+in the no less excellent than gracious Raffaello Sanzio da Urbino,
+who was endowed by nature with all that modesty and goodness which
+are seen at times in those who, beyond all other men, have added to
+their natural sweetness and gentleness the beautiful adornment of
+courtesy and grace, by reason of which they always show themselves
+agreeable and pleasant to every sort of person and in all their
+actions. Him nature presented to the world, when, vanquished by art
+through the hands of Michelagnolo Buonarroti, she wished to be
+vanquished, in Raffaello, by art and character together. And in
+truth, since the greater part of the craftsmen who had lived up to
+that time had received from nature a certain element of savagery and
+madness, which, besides making them strange and eccentric, had
+brought it about that very often there was revealed in them rather
+the obscure darkness of vice than the brightness and splendour of
+those virtues that make men immortal, there was right good reason
+for her to cause to shine out brilliantly in Raffaello, as a
+contrast to the others, all the rarest qualities of the mind,
+accompanied by such grace, industry, beauty, modesty, and excellence
+of character, as would have sufficed to efface any vice, however
+hideous, and any blot, were it ever so great. Wherefore it may be
+surely said that those who are the possessors of such rare and
+numerous gifts as were seen in Raffaello da Urbino, are not merely
+men, but, if it be not a sin to say it, mortal gods; and that those
+who, by means of their works, leave an honourable name written in
+the archives of fame in this earthly world of ours, can also hope to
+have to enjoy in Heaven a worthy reward for their labours and
+merits.
+
+[Illustration: RAPHAEL: S. GEORGE AND THE DRAGON
+
+(_S. Petersburg: Hermitage, 39. Panel_)]
+
+Raffaello was born at Urbino, a very famous city in Italy, at three
+o'clock of the night on Good Friday, in the year 1483, to a father
+named Giovanni de' Santi, a painter of no great excellence, and yet
+a man of good intelligence, well able to direct his children on that
+good path which he himself had not been fortunate enough to have
+shown to him in his boyhood. And since Giovanni knew how important
+it is to rear infants, not with the milk of nurses, but with that of
+their own mothers, no sooner was Raffaello born, to whom with happy
+augury he gave that name at baptism, than he insisted that this his
+only child--and he had no more afterwards--should be suckled by his
+own mother, and that in his tender years he should have his
+character formed in the house of his parents, rather than learn less
+gentle or even boorish ways and habits in the houses of peasants or
+common people. When he was well grown, he began to exercise him in
+painting, seeing him much inclined to such an art, and possessed of
+a very beautiful genius: wherefore not many years passed before
+Raffaello, still a boy, became a great help to Giovanni in many
+works that he executed in the state of Urbino. In the end, this good
+and loving father, knowing that his son could learn little from him,
+made up his mind to place him with Pietro Perugino, who, as he heard
+tell, held the first place among painters at that time. He went,
+therefore, to Perugia: but not finding Pietro there, he set himself,
+in order to lessen the annoyance of waiting for him, to execute some
+works in S. Francesco. When Pietro had returned from Rome, Giovanni,
+who was a gentle and well-bred person, formed a friendship with him,
+and, when the time appeared to have come, in the most adroit method
+that he knew, told him his desire. And so Pietro, who was very
+courteous and a lover of beautiful genius, agreed to have Raffaello:
+whereupon Giovanni, going off rejoicing to Urbino, took the boy, not
+without many tears on the part of his mother, who loved him dearly,
+and brought him to Perugia, where Pietro, after seeing Raffaello's
+method of drawing, and his beautiful manners and character,
+formed a judgment of him which time, from the result, proved to be
+very true.
+
+It is a very notable thing that Raffaello, studying the manner of
+Pietro, imitated it in every respect so closely, that his copies
+could not be distinguished from his master's originals, and it was
+not possible to see any clear difference between his works and
+Pietro's; as is still evident from some figures in a panel in S.
+Francesco at Perugia, which he executed in oils for Madonna
+Maddalena degli Oddi. These are a Madonna who has risen into Heaven,
+with Jesus Christ crowning her, while below, round the sepulchre,
+are the twelve Apostles, contemplating the Celestial Glory, and at
+the foot of the panel is a predella divided into three scenes,
+painted with little figures, of the Madonna receiving the
+Annunciation from the Angel, of the Magi adoring Christ, and of
+Christ in the arms of Simeon in the Temple. This work is executed
+with truly supreme diligence; and one who had not a good knowledge
+of the two manners, would hold it as certain that it is by the hand
+of Pietro, whereas it is without a doubt by the hand of Raffaello.
+
+After this work, Pietro returning to Florence on some business of
+his own, Raffaello departed from Perugia and went off with some
+friends to Città di Castello, where he painted a panel for S.
+Agostino in the same manner, and likewise one of a Crucifixion for
+S. Domenico, which, if his name were not written upon it, no one
+would believe to be a work by Raffaello, but rather by Pietro. For
+S. Francesco, also in the same city, he painted a little
+panel-picture of the Marriage of Our Lady, in which one may
+recognize the excellence of Raffaello increasing and growing in
+refinement, and surpassing the manner of Pietro. In this work is a
+temple drawn in perspective with such loving care, that it is a
+marvellous thing to see the difficulties that he was for ever
+seeking out in this branch of his profession.
+
+Meanwhile, when he had acquired very great fame by following his
+master's manner, Pope Pius II[23] had given the commission for
+painting the library of the Duomo at Siena to Pinturicchio; and he,
+being a friend of Raffaello, and knowing him to be an excellent
+draughtsman, brought him to Siena, where Raffaello made for him some
+of the drawings and cartoons for that work. The reason that he did
+not continue at it was that some painters in Siena kept extolling
+with vast praise the cartoon that Leonardo da Vinci had made in the
+Sala del Papa[24] of a very beautiful group of horsemen, to be
+painted afterwards in the Hall of the Palace of the Signoria, and
+likewise some nudes executed by Michelagnolo Buonarroti in
+competition with Leonardo, and much better; and Raffaello, on
+account of the love that he always bore to the excellent in art, was
+seized by such a desire to see them, that, putting aside that work
+and all thought of his own advantage and comfort, he went off to
+Florence.
+
+Having arrived there, and being pleased no less with the city than
+with those works, which appeared to him to be divine, he determined
+to take up his abode there for some time; and thus he formed a
+friendship with some young painters, among whom were Ridolfo
+Ghirlandajo, Aristotile da San Gallo, and others, and became much
+honoured in that city, particularly by Taddeo Taddei, who, being one
+who always loved any man inclined to excellence, would have him ever
+in his house and at his table. And Raffaello, who was gentleness
+itself, in order not to be beaten in courtesy, made him two
+pictures, which incline to his first manner, derived from Pietro,
+but also to the other much better manner that he afterwards acquired
+by study, as will be related; which pictures are still in the house
+of the heirs of the said Taddeo.
+
+[Illustration: LO SPOSALIZIO
+
+(_After the panel by =Raffaello da Urbino=. Milan: Brera, 472_)
+
+_Anderson_]
+
+Raffaello also formed a very great friendship with Lorenzo Nasi; and
+for this Lorenzo, who had taken a wife about that time, he painted a
+picture in which he made a Madonna, and between her legs her Son, to
+whom a little S. John, full of joy, is offering a bird, with great
+delight and pleasure for both of them. In the attitude of each is a
+certain childlike simplicity which is wholly lovely, besides that
+they are so well coloured, and executed with such diligence, that
+they appear to be rather of living flesh than wrought by means of
+colour and draughtsmanship; the Madonna, likewise, has an air truly
+full of grace and divinity; and the foreground, the landscapes, and
+in short all the rest of the work, are most beautiful. This
+picture was held by Lorenzo Nasi, as long as he lived, in very great
+veneration, both in memory of Raffaello, who had been so much his
+friend, and on account of the dignity and excellence of the work;
+but afterwards, on August 9, in the year 1548, it met an evil fate,
+when, on account of the collapse of the hill of S. Giorgio, the
+house of Lorenzo fell down, together with the ornate and beautiful
+houses of the heirs of Marco del Nero, and other neighbouring
+dwellings. However, the pieces of the picture being found among the
+fragments of the ruins, the son of Lorenzo, Battista, who was a great
+lover of art, had them put together again as well as was possible.
+
+[Illustration: MADDALENA DONI
+
+(_After the panel by =Raffaello da Urbino=. Florence: Pitti, 59_)
+
+_Anderson_]
+
+After these works, Raffaello was forced to depart from Florence and
+go to Urbino, where, on account of the death of his mother and of
+his father Giovanni, all his affairs were in confusion. While he was
+living in Urbino, therefore, he painted for Guidobaldo da
+Montefeltro, then Captain of the Florentines, two pictures of Our
+Lady, small but very beautiful, and in his second manner, which are
+now in the possession of the most illustrious and excellent
+Guidobaldo, Duke of Urbino. For the same patron he painted a little
+picture of Christ praying in the Garden, with the three Apostles
+sleeping at some distance from Him. This painting is so highly
+finished, that a miniature could not be better, or in any way
+different; and after having been a long time in the possession of
+Francesco Maria, Duke of Urbino, it was then presented by the most
+illustrious Signora Leonora, his consort, to the Venetians Don Paolo
+Giustiniano and Don Pietro Quirini, hermits of the holy Hermitage of
+Camaldoli, who afterwards placed it, as a relic and a very rare
+thing, and, in a word, as a work by the hand of Raffaello da Urbino,
+and also to honour the memory of that most illustrious lady, in the
+apartment of the Superior of that hermitage, where it is held in the
+veneration that it deserves.
+
+Having executed these works and settled his affairs, Raffaello
+returned to Perugia, where he painted a panel-picture of Our Lady,
+S. John the Baptist, and S. Nicholas, for the Chapel of the Ansidei
+in the Church of the Servite Friars. And in the Chapel of the
+Madonna in S. Severo, a little monastery of the Order of Camaldoli,
+in the same city, he painted in fresco a Christ in Glory, and a God
+the Father with angels round Him, and six saints seated, S.
+Benedict, S. Romualdo, S. Laurence, S. Jerome, S. Mauro, and S.
+Placido, three on either side; and on this picture, which was held
+at that time to be most beautiful for a work in fresco, he wrote his
+name in large and very legible letters. In the same city, also, he
+was commissioned by the Nuns of S. Anthony of Padua to paint a
+panel-picture of Our Lady, with Jesus Christ fully dressed, as it
+pleased those simple and venerable sisters, in her lap, and on
+either side of the Madonna S. Peter, S. Paul, S. Cecilia, and S.
+Catherine; to which two holy virgins he gave the sweetest and most
+lovely expressions of countenance and the most beautifully varied
+head-dresses that are anywhere to be seen, which was a rare thing in
+those times. Above this panel, in a lunette, he painted a very
+beautiful God the Father, and in the predella of the altar three
+scenes with little figures, of Christ praying in the Garden, bearing
+the Cross (wherein are some soldiers dragging Him along with most
+beautiful movements), and lying dead in the lap of His Mother. This
+work is truly marvellous and devout; and it is held in great
+veneration by those nuns, and much extolled by all painters.
+
+I will not refrain from saying that it was recognized, after he had
+been in Florence, that he changed and improved his manner so much,
+from having seen many works by the hands of excellent masters, that
+it had nothing to do with his earlier manner; indeed, the two might
+have belonged to different masters, one much more excellent than the
+other in painting.
+
+Before he departed from Perugia, Madonna Atalanta Baglioni besought
+him that he should consent to paint a panel for her chapel in the
+Church of S. Francesco; but since he was not able to meet her wishes
+at that time, he promised her that, after returning from Florence,
+whither he was obliged to go on some affairs, he would not fail her.
+And so, having come to Florence, where he applied himself with
+incredible labour to the studies of his art, he made the cartoon for
+that chapel, with the intention of going, as he did, as soon as the
+occasion might present itself, to put it into execution.
+
+[Illustration: RAFFAELLO DA URBINO: ANGELO DONI
+
+(_Florence: Pitti, 61. Panel_)]
+
+While he was thus staying in Florence, Agnolo Doni--who was very
+careful of his money in other things, but willing to spend it,
+although still with the greatest possible economy, on works of
+painting and sculpture, in which he much delighted--caused him to
+make portraits of himself and of his wife; and these may be seen,
+painted in his new manner, in the possession of Giovan Battista, his
+son, in the beautiful and most commodious house that the same Agnolo
+built on the Corso de' Tintori, near the Canto degli Alberti, in
+Florence. For Domenico Canigiani, also, he painted a picture of Our
+Lady, with the Child Jesus welcoming a little S. John brought to Him
+by S. Elizabeth, who, as she holds him, is gazing with a most
+animated expression at a S. Joseph, who is standing with both his
+hands leaning on a staff, and inclines his head towards her, as
+though praising the greatness of God and marvelling that she, so
+advanced in years, should have so young a child. And all appear to
+be amazed to see with how much feeling and reverence the two
+cousins, for all their tender age, are caressing one another; not to
+mention that every touch of colour in the heads, hands, and feet
+seems to be living flesh rather than a tint laid on by a master of
+that art. This most noble picture is now in the possession of the
+heirs of the said Domenico Canigiani, who hold it in the estimation
+that is due to a work by Raffaello da Urbino.
+
+This most excellent of painters studied in the city of Florence the
+old works of Masaccio; and what he saw in those of Leonardo and
+Michelagnolo made him give even greater attention to his studies, in
+consequence of which he effected an extraordinary improvement in his
+art and manner. While he was living in Florence, Raffaello, besides
+other friendships, became very intimate with Fra Bartolommeo di San
+Marco, being much pleased with his colouring, and taking no little
+pains to imitate it: and in return he taught that good father the
+principles of perspective, to which up to that time the monk had not
+given any attention.
+
+But at the very height of this friendly intercourse, Raffaello was
+recalled to Perugia, where he began by finishing the work for the
+aforesaid Madonna Atalanta Baglioni in S. Francesco, for which, as
+has been related, he had made the cartoon in Florence. In this most
+divine picture there is a Dead Christ being borne to the Sepulchre,
+executed with such freshness and such loving care, that it seems to
+the eye to have been only just painted. In the composition of this
+work, Raffaello imagined to himself the sorrow that the nearest and
+most affectionate relatives of the dead one feel in laying to rest
+the body of him who has been their best beloved, and on whom, in
+truth, the happiness, honour, and welfare of a whole family have
+depended. Our Lady is seen in a swoon; and the heads of all the
+figures are very gracious in their weeping, particularly that of S.
+John, who, with his hands clasped, bows his head in such a manner as
+to move the hardest heart to pity. And in truth, whoever considers
+the diligence, love, art, and grace shown by this picture, has great
+reason to marvel, for it amazes all who behold it, what with the air
+of the figures, the beauty of the draperies, and, in short, the
+supreme excellence that it reveals in every part.
+
+[Illustration: "THE SCHOOL OF ATHENS"
+
+(_After the fresco by =Raffaello da Urbino=. Rome: The Vatican_)
+
+_Anderson_]
+
+This work finished, he returned to Florence, where he received from
+the Dei, citizens of that city, the commission for an altar-panel
+that was to be placed in their chapel in S. Spirito; and he began
+it, and brought the sketch very nearly to completion. At the same
+time he painted a picture that was afterwards sent to Siena,
+although, on the departure of Raffaello, it was left with Ridolfo
+Ghirlandajo, to the end that he might finish a piece of blue drapery
+that was wanting. This happened because Bramante da Urbino, who was
+in the service of Julius II, wrote to Raffaello, on account of his
+being distantly related to him and also his compatriot, that he had
+so wrought upon the Pope, who had caused some new rooms to be made
+(in the Vatican), that Raffaello would have a chance of showing his
+worth in them. This proposal pleased Raffaello: wherefore,
+abandoning his works in Florence, and leaving the panel for the Dei
+unfinished, in the state in which Messer Baldassarre da Pescia had
+it placed in the Pieve of his native city after the death of
+Raffaello, he betook himself to Rome. Having arrived there, he found
+that most of the rooms in the Palace had been painted, or were still
+being painted, by a number of masters. To be precise, he saw that
+there was one room in which a scene had been finished by Piero della
+Francesca; Luca da Cortona had brought one wall nearly to
+completion; and Don Pietro[25] della Gatta, Abbot of S. Clemente
+at Arezzo, had begun some works there. Bramantino, the Milanese, had
+likewise painted many figures, which were mostly portraits from
+life, and were held to be very beautiful. After his arrival,
+therefore, having been received very warmly by Pope Julius,
+Raffaello began in the Camera della Segnatura a scene of the
+theologians reconciling Philosophy and Astrology with Theology:
+wherein are portraits of all the sages in the world, disputing in
+various ways. Standing apart are some astrologers, who have made
+various kinds of figures and characters of geomancy and astrology on
+some little tablets, which they send to the Evangelists by certain
+very beautiful angels; and these Evangelists are expounding them.
+Among them is Diogenes with his cup, lying on the steps, and lost in
+thought, a figure very well conceived, which, for its beauty and the
+characteristic negligence of its dress, is worthy to be extolled.
+There, also, are Aristotle and Plato, one with the Timæus in his
+hand, the other with the Ethics; and round them, in a circle, is a
+great school of philosophers. Nor is it possible to express the
+beauty of those astrologers and geometricians who are drawing a vast
+number of figures and characters with compasses on tablets: among
+whom, in the figure of a young man, shapely and handsome, who is
+throwing out his arms in admiration, and inclining his head, is the
+portrait of Federigo II, Duke of Mantua, who was then in Rome. There
+is also a figure that is stooping to the ground, holding in its hand
+a pair of compasses, with which it is making a circle on a tablet:
+this is said to be the architect Bramante, and it is no less the man
+himself than if he were alive, so well is it drawn. Beside a figure
+with its back turned and holding a globe of the heavens in its hand,
+is the portrait of Zoroaster; and next to him is Raffaello, the
+master of the work, who made his own portrait by means of a mirror,
+in a youthful head with an air of great modesty, filled with a
+pleasing and excellent grace, and wearing a black cap.
+
+Nor is one able to describe the beauty and goodness that are to be
+seen in the heads and figures of the Evangelists, to whose
+countenances he gave an air of attention and intentness very true to
+life, and particularly in those who are writing. Thus, behind S.
+Matthew, who is copying the characters from the tablet wherein are
+the figures (which is held before him by an angel), and writing them
+down in a book, he painted an old man who, having placed a piece of
+paper on his knee, is copying all that S. Matthew writes down; and
+while intent on his work in that uncomfortable position, he seems to
+twist his head and his jaws in time with the motion of the pen. And
+in addition to the details of the conceptions, which are numerous
+enough, there is the composition of the whole scene, which is truly
+arranged with so much order and proportion, that he may be said to
+have given therein such a proof of his powers as made men understand
+that he was resolved to hold the sovereignty, without question,
+among all who handled the brush.
+
+He also adorned this work with a view in perspective and with many
+figures, executed in such a sweet and delicate manner, that Pope
+Julius was induced thereby to cause all the scenes of the other
+masters, both the old and the new, to be thrown to the ground, so
+that Raffaello alone might have the glory of all the labours that
+had been devoted to these works up to that time. The work of
+Giovanni Antonio Sodoma of Vercelli, which was above Raffaello's
+painting, was to be thrown down by order of the Pope; but Raffaello
+determined to make use of its compartments and grotesques. There
+were also some medallions, four in number, and in each of these he
+made a figure as a symbol of the scenes below, each figure being on
+the same side as the scene that it represented. Over the first
+scene, wherein he painted Philosophy, Astrology, Geometry, and
+Poetry making peace with Theology, is a woman representing
+Knowledge, who is seated on a throne that is supported on either
+side by a figure of the Goddess Cybele, each with those many breasts
+which in ancient times were the attributes of Diana Polymastes; and
+her dress is of four colours, standing for the four elements; from
+the head downwards there is the colour of fire, below the girdle
+that of the sky, from the groin to the knees there is the colour of
+earth, and the rest, down to the feet, is the colour of water. With
+her, also, are some truly beautiful little boys. In another
+medallion, on the side towards the window that looks over the
+Belvedere, is a figure of Poetry, who is in the form of Polyhymnia,
+crowned with laurel, and holds an antique musical instrument in one
+hand, and a book in the other, and has her legs crossed. With a more
+than human beauty of expression in her countenance, she stands with
+her eyes uplifted towards Heaven, accompanied by two little boys,
+who are lively and spirited, and who make a group of beautiful
+variety both with her and with the others. On this side, over the
+aforesaid window, Raffaello afterwards painted Mount Parnassus. In
+the third medallion, which is above the scene where the Holy Doctors
+are ordaining the Mass, is a figure of Theology, no less beautiful
+than the others, with books and other things round her, and likewise
+accompanied by little boys. And in the fourth medallion, over the
+other window, which looks out on the court, he painted Justice with
+her scales, and her sword uplifted, and with the same little boys
+that are with the others; of which the effect is supremely
+beautiful, for in the scene on the wall below he depicted the giving
+of the Civil and the Canon Law, as we will relate in the proper
+place.
+
+In like manner, on the same ceiling, in the angles of the
+pendentives, he executed four scenes which he drew and coloured with
+great diligence, but with figures of no great size. In one of these,
+that near the Theology, he painted the Sin of Adam, the eating of
+the apple, which he executed with a most delicate manner; and in the
+second, near the Astrology, is a figure of that science setting the
+fixed stars and planets in their places. In the next, that belonging
+to Mount Parnassus, is Marsyas, whom Apollo has caused to be bound
+to a tree and flayed; and on the side of the scene wherein the
+Decretals are given, there is the Judgment of Solomon, showing him
+proposing to have the child cut in half. These four scenes are all
+full of expression and feeling, and executed with excellent
+draughtsmanship, and with pleasing and gracious colouring.
+
+But now, having finished with the vaulting--that is, the ceiling--of
+that apartment, it remains for us to describe what he painted below
+the things mentioned above, wall by wall. On the wall towards the
+Belvedere, where there are Mount Parnassus and the Fount of Helicon,
+he made round that mount a laurel wood of darkest shadows, in the
+verdure of which one almost sees the leaves quivering in the gentle
+zephyrs; and in the air are vast numbers of naked Loves, most
+beautiful in feature and expression, who are plucking branches of
+laurel and with them making garlands, which they throw and scatter
+about the mount. Over the whole, in truth, there seems to breathe a
+spirit of divinity, so beautiful are the figures, and such the
+nobility of the picture, which makes whoever studies it with
+attention marvel how a human brain, by the imperfect means of mere
+colours, and by excellence of draughtsmanship, could make painted
+things appear alive. Most lifelike, also, are those Poets who are
+seen here and there about the mount, some standing, some seated,
+some writing, and others discoursing, and others, again, singing or
+conversing together, in groups of four or six, according as it
+pleased him to distribute them. There are portraits from nature of
+all the most famous poets, ancient and modern, and some only just
+dead, or still living in his day; which were taken from statues or
+medals, and many from old pictures, and some, who were still alive,
+portrayed from the life by himself. And to begin with one end, there
+are Ovid, Virgil, Ennius, Tibullus, Catullus, Propertius, and Homer;
+the last-named, blind and chanting his verses with uplifted head,
+having at his feet one who is writing them down. Next, in a group,
+are all the nine Muses and Apollo, with such beauty in their aspect,
+and such divinity in the figures, that they breathe out a spirit of
+grace and life. There, also, are the learned Sappho, the most divine
+Dante, the gracious Petrarca, and the amorous Boccaccio, who are
+wholly alive, with Tibaldeo, and an endless number of other moderns;
+and this scene is composed with much grace, and executed with
+diligence.
+
+On another wall he made a Heaven, with Christ, Our Lady, S. John the
+Baptist, the Apostles, the Evangelists, and the Martyrs, enthroned
+on clouds, with God the Father sending down the Holy Spirit over
+them all, and particularly over an endless number of saints, who are
+below, writing the Mass, and engaged in disputation about the Host,
+which is on the altar. Among these are the four Doctors of the
+Church, who have about them a vast number of saints, such as
+Dominic, Francis, Thomas Aquinas, Buonaventura, Scotus, and Nicholas
+of Lira, with Dante, Fra Girolamo Savonarola of Ferrara, and all the
+Christian theologians, with an infinite number of portraits from
+nature; and in the air are four little children, who are holding
+open the Gospels. Anything more graceful or more perfect than these
+figures no painter could create, since those saints are represented
+as seated in the air, in a circle, and so well, that in truth,
+besides the appearance of life that the colouring gives them, they
+are foreshortened and made to recede in such a manner, that they
+would not be otherwise if they were in relief. Moreover, their
+vestments show a rich variety, with most beautiful folds in the
+draperies, and the expressions of the heads are more Divine than
+human; as may be seen in that of Christ, which reveals all the
+clemency and devoutness that Divinity can show to mortal men through
+the medium of painting. For Raffaello received from nature a
+particular gift of making the expressions of his heads very sweet
+and gracious; of which we have proof also in the Madonna, who, with
+her hands pressed to her bosom, gazing in contemplation upon her
+Son, seems incapable of refusing any favour; not to mention that he
+showed a truly beautiful sense of fitness, giving a look of age to
+the expressions of the Holy Patriarchs, simplicity to the Apostles,
+and faith to the Martyrs. Even more art and genius did he display in
+the holy Christian Doctors, in whose features, while they make
+disputation throughout the scene in groups of six or three or two,
+there may be seen a kind of eagerness and distress in seeking to
+find the truth of that which is in question, revealing this by
+gesticulating with their hands, making various movements of their
+persons, turning their ears to listen, knitting their brows, and
+expressing astonishment in many different ways, all truly well
+varied and appropriate; save only the four Doctors of the Church,
+who, illumined by the Holy Spirit, are unravelling and expounding,
+by means of the Holy Scriptures, all the problems of the Gospels,
+which are held up by those little boys who have them in their hands
+as they hover in the air.
+
+On another wall, where the other window is, on one side, he painted
+Justinian giving the Laws to the Doctors to be revised; and above
+this, Temperance, Fortitude, and Prudence. On the other side he
+painted the Pope giving the Canonical Decretals; for which Pope he
+made a portrait from life of Pope Julius, and, beside him, Cardinal
+Giovanni de' Medici, who became Pope Leo, Cardinal Antonio di Monte,
+and Cardinal Alessandro Farnese, who afterwards became Pope Paul
+III, with other portraits.
+
+The Pope was very well satisfied with this work; and in order to
+make the panelling worthy of the paintings, he sent to Monte Oliveto
+di Chiusuri, a place in the territory of Siena, for Fra Giovanni da
+Verona, a great master at that time of perspective-views in inlaid
+woodwork, who made there not only the panelling right round, but
+also very beautiful doors and seats, wrought with perspective-views,
+which brought him great favour, rewards, and honour from the Pope.
+And it is certain that in that craft there was never any man more
+able than Giovanni, either in design or in workmanship: of which we
+still have proof in the Sacristy, wrought most beautifully with
+perspective-views in woodwork, of S. Maria in Organo in his native
+city of Verona, in the choir of Monte Oliveto di Chiusuri and that
+of S. Benedetto at Siena, in the Sacristy of Monte Oliveto at
+Naples, and also in the choir of the Chapel of Paolo da Tolosa in
+the same place, executed by that master. Wherefore he well deserved
+to be esteemed and held in very great honour by the convent of his
+Order, in which he died at the age of sixty-eight, in the year 1537.
+Of him, as of a person truly excellent and rare, I have thought it
+right to make mention, believing that this was due to his talents,
+which, as will be related in another place, led to many beautiful
+works being made by other masters after him.
+
+[Illustration: THE "DISPUTA DEL SACRAMENTO"
+
+(_After the fresco by =Raffaello da Urbino=. Rome: The Vatican_)
+
+_Anderson_]
+
+But to return to Raffaello; his powers grew in such a manner, that
+he was commissioned by the Pope to go on to paint a second room,
+that near the Great Hall. And at this time, when he had gained a
+very great name, he also made a portrait of Pope Julius in a picture
+in oils, so true and so lifelike, that the portrait caused all who
+saw it to tremble, as if it had been the living man himself. This
+work is now in S. Maria del Popolo, together with a very beautiful
+picture of Our Lady, painted at the same time by the same master,
+and containing the Nativity of Jesus Christ, wherein is the Virgin
+laying a veil over her Son, whose beauty is such, both in the air of
+the head and in all the members, as to show that He is the true Son
+of God. And no less beautiful than the Child is the Madonna, in
+whom, besides her supreme loveliness, there may be seen piety and
+gladness. There is also a Joseph, who, leaning with both his hands
+on a staff, and lost in thoughtful contemplation of the King and
+Queen of Heaven, gazes with the adoration of a most saintly old man.
+Both these pictures are exhibited on days of solemn festival.
+
+By this time Raffaello had acquired much fame in Rome; but, although
+his manner was graceful and held by all to be very beautiful, and
+despite the fact that he had seen so many antiquities in that city,
+and was for ever studying, nevertheless he had not yet given thereby
+to his figures that grandeur and majesty which he gave to them from
+that time onward. For it happened in those days that Michelagnolo
+made the terrifying outburst against the Pope in the chapel, of
+which we will speak in his Life; whence he was forced to fly to
+Florence. Whereupon Bramante, having the keys of the chapel, allowed
+Raffaello, who was his friend, to see it, to the end that he might
+be able to learn the methods of Michelagnolo. And the sight of it
+was the reason that Raffaello straightway repainted, although he had
+already finished it, the Prophet Isaiah that is to be seen in S.
+Agostino at Rome, above the S. Anne by Andrea Sansovino; in which
+work, by means of what he had seen of Michelagnolo's painting, he
+made the manner immeasurably better and more grand, and gave it
+greater majesty. Wherefore Michelagnolo, on seeing afterwards the
+work of Raffaello, thought, as was the truth, that Bramante had done
+him that wrong on purpose in order to bring profit and fame to
+Raffaello.
+
+Not long after this, Agostino Chigi, a very rich merchant of Siena,
+who was much the friend of every man of excellence, gave Raffaello
+the commission to paint a chapel; and this he did because a short
+time before Raffaello had painted for him in his softest manner, in
+a loggia of his palace, now called the Chigi, in the Trastevere, a
+Galatea in a car on the sea drawn by two dolphins, and surrounded by
+Tritons and many sea-gods. Raffaello, then, having made the cartoon
+for that chapel, which is at the entrance of the Church of S. Maria
+della Pace, on the right hand as one goes into the church by the
+principal door, executed it in fresco, in his new manner, which was
+no little grander and more magnificent than his earlier manner. In
+this painting Raffaello depicted some Prophets and Sibyls, before
+Michelagnolo's chapel had been thrown open to view, although he had
+seen it; and in truth it is held to be the best of his works, and
+the most beautiful among so many that are beautiful, for in the
+women and children that are in it, there may be seen a marvellous
+vivacity and perfect colouring. And this work caused him to be
+greatly esteemed both in his lifetime and after his death, being the
+rarest and most excellent that Raffaello executed in all his life.
+
+Next, spurred by the entreaties of a Chamberlain of Pope Julius, he
+painted the panel for the high-altar of the Araceli, wherein he made
+a Madonna in the sky, with a most beautiful landscape, a S. John, a
+S. Francis, and a S. Jerome represented as a Cardinal; in which
+Madonna may be seen a humility and a modesty truly worthy of the
+Mother of Christ; and besides the beautiful gesture of the Child as
+He plays with His Mother's hand, there is revealed in S. John that
+penitential air which fasting generally gives, while his head
+displays the sincerity of soul and frank assurance appropriate to
+those who live away from the world and despise it, and, in their
+dealings with mankind, make war on falsehood and speak out the
+truth. In like manner, the S. Jerome has his head uplifted with his
+eyes on the Madonna, deep in contemplation; and in them seem to be
+suggested all the learning and knowledge that he showed in his
+writings, while with both his hands he is presenting the
+Chamberlain, in the act of recommending him to her; which portrait
+of the Chamberlain is as lifelike as any ever painted. Nor did
+Raffaello fail to do as well in the figure of S. Francis, who,
+kneeling on the ground, with one arm outstretched, and with his head
+upraised, is gazing up at the Madonna, glowing with a love in tone
+with the feeling of the picture, which, both by the lineaments and
+by the colouring, shows him melting with affection, and taking
+comfort and life from the gracious sight of her beauty and of the
+vivacity and beauty of her Son. In the middle of the panel, below
+the Madonna, Raffaello made a little boy standing, who is raising
+his head towards her and holding an inscription: than whom none
+better or more graceful could be painted, what with the beauty of
+his features and the proportionate loveliness of his person. And in
+addition there is a landscape, which is singularly beautiful in its
+absolute perfection.
+
+[Illustration: THE MASS OF BOLSENA
+
+(_After the fresco by =Raffaello da Urbino=. Rome: The Vatican_)
+
+_Anderson_]
+
+Afterwards, going on with the apartments of the Palace, he painted a
+scene of the Miracle of the Sacramental Corporal of Orvieto, or of
+Bolsena, whichever it may be called. In this scene there may be
+perceived in the face of the priest who is saying Mass, which is
+glowing with a blush, the shame that he felt on seeing the Host
+turned into blood on the Corporal on account of his unbelief. With
+terror in his eyes, dumbfoundered and beside himself in the presence
+of his hearers, he seems like one who knows not what to do; and in
+the gesture of his hands may almost be seen the fear and trembling
+that a man would feel in such a case. Round him Raffaello made many
+figures, all varied and different, some serving the Mass, others
+kneeling on a flight of steps; and all, bewildered by the
+strangeness of the event, are making various most beautiful
+movements and gestures, while in many, both men and women, there is
+revealed a belief that they are to blame. Among the women is one who
+is seated on the ground at the foot of the scene, holding a child in
+her arms; and she, hearing the account that another appears to be
+giving her of the thing that has happened to the priest, turns in a
+marvellous manner as she listens to this, with a womanly grace that
+is very natural and lifelike. On the other side he painted Pope
+Julius hearing that Mass, a most marvellous work, wherein he made a
+portrait of Cardinal di San Giorgio, with innumerable others; and
+the window-opening he turned to advantage by making a flight of
+steps, in such a way that all the painting seems to be one whole:
+nay, it appears as if, were that window-space not there, the work
+would in nowise have been complete. Wherefore it may be truly
+credited to him that in the invention and composition of every kind
+of painted story, no one has ever been more dexterous, facile, and
+able than Raffaello.
+
+This he also proved in another scene in the same place, opposite to
+the last-named, of S. Peter in the hands of Herod, and guarded in
+prison by men-at-arms; wherein he showed such a grasp of
+architecture, and such judgment in the buildings of the prison, that
+in truth the others after him seem to have more confusion than he
+has beauty. For he was ever seeking to represent stories just as
+they are written, and to paint in them things gracious and
+excellent; as is proved in this one by the horror of the prison,
+wherein that old man is seen bound in chains of iron between the two
+men-at-arms, by the deep slumber of the guards, and by the dazzling
+splendour of the Angel, which, in the thick darkness of the night,
+reveals with its light every detail of the prison, and makes the
+arms of the soldiers shine resplendent, in such a way that their
+burnished lustre seems more lifelike than if they were real,
+although they are only painted. No less art and genius are there in
+the action of S. Peter, when, freed from his chains, he goes forth
+from the prison, accompanied by the Angel, wherein one sees in the
+face of the Saint a belief that it is rather a dream than a reality;
+and so, also, terror and dismay are shown in some other armed guards
+without the prison, who hear the noise of the iron door, while a
+sentinel with a torch in his hand rouses the others, and, as he
+gives them light with it, the blaze of the torch is reflected in all
+their armour; and all that its glow does not reach is illumined by
+the light of the moon. This composition Raffaello painted over the
+window, where the wall is darkest; and thus, when you look at the
+picture, the light strikes you in the face, and the real light
+conflicts so well with the different lights of the night in the
+painting, that the smoke of the torch, the splendour of the Angel,
+and the thick darkness of the night seem to you to be wholly real
+and natural, and you would never say that it was all painted, so
+vividly did he express this difficult conception. In it are seen
+shadows playing on the armour, other shadows projected, reflections,
+and a vaporous glare from the lights, all executed with darkest
+shade, and so well, that it may be truly said that he was the master
+of every other master; and as an effect of night, among all those
+that painting has ever produced, this is the most real and most
+divine, and is held by all the world to be the rarest.
+
+On one of the unbroken walls, also, he painted the Divine Worship
+and the Ark of the Hebrews, with the Candlestick; and likewise Pope
+Julius driving Avarice out of the Temple, a scene as beautiful and
+as excellent as the Night described above. Here, in some bearers who
+are carrying Pope Julius, a most lifelike figure, in his chair, are
+portraits of men who were living at that time. And while the people,
+some women among them, are making way for the Pope, so that he may
+pass, one sees the furious onset of an armed man on horseback, who,
+accompanied by two on foot, and in an attitude of the greatest
+fierceness, is smiting and riding down the proud Heliodorus, who is
+seeking, at the command of Antiochus, to rob the Temple of all the
+wealth stored for the widows and orphans. Already the riches and
+treasures could be seen being removed and taken away, when, on
+account of the terror of the strange misfortune of Heliodorus, so
+rudely struck down and smitten by the three figures mentioned above
+(although, this being a vision, they are seen and heard by him
+alone), behold, they are all dropped and upset on the ground, those
+who were carrying them falling down through the sudden terror and
+panic that had come upon all the following of Heliodorus. Apart from
+these may be seen the holy Onias, the High Priest, dressed in his
+robes of office, with his eyes and hands raised to Heaven, and
+praying most fervently, being seized with pity for the poor
+innocents who were thus nearly losing their possessions, and
+rejoicing at the help that he feels has come down from on high.
+Besides this, through a beautiful fancy of Raffaello's, one sees
+many who have climbed on to the socles of the column-bases, and,
+clasping the shafts, stand looking in most uncomfortable attitudes;
+with a throng of people showing their amazement in many various
+ways, and awaiting the result of this event.
+
+This work is in every part so stupendous, that even the cartoons are
+held in the greatest veneration; wherefore Messer Francesco Masini,
+a gentleman of Cesena--who, without the help of any master, but
+giving his attention by himself from his earliest childhood, guided
+by an extraordinary instinct of nature, to drawing and painting, has
+painted pictures that have been much extolled by good judges of
+art--possesses, among his many drawings and some ancient reliefs in
+marble, certain pieces of the cartoon which Raffaello made for this
+story of Heliodorus, and he holds them in the estimation that they
+truly deserve. Nor will I refrain from saying that Messer Niccolò
+Masini, who has given me information about these matters, is as much
+a true lover of our arts as he is a man of real culture in all other
+things.
+
+But to return to Raffaello; on the ceiling above these works, he
+then executed four scenes, God appearing to Abraham and promising
+him the multiplication of his seed, the Sacrifice of Isaac, Jacob's
+Ladder, and the Burning Bush of Moses: wherein may be recognized no
+less art, invention, draughtsmanship, and grace, than in the other
+works that he painted.
+
+While the happy genius of this craftsman was producing such marvels,
+the envy of fortune cut short the life of Julius II, who had
+fostered such abilities, and had been a lover of every excellent
+work. Whereupon a new Pope was elected in Leo X, who desired that
+the work begun should be carried on; and Raffaello thereby soared
+with his genius into the heavens, and received endless favours from
+him, fortunate in having come upon a Prince so great, who had by the
+inheritance of blood a strong inclination for such an art.
+Raffaello, therefore, thus encouraged to pursue the work, painted on
+the other wall the Coming of Attila to Rome, and his encounter at
+the foot of Monte Mario with Leo III, who drove him away with his
+mere benediction. In this scene Raffaello made S. Peter and S. Paul
+in the air, with swords in their hands, coming to defend the Church;
+and while the story of Leo III says nothing of this, nevertheless it
+was thus that he chose to represent it, perchance out of fancy, for
+it often happens that painters, like poets, go straying from their
+subject in order to make their work the more ornate, although their
+digressions are not such as to be out of harmony with their first
+intention. In those Apostles may be seen that celestial wrath and
+ardour which the Divine Justice is wont often to impart to the
+features of its ministers, charged with defending the most holy
+Faith; and of this we have proof in Attila, who is to be seen riding
+a black horse with white feet and a star on its forehead, as
+beautiful as it could be, for in an attitude of the utmost terror he
+throws up his head and turns his body in flight. There are other
+most beautiful horses, particularly a dappled jennet, which is
+ridden by a figure that has all the body covered with scales after
+the manner of a fish; which is copied from the Column of Trajan,
+wherein the figures have armour of that kind; and it is thought that
+such armour is made from the skins of crocodiles. There is Monte
+Mario, all aflame, showing that when soldiers march away, their
+quarters are always left a prey to fire. He made portraits from
+nature, also, in some mace-bearers accompanying the Pope, who are
+marvellously lifelike, as are the horses on which they are riding;
+and the same is true of the retinue of Cardinals, and of some grooms
+who are holding the palfrey on which rides the Pope in full
+pontificals (a portrait of Leo X, no less lifelike than those of the
+others), with many courtiers; the whole being a most pleasing
+spectacle and well in keeping with such a work, and also very useful
+to our art, particularly for those who have no such objects at their
+command.
+
+At this same time he painted a panel containing Our Lady, S. Jerome
+robed as a Cardinal, and an Angel Raphael accompanying Tobias, which
+was placed in S. Domenico at Naples, in that chapel wherein is the
+Crucifix that spoke to S. Thomas Aquinas. For Signor Leonello da
+Carpi, Lord of Meldola, who is still alive, although more than
+ninety years old, he executed a picture that was most marvellous in
+colouring, and of a singular beauty, for it is painted with such
+force, and also with a delicacy so pleasing, that I do not think it
+is possible to do better. In the countenance of the Madonna may be
+seen such a divine air, and in her attitude such a dignity, that no
+one would be able to improve her; and he made her with the hands
+clasped, adoring her Son, who is seated on her knees, caressing a S.
+John, a little boy, who is adoring Him, in company with S. Elizabeth
+and Joseph. This picture was once in the possession of the very
+reverend Cardinal da Carpi, the son of the said Signor Leonello, and
+a great lover of our arts; and it should be at the present day in
+the hands of his heirs.
+
+Afterwards, Lorenzo Pucci, Cardinal of Santi Quattro, having been
+created Grand Penitentiary, Raffaello was favoured by him with a
+commission to paint a panel for S. Giovanni in Monte at Bologna,
+which is now set up in the chapel wherein lies the body of the
+Blessed Elena dall' Olio: in which work it is evident how much
+grace, in company with art, could accomplish by means of the
+delicate hands of Raffaello. In it is a S. Cecilia, who, entranced
+by a choir of angels on high, stands listening to the sound, wholly
+absorbed in the harmony; and in her countenance is seen that
+abstraction which is found in the faces of those who are in ecstasy.
+Scattered about the ground, moreover, are musical instruments, which
+have the appearance of being, not painted, but real and true; and
+such, also, are some veils that she is wearing, with vestments woven
+in silk and gold, and, below these, a marvellous hair-shirt. And in
+a S. Paul, who has the right arm leaning on his naked sword, and the
+head resting on the hand, one sees his profound air of knowledge, no
+less well expressed than the transformation of his pride of aspect
+into dignity. He is clothed in a simple red garment by way of
+mantle, below which is a green tunic, after the manner of the
+Apostles, and his feet are bare. There is also S. Mary Magdalene,
+who is holding in her hands a most delicate vase of stone, in an
+attitude of marvellous grace; turning her head, she seems full of
+joy at her conversion; and indeed, in that kind of painting, I do
+not think that anything better could be done. Very beautiful,
+likewise, are the heads of S. Augustine and S. John the Evangelist.
+Of a truth, other pictures may be said to be pictures, but those of
+Raffaello life itself, for in his figures the flesh quivers, the
+very breath may be perceived, the pulse beats, and the true
+presentment of life is seen in them; on which account this picture
+gave him, in addition to the fame that he had already, an even
+greater name. Wherefore many verses were written in his honour, both
+Latin and in the vulgar tongue, of which, in order not to make my
+story longer than I have set out to do, I will cite only the
+following:
+
+  Pingant sola alii referantque coloribus ora;
+  Cæciliæ os Raphael atque animum explicuit.
+
+After this he also painted a little picture with small figures,
+which is likewise at Bologna, in the house of Count Vincenzio
+Ercolano, containing a Christ after the manner of Jove in Heaven,
+surrounded by the four Evangelists as Ezekiel describes them, one in
+the form of a man, another as a lion, the third an eagle, and the
+fourth an ox, with a little landscape below to represent the earth:
+which work, in its small proportions, is no less rare and beautiful
+than his others in their greatness.
+
+[Illustration: POPE LEO X WITH TWO CARDINALS
+
+(_After the panel by =Raffaello da Urbino=. Florence: Pitti, 40_)
+
+_M.S._]
+
+To the Counts of Canossa in Verona he sent a large picture of equal
+excellence, in which is a very beautiful Nativity of Our Lord, with
+a daybreak that is much extolled, as is also the S. Anne, and,
+indeed, the whole work, which cannot be more highly praised than by
+saying that it is by the hand of Raffaello da Urbino. Wherefore
+those Counts rightly hold it in supreme veneration, nor have they
+ever consented, for all the vast prices that have been offered to
+them by many Princes, to sell it to anyone.
+
+For Bindo Altoviti, he made a portrait of him when he was a young
+man, which is held to be extraordinary; and likewise a picture of
+Our Lady, which he sent to Florence, and which is now in the Palace
+of Duke Cosimo, in the chapel of the new apartments, which were
+built and painted by me, where it serves as altar-piece. In it is
+painted a very old S. Anne, seated, and holding out to Our Lady her
+Son, the features of whose countenance, as well as the whole of His
+nude form, are so beautiful that with His smile He rejoices whoever
+beholds Him; besides which, Raffaello depicted, in painting the
+Madonna, all the beauty that can be imparted to the aspect of a
+Virgin, with the complement of chaste humility in the eyes, honour
+in the brow, grace in the nose, and virtue in the mouth; not to
+mention that her raiment is such as to reveal infinite simplicity
+and dignity. And, indeed, I do not think that there is anything
+better to be seen than this whole work. There is a nude S. John,
+seated, with a female saint, who is likewise very beautiful; and for
+background there is a building, in which he painted a linen-covered
+window that gives light to the room wherein are the figures.
+
+In Rome he made a picture of good size, in which he portrayed Pope
+Leo, Cardinal Giulio de' Medici, and Cardinal de' Rossi. In this the
+figures appear to be not painted, but in full relief; there is the
+pile of the velvet, with the damask of the Pope's vestments shining
+and rustling, the fur of the linings soft and natural, and the gold
+and silk so counterfeited that they do not seem to be in colour, but
+real gold and silk. There is an illuminated book of parchment, which
+appears more real than the reality; and a little bell of wrought
+silver, which is more beautiful than words can tell. Among other
+things, also, is a ball of burnished gold on the Pope's chair,
+wherein are reflected, as if it were a mirror (such is its
+brightness), the light from the windows, the shoulders of the Pope,
+and the walls round the room. And all these things are executed with
+such diligence, that one may believe without any manner of doubt
+that no master is able, or is ever likely to be able, to do better.
+For this work the Pope was pleased to reward him very richly; and
+the picture is still to be seen in Florence, in the guardaroba of
+the Duke. In like manner he executed portraits of Duke Lorenzo and
+Duke Giuliano, with a perfect grace of colouring not achieved by any
+other than himself, which are in the possession of the heirs of
+Ottaviano de' Medici at Florence.
+
+Thereupon there came to Raffaello a great increase of glory, and
+likewise of rewards; and for this reason, in order to leave some
+memorial of himself, he caused a palace to be built in the Borgo
+Nuovo at Rome, which Bramante executed with castings. Now, the fame
+of this most noble craftsman, by reason of the aforesaid works and
+many others, having passed into France and Flanders, Albrecht Dürer,
+a most marvellous German painter, and an engraver of very beautiful
+copperplates, rendered tribute to Raffaello out of his own works,
+and sent to him a portrait of himself, a head, executed by him in
+gouache on a cloth of fine linen, which showed the same on either
+side, the lights being transparent and obtained without lead-white,
+while the only grounding and colouring was done with water-colours,
+the white of the cloth serving for the ground of the bright parts.
+This work seemed to Raffaello to be marvellous, and he sent him,
+therefore, many drawings executed by his own hand, which were
+received very gladly by Albrecht. That head was among the
+possessions of Giulio Romano, the heir of Raffaello, in Mantua.
+
+Raffaello, having thus seen the manner of the engravings of Albrecht
+Dürer, and desiring on his own behalf to show what could be done
+with his work by such an art, caused Marc' Antonio Bolognese to make
+a very thorough study of the method; and that master became so
+excellent, that Raffaello commissioned him to make prints of his
+first works, such as the drawing of the Innocents, a Last Supper,
+the Neptune, and the S. Cecilia being boiled in oil. Marc' Antonio
+afterwards made for Raffaello a number of other engravings, which
+Raffaello finally gave to Baviera, his assistant, who had charge of
+a mistress whom Raffaello loved to the day of his death. Of her he
+made a very beautiful portrait, wherein she seemed wholly alive: and
+this is now in Florence, in the possession of that most gentle of
+men, Matteo Botti, a Florentine merchant, and an intimate friend of
+every able person, and particularly of painters, who treasures it
+as a relic, on account of the love that he bears to art, and above
+all to Raffaello. And no less esteem is shown to the works of our
+arts and to the craftsmen by his brother, Simon Botti, who, besides
+being held by us all to be one of the most loving spirits that show
+favour to the men of our professions, is held in estimation by me in
+particular as the best and greatest friend that ever man loved after
+a long experience; not to mention the good judgment that he has and
+shows in matters of art.
+
+But to return to the engravings; the favour shown by Raffaello to
+Baviera was the reason that there afterwards sprang up Marco da
+Ravenna and a host of others, insomuch that the dearth of copper
+engravings was changed into that abundance that we see at the
+present day. Thereupon Ugo da Carpi, having a brain inclined to
+ingenious and fanciful things, and showing beautiful invention,
+discovered the method of wood-engraving, whereby, with three blocks,
+giving the middle values, the lights, and the shadows, it is
+possible to imitate drawings in chiaroscuro, which was certainly a
+thing of beautiful and fanciful invention; and from this, also,
+there afterwards came an abundance of prints, as will be related
+with greater detail in the Life of Marc' Antonio Bolognese.
+
+Raffaello then painted for the Monastery of the Monks of Monte
+Oliveto, called S. Maria dello Spasmo, at Palermo, a panel-picture
+of Christ bearing the Cross, which is held to be a marvellous work.
+In this may be seen the impious ministers of the Crucifixion,
+leading Him with wrath and fury to His death on Mount Calvary; and
+Christ, broken with agony at the near approach of death, has fallen
+to the ground under the weight of the Tree of the Cross, and, bathed
+with sweat and blood, turns towards the Maries, who are in a storm
+of weeping. Moreover, there is seen among them Veronica, who
+stretches out her arms and offers Him a cloth, with an expression of
+the tenderest love, not to mention that the work is full of
+men-at-arms both on horseback and on foot, who are pouring forth
+from the gate of Jerusalem with the standards of justice in their
+hands, in various most beautiful attitudes. This panel, when
+completely finished, but not yet brought to its resting-place, was
+very near coming to an evil end, for the story goes that after it
+had been put on shipboard, in order that it might be carried to
+Palermo, a terrible storm dashed against a rock the ship that was
+carrying it, in such a manner that the timbers broke asunder, and
+all the men were lost, together with the merchandise, save only the
+panel, which, safely packed in its case, was washed by the sea on to
+the shore of Genoa. There, having been fished up and drawn to land,
+it was found to be a thing divine, and was put into safe keeping;
+for it had remained undamaged and without any hurt or blemish, since
+even the fury of the winds and the waves of the sea had respect for
+the beauty of such a work. The news of this being then bruited
+abroad, the monks took measures to recover it, and no sooner had it
+been restored to them, by the favour of the Pope, than they gave
+satisfaction, and that liberally, to those who had rescued it.
+Thereupon it was once more put on board ship and brought at last to
+Sicily, where they set it up in Palermo; in which place it has more
+fame and reputation than the Mount of Vulcan itself.
+
+While Raffaello was engaged on these works, which, having to gratify
+great and distinguished persons, he could not refuse to
+undertake--not to mention that his own private interests prevented
+him from saying them nay--yet for all this he never ceased to carry
+on the series of pictures that he had begun in the Papal apartments
+and halls; wherein he always kept men who pursued the work from his
+own designs, while he himself, continually supervising everything,
+lent to so vast an enterprise the aid of the best efforts of which
+he was capable. No long time passed, therefore, before he threw open
+that apartment of the Borgia Tower in which he had painted a scene
+on every wall, two above the windows, and two others on the unbroken
+walls. In one was the Burning of the Borgo Vecchio of Rome, when,
+all other methods having failed to put out the fire, S. Leo IV
+presents himself at the Loggia of his Palace and extinguishes it
+completely with his benediction. In this scene are represented
+various perils. On one side are women who are bearing vessels filled
+with water in their hands and on their heads, whereby to extinguish
+the flames; and their hair and draperies are blown about by the
+terrible fury of a tempestuous wind. Others, who are seeking to
+throw water on the fire, are blinded by the smoke and wholly
+bewildered. On the other side, after the manner of Virgil's story
+of Anchises being carried by Æneas, is shown an old sick man,
+overcome by his infirmity and the flames of the fire; and in the
+figure of the young man are seen courage and strength, and great
+effort in all his limbs under the weight of the old man, who lies
+helpless on the young man's back. He is followed by an old woman
+with bare feet and disordered garments, who is flying from the fire;
+and a little naked boy runs before them. On the top of some ruins,
+likewise, may be seen a naked woman, with hair all dishevelled, who
+has her child in her hands and is throwing him to a man of her
+house, who, having escaped from the flames, is standing in the
+street on tiptoe, with arms outstretched to receive the child
+wrapped in swathing-bands; wherein the eager anxiety of the woman to
+save her son may be recognized no less clearly than her torment in
+the peril of the fierce flames, which are already licking around
+her. And no less suffering is evident in him who is receiving the
+child, both for its sake and on account of his own fear of death.
+Nor is it possible to describe the imagination that this most
+ingenious and most marvellous craftsman showed in a mother with her
+feet bare, her garments in disorder, her girdle unbound, and her
+hair dishevelled, who has gathered her children before her and is
+driving them on, holding part of her clothing in one hand, that they
+may escape from the ruins and from that blazing furnace; not to
+mention that there are also some women who, kneeling before the
+Pope, appear to be praying to his Holiness that he should make the
+fire cease.
+
+The next scene is from the life of the same S. Leo IV, wherein
+Raffaello depicted the port of Ostia occupied by the fleet of the
+Turks, who had come to take the Pope prisoner. The Christians may be
+seen fighting against that fleet on the sea; and already there has
+come to the harbour an endless number of prisoners, who are
+disembarking from a boat and being dragged by the beard by some
+soldiers, who are very beautiful in features and most spirited in
+their attitudes. The prisoners, dressed in the motley garb of
+galley-slaves, are being led before S. Leo, whose figure is a
+portrait of Pope Leo X. Here Raffaello painted his Holiness in
+pontificals, between Cardinal Santa Maria in Portico, who was
+Bernardo Divizio of Bibbiena, and Cardinal Giulio de' Medici, who
+afterwards became Pope Clement. Nor is it possible to describe in
+detail the beautiful conceptions that this most ingenious craftsman
+showed in the expressions of the prisoners, wherein one can
+recognize, without speech, their grief and the fear of death.
+
+In the first of the other two scenes is Pope Leo X consecrating the
+most Christian King, Francis I of France, chanting the Mass in his
+pontificals, and blessing the oil for the anointing of the King, and
+likewise the royal crown. There, besides the great number of
+Cardinals and Bishops in their robes, who are assisting, he
+portrayed from life many Ambassadors and other persons, and also
+some figures dressed in the French fashion, according to the style
+of that time. In the other scene he painted the Crowning of the same
+King, wherein are portraits from life of the Pope and of Francis,
+one in armour and the other in his pontificals; besides which, all
+the Cardinals, Bishops, Chamberlains, Esquires, and Grooms of the
+Chamber are seated in due order in their places, as is the custom in
+the chapel, all in their robes and portrayed from life, among them
+being Giannozzo Pandolfini, Bishop of Troia, a close friend of
+Raffaello, with many others who were distinguished at that time.
+Near the King is a little boy kneeling, who is holding the royal
+crown--a portrait of Ippolito de' Medici, who afterwards became
+Cardinal and Vice-Chancellor, a man of great repute, and much the
+friend not only of this art, but of all others, to whose blessed
+memory I acknowledge a vast obligation, seeing that my first steps,
+such as they were, were taken under his auspices.
+
+It is not possible to write of every detail in the works of this
+craftsman, wherein every least thing, although dumb, appears to have
+speech: save only of the bases executed below these pictures, with
+various figures of defenders and benefactors of the Church, and
+various terminal figures on either side of them, the whole being
+wrought in such a manner that everything reveals spirit, feeling,
+and thought, and with such a harmony and unity of colouring that
+nothing better can be conceived. And since the ceiling of that
+apartment had been painted by Pietro Perugino, his master, Raffaello
+would not destroy it, moved by respect for his memory and by the
+love that he bore to the man who had been the origin of the rank
+that he held in his art.
+
+Such was the greatness of this master, that he kept designers all
+over Italy, at Pozzuolo, and even in Greece; and he was for ever
+searching out everything of the good that might help his art.
+
+Now, continuing his work, he also painted a hall, wherein were some
+figures of the Apostles and other saints in tabernacles, executed in
+terretta; and there he caused to be made by Giovanni da Udine, his
+disciple, who has no equal in the painting of animals, all the
+animals that Pope Leo possessed, such as the chameleon, the
+civet-cats, the apes, the parrots, the lions, the elephants, and
+other beasts even more strange. And besides embellishing the Palace
+greatly with grotesques and varied pavements, he also gave the
+designs for the Papal staircases, as well as for the loggie begun by
+the architect Bramante, but left unfinished on account of his death,
+and afterwards carried out with the new design and architecture of
+Raffaello, who made for this a model of wood with better proportion
+and adornment than had been accomplished by Bramante. The Pope
+wishing to demonstrate the greatness and magnificence of his
+generous ambition, Raffaello made the designs for the ornaments in
+stucco and for the scenes that were painted there, and likewise for
+the compartments; and as for the stucco and the grotesques, he
+placed at the head of that work Giovanni da Udine, and the figures
+he entrusted to Giulio Romano, although that master worked but
+little at them; and he also employed Giovanni Francesco, Il Bologna,
+Perino del Vaga, Pellegrino da Modena, Vincenzio da San Gimignano,
+and Polidoro da Caravaggio, with many other painters, who executed
+scenes and figures and other things that were required throughout
+that work, which Raffaello caused to be completed with such
+perfection, that he even sent to Florence for pavements by the hand
+of Luca della Robbia. Wherefore it is certain that with regard to
+the paintings, the stucco-ornaments, the arrangement, or any of the
+beautiful inventions, no one would be able to execute or even to
+imagine a more marvellous work; and its beauty was the reason that
+Raffaello received the charge of all the works of painting and
+architecture that were in progress in the Palace.
+
+It is said that the courtesy of Raffaello was such that he prevailed
+upon the masons, in order that he might accommodate his friends, not
+to build the walls absolutely solid and unbroken, but to leave,
+above the old rooms below, various openings and spaces for the
+storage of barrels, flasks, and wood; which holes and spaces so
+weakened the lower part of the masonry, that afterwards they had to
+be filled in, because the whole was beginning to show cracks. He
+commissioned Gian Barile to adorn all the doors and ceilings of
+woodwork with a good number of carvings, which he executed and
+finished with beautiful grace.
+
+He gave architectural designs for the Vigna[26] of the Pope, and for
+many houses in the Borgo; in particular, for the Palace of Messer
+Giovanni Battista dall' Aquila, which was a very beautiful work. He
+also designed one for the Bishop of Troia, who had it built in the
+Via di S. Gallo at Florence. For the Black Friars of S. Sisto in
+Piacenza, he painted the picture for their high-altar, containing
+the Madonna with S. Sisto and S. Barbara, a truly rare and
+extraordinary work. He executed many pictures to be sent into
+France, and in particular, for the King, a S. Michael fighting with
+the Devil, which was held to be a marvellous thing. In this work he
+painted a fire-scarred rock, to represent the centre of the earth,
+from the fissures of which were issuing sulphurous flames; and in
+Lucifer, whose scorched and burned limbs are painted with various
+tints of flesh-colour, could be seen all the shades of anger that
+his venomous and swollen pride calls up against Him who overbears
+the greatness of him who is deprived of any kingdom where there
+might be peace, and doomed to suffer perpetual punishment. The
+opposite may be perceived in the S. Michael, clad in armour of iron
+and gold, who, although he is painted with a celestial air, yet has
+valour, force, and terror in his aspect, and has already thrown
+Lucifer down and hurled him backwards with his spear. In a word,
+this work was of such a kind that he won for it, and rightly, a most
+honourable reward from that King. He made portraits of Beatrice of
+Ferrara and other ladies, and in particular that of his own
+mistress, with an endless number of others.
+
+Raffaello was a very amorous person, delighting much in women, and
+ever ready to serve them; which was the reason that, in the pursuit
+of his carnal pleasures, he found his friends more complacent and
+indulgent towards him than perchance was right. Wherefore, when his
+dear friend Agostino Chigi commissioned him to paint the first
+loggia in his palace, Raffaello was not able to give much attention
+to his work, on account of the love that he had for his mistress; at
+which Agostino fell into such despair, that he so contrived by means
+of others, by himself, and in other ways, as to bring it about,
+although only with difficulty, that this lady should come to live
+continually with Raffaello in that part of the house where he was
+working; and in this manner the work was brought to completion. For
+this work he made all the cartoons, and he coloured many of the
+figures in fresco with his own hand. And on the ceiling he made the
+Council of the Gods in Heaven, wherein, in the forms of the Gods,
+are seen many vestments and lineaments copied from the antique, and
+executed with very beautiful grace and draughtsmanship. In like
+manner he made the Marriage of Psyche, with ministers serving Jove,
+and the Graces scattering flowers over the table. In the spandrels
+of the vaulting he executed many scenes, in one of which is Mercury
+with his flute, who, as he flies, has all the appearance of
+descending from Heaven; and in another is Jove with an air of
+celestial dignity, kissing Ganymede; and in another, likewise, lower
+down, is the Car of Venus, and the Graces, with Mercury, drawing
+Psyche up to Heaven; with many other scenes from the poets in the
+other spandrels. And in the spherical triangles of the vaulting
+above the arches, between the spandrels, are many most beautiful
+little boys in foreshortening, hovering in the air and carrying all
+the instruments of the gods; Jove's lightnings and thunderbolts, the
+helmet, sword, and shield of Mars, Vulcan's hammers, the club and
+lion-skin of Hercules, the caduceus of Mercury, Pan's pipes, and the
+agricultural rakes of Vertumnus. All are accompanied by animals
+appropriate to their character; and the whole work, both as picture
+and as poem, is truly beautiful. Round these scenes he caused
+Giovanni da Udine to make a border of all kinds of flowers, foliage,
+and fruits, in festoons, which are as beautiful as they could be.
+
+Raffaello made the designs for the architecture of the stables of
+the Chigi, and the design for the chapel of the aforesaid Agostino
+in S. Maria del Popolo, wherein, besides painting it, he made
+arrangements for the erection of a marvellous tomb, causing
+Lorenzetto, a sculptor of Florence, to execute two figures, which
+are still in his house in the Macello de' Corbi at Rome; but the
+death of Raffaello, followed by that of Agostino, brought it about
+that this work was given to Sebastiano Viniziano.
+
+Meanwhile Raffaello had risen to such greatness, that Leo X ordained
+that he should set to work on the Great Hall on the upper floor,
+wherein are the Victories of Constantine; and with this he made a
+beginning. A fancy likewise took the Pope to have some very rich
+tapestries made in gold and floss-silk; whereupon Raffaello drew and
+coloured with his own hand, of the exact form and size, all the
+cartoons, which were sent to Flanders to be woven; and the
+tapestries, when finished, were brought to Rome. This work was
+executed so marvellously, that it arouses astonishment in whoever
+beholds it, wondering how it could have been possible to weave the
+hair and beards in such detail, and to give softness to the flesh
+with mere threads; and it is truly rather a miracle than the work of
+human art, seeing that in these tapestries are animals, water, and
+buildings, all made in such a way that they seem to be not woven,
+but really wrought with the brush. The work cost 70,000 crowns, and
+it is still preserved in the Papal Chapel.
+
+For Cardinal Colonna he painted a S. John on canvas, for which, on
+account of its beauty, that Cardinal had an extraordinary love; but
+happening to be attacked by illness, he was asked by Messer Jacopo
+da Carpi, the physician who cured him, to give it to him as a
+present; and because of this desire of Messer Jacopo, to whom he
+felt himself very deeply indebted, he gave it up. It is now in the
+possession of Francesco Benintendi, in Florence.
+
+[Illustration: THE TRANSFIGURATION
+
+(_After the panel by =Raffaello da Urbino=. Rome: The Vatican_)
+
+_Anderson_]
+
+For Giulio de' Medici, Cardinal and Vice-Chancellor, he painted a
+panel-picture, to be sent into France, of the Transfiguration of
+Christ, at which he laboured without ceasing, and brought it to the
+highest perfection with his own hand. In this scene he represented
+Christ Transfigured on Mount Tabor, at the foot of which are the
+eleven Disciples awaiting Him. There may be seen a young man
+possessed by a spirit, who has been brought thither in order that
+Christ, after descending from the mountain, may deliver him; which
+young man stretches himself out in a distorted attitude, crying
+and rolling his eyes, and reveals his suffering in his flesh, his
+veins, and the beat of his pulse, all infected by that malignant
+spirit; and the colour of his flesh, as he makes those violent and
+fearsome gestures, is very pale. This figure is supported by an old
+man, who, having embraced him and taken heart, with his eyes wide
+open and the light shining in them, is raising his brows and
+wrinkling his forehead, showing at one and the same time both
+strength and fear; gazing intently, however, at the Apostles, he
+appears to be encouraging himself by trusting in them. Among many
+women is one, the principal figure in that panel, who, having knelt
+down before the Apostles, and turning her head towards them,
+stretches her arms in the direction of the maniac and points out his
+misery; besides which the Apostles, some standing, some seated, and
+others kneeling, show that they are moved to very great compassion
+by such misfortune. And, indeed, he made therein figures and heads
+so fine in their novelty and variety, to say nothing of their
+extraordinary beauty, that it is the common opinion of all craftsmen
+that this work, among the vast number that he painted, is the most
+glorious, the most lovely, and the most divine. For whoever wishes
+to know how Christ Transfigured and made Divine should be
+represented in painting, must look at this work, wherein Raffaello
+made Him in perspective over that mount, in a sky of exceeding
+brightness, with Moses and Elias, who, illumined by a dazzling
+splendour, burst into life in His light. Prostrate on the ground, in
+attitudes of great beauty and variety, are Peter, James, and John;
+one has his head to the earth, and another, shading his eyes with
+his hands, is defending himself from the rays and intense light of
+the splendour of Christ. He, clothed in snow-white raiment, with His
+arms outstretched and His head raised, appears to reveal the Divine
+essence and nature of all the Three Persons united and concentrated
+in Himself by the perfect art of Raffaello, who seems to have
+summoned up all his powers in such a manner, in order to show the
+supreme force of his art in the countenance of Christ, that, after
+finishing this, the last work that he was to do, he never again
+touched a brush, being overtaken by death.
+
+[Illustration: RAFFAELLO DA URBINO: THE THREE GRACES
+
+(_Chantilly, 38. Panel_)]
+
+Now, having described the works of this most excellent craftsman,
+before I come to relate other particulars of his life and death, I
+do not wish to grudge the labour of saying something, for the
+benefit of the men of our arts, about the various manners of
+Raffaello. He, then, after having imitated in his boyhood the manner
+of his master, Pietro Perugino, which he made much better in
+draughtsmanship, colouring, and invention, believed that he had done
+enough; but he recognized, when he had reached a riper age, that he
+was still too far from the truth. For, after seeing the works of
+Leonardo da Vinci, who had no peer in the expressions of heads both
+of men and of women, and surpassed all other painters in giving
+grace and movement to his figures, he was left marvelling and
+amazed; and in a word, the manner of Leonardo pleasing him more than
+any other that he had ever seen, he set himself to study it, and
+abandoning little by little, although with great difficulty, the
+manner of Pietro, he sought to the best of his power and knowledge
+to imitate that of Leonardo. But for all his diligence and study, in
+certain difficulties he was never able to surpass Leonardo; and
+although it appears to many that he did surpass him in sweetness and
+in a kind of natural facility, nevertheless he was by no means
+superior to him in that sublime groundwork of conceptions and that
+grandeur of art in which few have been the peers of Leonardo. Yet
+Raffaello came very near to him, more than any other painter, and
+above all in grace of colouring. But to return to Raffaello himself;
+in time he found himself very much hindered and impeded by the
+manner that he had adopted from Pietro when he was quite young,
+which he acquired with ease, since it was over-precise, dry, and
+feeble in draughtsmanship. His being unable to forget it was the
+reason that he had great difficulty in learning the beauties of the
+nude and the methods of difficult foreshortenings from the cartoon
+that Michelagnolo Buonarroti made for the Council Hall in Florence;
+and another might have lost heart, believing that he had been
+previously wasting his time, and would never have achieved, however
+lofty his genius, what Raffaello accomplished. But he, having purged
+himself of Pietro's manner, and having thoroughly freed himself of
+it, in order to learn the manner of Michelagnolo, so full of
+difficulties in every part, was changed, as it were, from a master
+once again into a disciple; and he forced himself with incredible
+study, when already a man, to do in a few months what might have
+called for the tender age at which all things are best acquired, and
+for a space of many years. For in truth he who does not learn in
+good time right principles and the manner that he wishes to follow,
+and does not proceed little by little to solve the difficulties of
+the arts by means of experience, seeking to understand every part,
+and to put it into practice, can scarcely ever become perfect; and
+even if he does, that can only be after a longer space of time and
+much greater labour.
+
+When Raffaello resolved to set himself to change and improve his
+manner, he had never given his attention to nudes with that zealous
+study which is necessary, and had only drawn them from life in the
+manner that he had seen practised by his master Pietro, imparting to
+them the grace that he had from nature. He then devoted himself to
+studying the nude and to comparing the muscles of anatomical subjects
+and of flayed human bodies with those of the living, which, being
+covered with skin, are not clearly defined, as they are when the skin
+has been removed; and going on to observe in what way they acquire the
+softness of flesh in the proper places, and how certain graceful
+flexures are produced by changing the point of view, and also the
+effect of inflating, lowering, or raising either a limb or the whole
+person, and likewise the concatenation of the bones, nerves, and
+veins, he became excellent in all the points that are looked for in a
+painter of eminence. Knowing, however, that in this respect he could
+never attain to the perfection of Michelagnolo, he reflected, like a
+man of supreme judgment, that painting does not consist only in
+representing the nude human form, but has a wider field; that one can
+enumerate among the perfect painters those who express historical
+inventions well and with facility, and who show fine judgment in their
+fancies; and that he who, in the composition of scenes, can make them
+neither confused with too much detail nor poor with too little, but
+distributed with beautiful invention and order, may also be called an
+able and judicious craftsman. To this, as Raffaello was well aware,
+may be added the enriching those scenes with a bizarre variety of
+perspectives, buildings, and landscapes, the method of clothing
+figures gracefully, the making them fade away sometimes in the
+shadows, and sometimes come forward into the light, the imparting of
+life and beauty to the heads of women, children, young men and old,
+and the giving them movement and boldness, according to necessity. He
+considered, also, how important is the furious flight of horses in
+battles, fierceness in soldiers, the knowledge how to depict all the
+sorts of animals, and above all the power to give such resemblance to
+portraits that they seem to be alive, and that it is known whom they
+represent; with an endless number of other things, such as the
+adornment of draperies, foot-wear, helmets, armour, women's
+head-dresses, hair, beards, vases, trees, grottoes, rocks, fires,
+skies turbid or serene, clouds, rain, lightning, clear weather, night,
+the light of the moon, the splendour of the sun, and innumerable other
+things, which are called for every moment by the requirements of the
+art of painting. Pondering over these things, I say, Raffaello
+resolved, since he could not approach Michelagnolo in that branch of
+art to which he had set his hand, to seek to equal, and perchance to
+surpass him, in these others; and he devoted himself, therefore, not
+to imitating the manner of that master, but to the attainment of a
+catholic excellence in the other fields of art that have been
+described. And if the same had been done by many craftsmen of our own
+age, who, having determined to pursue the study of Michelagnolo's
+works alone, have failed to imitate him and have not been able to
+reach his extraordinary perfection, they would not have laboured in
+vain nor acquired a manner so hard, so full of difficulty, wanting in
+beauty and colouring, and poor in invention, but would have been able,
+by aiming at catholicity and at imitation in the other fields of art,
+to render service both to themselves and to the world.
+
+Raffaello, then, having made this resolution, and having recognized
+that Fra Bartolommeo di San Marco had a passing good method of
+painting, well-grounded draughtsmanship, and a pleasing manner of
+colouring, although at times, in order to obtain stronger relief, he
+made too much use of darks, took from him what appeared to him to
+suit his need and his fancy--namely, a middle course, both in
+drawing and in colouring; and mingling with that method certain
+others selected from the best work of other masters, out of many
+manners he made one, which was looked upon ever afterwards as his
+own, and which was and always will be vastly esteemed by all
+craftsmen. This was then seen perfected in the Sibyls and Prophets
+of the work that he executed, as has been related, in S. Maria della
+Pace; in the carrying out of which work he was greatly assisted by
+having seen the paintings of Michelagnolo in the Chapel of the Pope.
+And if Raffaello had remained content with this same manner, and had
+not sought to give it more grandeur and variety in order to prove
+that he had as good a knowledge of the nude as Michelagnolo, he
+would not have lost a part of the good name that he had acquired;
+but the nudes that he made in that apartment of the Borgia Tower
+where there is the Burning of the Borgo, although they are fine, are
+not in every way excellent. In like manner, those that were painted
+likewise by him on the ceiling of the Palace of Agostino Chigi in
+the Trastevere did not give complete satisfaction, for they are
+wanting in that grace and sweetness which were peculiar to
+Raffaello; the reason of which, in great part, was the circumstance
+that he had them coloured by others after his design. However,
+repenting of this error, like a man of judgment, he resolved
+afterwards to execute by himself, without assistance from others,
+the panel-picture of the Transfiguration of Christ that is in S.
+Pietro a Montorio, wherein are all those qualities which, as has
+already been described, are looked for and required in a good
+picture. And if he had not employed in this work, as it were from
+caprice, printer's smoke-black, the nature of which, as has been
+remarked many times, is to become ever darker with time, to the
+injury of the other colours with which it is mixed, I believe that
+the picture would still be as fresh as when he painted it; whereas
+it now appears to be rather a mass of shadows than aught else.
+
+I have thought fit, almost at the close of this Life, to make this
+discourse, in order to show with what labour, study, and diligence
+this honoured craftsman always pursued his art; and even more for
+the sake of other painters, to the end that they may learn how to
+avoid those hindrances from which the wisdom and genius of Raffaello
+were able to deliver him. I must add this as well, that every man
+should be satisfied and contented with doing that work to which he
+feels himself drawn by a natural inclination, and should not seek,
+out of emulation, to put his hand to that for which nature has not
+adapted him; for otherwise he will labour in vain, and often to his
+own shame and loss. Moreover, where striving is enough, no man
+should aim at super-striving,[27] merely in order to surpass those
+who, by some great gift of nature, or by some special grace bestowed
+on them by God, have performed or are performing miracles in art;
+for the reason that he who is not suited to any particular work, can
+never reach, let him labour as he may, the goal to which another,
+with the assistance of nature, has attained with ease. Of this,
+among the old craftsmen, we may see an example in Paolo Uccello,
+who, striving against the limitations of his powers, in order to
+advance, did nothing but go backwards. The same has been done in our
+own day, no long time since, by Jacopo da Pontormo, and it has been
+proved by the experience of many others, as we have shown before and
+will point out yet again. And this, perchance, happens because
+Heaven always distributes its favours, to the end that every man may
+rest content with that which falls to him.
+
+But now, having discoursed on these matters of art, perchance at
+greater length than was needful, let us return to the life and death
+of Raffaello. He had a strait friendship with Cardinal Bernardo
+Divizio of Bibbiena, who had importuned him for many years to take a
+wife of his choosing; and Raffaello, while not directly refusing to
+obey the wishes of the Cardinal, had yet put the matter off, saying
+that he would rather wait till three or four years had passed. This
+term came upon Raffaello when he was not expecting it, and he was
+reminded by the Cardinal of his promise; whereupon, seeing himself
+bound, like the courteous man that he was, he would not break his
+word, and thus accepted as his wife a niece of that Cardinal. And
+because he was always very ill content with this entanglement, he
+continued to delay the matter in such a way that many months passed
+without the marriage being brought to pass. But it was with no
+dishonourable motive that he did this, for, having been so many
+years in the service of the Court, and being the creditor of Leo
+for a good sum, it had been hinted to him that when the hall on
+which he was engaged was finished, the Pope proposed to reward him
+for his labours and abilities by giving him a red hat, of which he
+had already determined to distribute a good number, and some of them
+to men of less merit than Raffaello.
+
+Meanwhile, pursuing his amours in secret, Raffaello continued to
+divert himself beyond measure with the pleasures of love; whence it
+happened that, having on one occasion indulged in more than his
+usual excess, he returned to his house in a violent fever. The
+physicians, therefore, believing that he had overheated himself, and
+receiving from him no confession of the excess of which he had been
+guilty, imprudently bled him, insomuch that he was weakened and felt
+himself sinking; for he was in need rather of restoratives.
+Thereupon he made his will: and first, like a good Christian, he
+sent his mistress out of the house, leaving her the means to live
+honourably. Next, he divided his possessions among his disciples,
+Giulio Romano, whom he had always loved dearly, and the Florentine
+Giovanni Francesco, called Il Fattore, with a priest of Urbino, his
+kinsman, whose name I do not know. Then he gave orders that some of
+his wealth should be used for restoring with new masonry one of the
+ancient tabernacles in S. Maria Ritonda, and for making an altar,
+with a marble statue of Our Lady, in that church, which he chose as
+his place of repose and burial after death; and he left all the rest
+to Giulio and Giovanni Francesco, appointing as executor of his will
+Messer Baldassarre da Pescia, then Datary to the Pope. Finally, he
+confessed and was penitent, and ended the course of his life at the
+age of thirty-seven, on the same day that he was born, which was
+Good Friday. And even as he embellished the world with his talents,
+so, it may be believed, does his soul adorn Heaven by its presence.
+
+As he lay dead in the hall where he had been working, there was
+placed at his head the picture of the Transfiguration, which he had
+executed for Cardinal de' Medici; and the sight of that living
+picture, in contrast with the dead body, caused the hearts of all
+who beheld it to burst with sorrow. That work, in memory of the loss
+of Raffaello, was placed by the Cardinal on the high-altar of S.
+Pietro a Montorio; and on account of the nobility of his every
+action, it was held ever afterwards in great estimation. His body
+received that honourable burial which his noble spirit had deserved,
+for there was no craftsman who did not weep with sorrow and follow
+him to the grave. His death was also a great grief to the whole
+Court of the Pope, first because he had held in his lifetime the
+office of Groom of the Chamber, and likewise because he had been so
+dear to the Pope that his loss caused him to weep bitterly.
+
+[Illustration: RAFAELLO SANZIO: BALDASSARE CASTIGLIONE
+
+(_Paris: Louvre, 1505. Canvas_)]
+
+O happy and blessed spirit, in that every man is glad to speak of
+thee, to celebrate thy actions, and to admire every drawing that
+thou didst leave to us! When this noble craftsman died, the art of
+painting might well have died also, seeing that when he closed his
+eyes, she was left as it were blind. And now for us who have
+survived him, it remains to imitate the good, nay, the supremely
+excellent method bequeathed to us by him as a pattern, and, as is
+called for by his merit and our obligations, to hold a most grateful
+remembrance of this in our minds, and to pay the highest honour to
+his memory with our lips. For in truth we have from him art,
+colouring, and invention harmonized and brought to such a pitch of
+perfection as could scarcely be hoped for; nor may any intellect
+ever think to surpass him. And in addition to this benefit that he
+conferred on art, like a true friend to her, as long as he lived he
+never ceased to show how one should deal with great men, with those
+of middle station, and with the lowest. And, indeed, among his
+extraordinary gifts, I perceive one of such value that I for my part
+am amazed at it, in that Heaven gave him the power to produce in our
+art an effect wholly contrary to the nature of us painters, which
+was that our craftsmen--I do not mean only the lesser, but also
+those whose humour it was to be great persons; and of this humour
+art creates a vast number--while working in company with Raffaello,
+felt themselves naturally united and in such accord, that all evil
+humours vanished at the sight of him, and every vile and base
+thought fell away from their minds. Such unity was never greater at
+any other time than his; and this happened because they were
+overcome both by his courtesy and by his art, and even more by the
+good disposition of his nature, which was so full of gentleness and
+so overflowing with loving-kindness, that it was seen that the very
+animals, not to speak of men, honoured him. It is said that if
+any painter who knew him, and even any who did not know him, asked
+him for some drawing that he needed, Raffaello would leave his own
+work in order to assist him. And he always kept a vast number of
+them employed, aiding them and teaching them with such a love as
+might have been the due rather of his own children than of
+fellow-craftsmen; for which reason he was never seen to go to Court
+without having with him, as he left his house, some fifty painters,
+all able and excellent, who kept him company in order to do him
+honour. In short, he lived not like a painter, but like a prince.
+Wherefore, O art of painting, thou couldst then esteem thyself
+indeed most blessed, in possessing a craftsman who, both with his
+genius and his virtues, exalted thee higher than Heaven! Truly happy
+mightest thou call thyself, in that thy disciples, following in the
+footsteps of so great a man, have seen how life should be lived, and
+how important is the union of art and virtue, which, wedded in
+Raffaello, had strength to prevail on the magnificent Julius II and
+the magnanimous Leo X, exalted as they were in rank and dignity, to
+make him their most intimate friend and show him all possible
+generosity, insomuch that by their favour and by the wealth that
+they bestowed upon him, he was enabled to do vast honour both to
+himself and to art. Blessed, also, may be called all those who,
+employed in his service, worked under him, since whoever imitated
+him found that he had reached an honourable haven; and in like
+manner all those who imitate his labours in art will be honoured by
+the world, even as, by resembling him in uprightness of life, they
+will win rewards from Heaven.
+
+Raffaello received from Bembo the following epitaph:
+
+  D. O. M.
+  RAPHAELLI SANCTIO JOAN. F. URBINAT.
+  PICTORI EMINENTISS. VETERUMQUE ÆMULO,
+  CUJUS SPIRANTEIS PROPE IMAGINEIS
+  SI CONTEMPLERE,
+  NATURÆ ATQUE ARTIS FOEDUS
+  FACILE INSPEXERIS.
+  JULII II ET LEONIS X PONTT. MAXX.
+  PICTURÆ ET ARCHITECT. OPERIBUS
+  GLORIAM AUXIT.
+  VIXIT AN. XXXVII, INTEGER, INTEGROS.
+  QUO DIE NATUS EST, EO ESSE DESIIT,
+  VIII ID. APRIL. MDXX.
+
+  ILLE HIC EST RAPHAEL, TIMUIT QUO SOSPITE VINCI
+  RERUM MAGNA PARENS, ET MORIENTE MORI.
+
+And Count Baldassarre Castiglione wrote of his death in the
+following manner:
+
+  Quod lacerum corpus medica sanaverit arte,
+    Hyppolitum Stygiis et revocarit aquis,
+  Ad Stygias ipse est raptus Epidaurius undas;
+    Sic precium vitæ mors fuit artifici.
+  Tu quoque dum toto laniatam corpore Romam
+    Componis miro, Raphael, ingenio,
+  Atque urbis lacerum ferro, igni, annisque cadaver,
+    Ad vitam antiquum jam revocasque decus,
+  Movisti superum invidiam, indignataque mors est
+    Te dudum extinctis reddere posse animam,
+  Et quod longa dies paulatim aboleverat, hoc te
+    Mortali spreta lege parare iterum.
+  Sic, miser, heu, prima cadis intercepte juventa,
+    Deberi et morti nostraque nosque mones.
+
+FOOTNOTE:
+
+[23] In the Life of Pinturicchio, Vasari says that this
+commission was given to Pinturicchio by Cardinal Francesco
+Piccolomini, who afterwards became Pope Pius III.
+
+[24] The text reads Palazzo, which is obviously an error
+for Papa.
+
+[25] This seems to be an error for Bartolommeo.
+
+[26] Villa Madama.
+
+[27] The use of this word, though perhaps too modern, seems
+to the translator to be the only way to preserve the play of words
+in the text.
+
+
+
+
+GUGLIELMO DA MARCILLA
+
+
+
+
+LIFE OF GUGLIELMO DA MARCILLA
+
+[_GUILLAUME DE MARCILLAC, OR THE FRENCH PRIOR_]
+
+FRENCH PAINTER AND MASTER OF GLASS WINDOWS
+
+
+At this same time, wherein our arts were endowed by God with the
+greatest felicity that they could possibly enjoy, there flourished
+one Guglielmo da Marcilla, a Frenchman, who, from his constant
+residence in Arezzo, and from the affection that he bore to that
+city, may be said to have chosen it for his country, insomuch that
+all men considered and called him an Aretine. And, in truth, among
+the benefits that are derived from ability, one is that from
+whatever strange and distant region and from however barbarous and
+unknown a race a man may come, be he who he may, if only he has a
+mind adorned with ability and practises some ingenious craft with
+his hands, no sooner does he make his first appearance in each city
+to which he turns his steps, demonstrating his worth, than the skill
+of his hand works so powerfully, that his name, passing from lip to
+lip, in a short time waxes great, and his qualities become very
+highly prized and honoured. And it happens often to a great number
+of men, who have left their country far behind them, that they
+chance upon nations that are lovers of ability and of foreigners,
+where, by reason of their upright walk of life, they find themselves
+recognized and cherished in such a manner, that they forget the
+country of their birth and choose a new one for their last
+resting-place.
+
+Even so was Arezzo chosen as a final home by Guglielmo, who, as a
+youth in France, applied himself to the art of design, and together
+with that gave attention to glass windows, in which he made figures
+no less harmonious in colouring than if they had been painted with
+the greatest beauty and harmony in oils. While in his own country,
+persuaded by the entreaties of certain of his friends, he was
+present at the slaying of one who was their enemy: on which account
+he was forced to assume the habit of a monk in the Order of S.
+Dominic in France, in order to escape the courts and the hand of
+justice. But although he remained in that Order, yet he never
+abandoned the study of art; nay, continuing it, he arrived at the
+highest perfection.
+
+Now, by order of Pope Julius II, a commission was given to Bramante
+da Urbino to have a number of glass windows made for the Palace;
+whereupon he, making inquiries about the most excellent craftsmen,
+received information of many who were working at that craft, and
+among them of some who were executing marvellous works in France;
+and of these he saw a specimen through the French Ambassador who was
+then at the Court of his Holiness, and who had in the frame of a
+window in his study a figure executed on a piece of white glass with
+a vast number of colours, fixed on the glass by the action of fire.
+Wherefore, by order of Bramante, a letter was written to France,
+inviting them to come to Rome, and offering them good payments.
+Thereupon Maestro Claudio, a Frenchman, the head of that art, having
+received the intelligence, and knowing the excellence of Guglielmo,
+so went to work with money and fair promises, that it was no
+difficult matter to draw him out of the convent, particularly
+because Guglielmo, on account of the discourtesy shown to him and
+the jealousies that there always are among monks, was even more
+eager to leave it than was Maestro Claudio to get him out. They
+went, therefore, to Rome, where the habit of S. Dominic was changed
+for that of S. Peter.
+
+Bramante at that time had caused two windows of travertine to be made in
+the Palace of the Pope, which were in the hall in front of the chapel,
+now embellished by a vaulted ceiling by Antonio da San Gallo, and by
+marvellous stucco-work from the hand of Perino del Vaga of Florence.
+These windows were executed by Maestro Claudio and Guglielmo, although
+afterwards, during the sack of Rome, they were broken to pieces, in
+order to extract the lead to make harquebus-balls; and they were truly
+marvellous. In addition to these, they made an endless number of them
+for the apartments of the Pope, which met with the same fate as the
+other two. And even now there is one to be seen in the room containing
+Raffaello's Burning of the Borgo, in the Borgia Tower; in which are
+angels who are holding the escutcheon of Leo X. They also made two
+windows for the chapel behind the Madonna in S. Maria del Popolo, with
+the stories of her life, which were highly praiseworthy examples of that
+craft.
+
+These works brought them no less fame and renown than comfort in
+life. But Maestro Claudio, being very intemperate in eating and
+drinking, according to the custom of his race, which is a deadly
+thing in the air of Rome, fell sick of so violent a fever, that in
+six days he passed to the other life. Whereupon Guglielmo, left
+alone, and almost like one lost without his companion, painted by
+himself a window, likewise of glass, in S. Maria de Anima, the
+church of the Germans in Rome; which was the reason that Cardinal
+Silvio of Cortona made him an offer, and made a contract with him
+that he should execute some windows and other works in his native
+city of Cortona. Wherefore the Cardinal took him in his company to
+take up his abode in Cortona; and the first work that he executed
+was the façade of the Cardinal's house on the side towards the
+Piazza, which he painted in chiaroscuro, depicting therein Croton
+and the other original founders of that city. Thereupon the
+Cardinal, who saw that Guglielmo was no less upright as a man than
+excellent as a master of that art, caused him to execute, for the
+Pieve of Cortona, the window of the principal chapel, in which he
+made the Nativity of Christ and the Magi adoring Him.
+
+Guglielmo was a man of fine spirit and intelligence, and of very
+great mastery in handling glass, and particularly in so distributing
+the colours that the brightest should come in the foremost figures,
+those in the other figures being darker in proportion as they
+receded; in which point he was a rare and truly excellent master.
+Moreover, he showed very good judgment in the painting of his
+figures; whereby he executed them with such unity, that they fell
+back into the distance little by little, in such a way that they did
+not cling either to the buildings or to the landscapes, and had the
+appearance of being painted on panel, or rather in relief. He showed
+invention and variety in the composition of scenes, making them
+rich and well grouped; and he rendered easy the process of making
+such pictures as are put together out of pieces of glass, which was
+held to be very difficult, as indeed it is for one who has not his
+skill and dexterity. He designed the pictures for his windows with
+such good method and order, that the mountings of lead and iron,
+which cross them in certain places, were so well fitted into the
+joinings of the figures and the folds of the draperies, that they
+cannot be seen--nay, they gave the whole such grace, that the brush
+could not have done more--and thus he was able to make a virtue of
+necessity.
+
+Guglielmo used only two kinds of colour for the shading of such
+glass as he proposed to subject to the action of fire; one was scale
+of iron, and the other scale of copper. That of iron, which is dark,
+served to shade draperies, hair, and buildings; and the other, that
+of copper, which produces a tawny tint, served for flesh colours. He
+also made much use of a hard stone that comes from Flanders and
+France, called at the present day hematite, which is red in colour
+and is much employed for burnishing gold. This, having first been
+pounded in a bronze mortar, and then ground with an iron brazing
+instrument on a plate of copper or yellow brass, and tempered with
+gum, works divinely well on glass.
+
+When Guglielmo first arrived in Rome, he was no great draughtsman,
+although he was well practised in every other respect. But having
+recognized the need of this, he applied himself to the study of
+drawing, in spite of his being well advanced in years; and thus
+little by little he achieved the improvement that is evident in the
+windows that he afterwards made for the Palace of the said Cardinal
+at Cortona, and for the other without the city, in a round window
+that is in the aforesaid Pieve, over the façade, on the right hand
+as one enters the church, wherein are the arms of Pope Leo X, and
+likewise in two little windows that are in the Company of Gesù, in
+one of which is a Christ, and in the other a S. Onofrio. These are
+no little different from his early works, and much better.
+
+Now while Guglielmo, as has been related, was living in Cortona,
+there died at Arezzo one Fabiano di Stagio Sassoli, an Aretine, who
+had been a very good master of the making of large windows.
+Thereupon the Wardens of Works for the Vescovado gave the commission
+for three windows in the principal chapel, each twenty braccia in
+height, to Stagio, the son of the said Fabiano, and to the painter
+Domenico Pecori; but when these were finished and fixed in their
+places, they gave no great satisfaction to the Aretines, although
+they were passing good and rather worthy of praise than otherwise.
+It happened at this time that Messer Lodovico Belichini, an
+excellent physician, and one of the first men in the government of
+the city of Arezzo, went to Cortona to cure the mother of the
+aforesaid Cardinal; and there he became well acquainted with our
+Guglielmo, with whom, when he had time, he was very willing to
+converse. And Guglielmo, who was then called the Prior, from his
+having received about that time the benefice of a priory, likewise
+conceived an affection for that physician, who asked him one day
+whether, with the good will of the Cardinal, he would go to Arezzo
+to execute some windows; at which Guglielmo promised that he would,
+and with the permission and good will of the Cardinal he made his
+way to that city. Now Stagio, of whom we have spoken above, having
+parted from the company of Domenico, received Guglielmo into his
+house; and the latter, for his first work, executed for a window of
+the Chapel of S. Lucia, belonging to the Albergotti, in the
+Vescovado of Arezzo, that Saint and a S. Sylvester, in so good a
+manner that the work may truly be said to be made with living
+figures, and not of coloured and transparent glass, or at least to
+be a picture worthy of praise and marvellous. For besides the
+mastery shown in the flesh-colours, the glasses are flashed; that
+is, in some places the first skin has been removed, and the glass
+then coloured with another tint; by which is meant, for example, the
+placing of yellow over red flashed glass, or the application of
+white and green over blue; which is a difficult and even miraculous
+thing in this craft. The first or true colour, then, such as red,
+blue, or green, covers the whole of one side; and the other part,
+which is as thick as the blade of a knife, or a little more, is
+white. Many, being afraid that they might break the glasses, on
+account of their lack of skill in handling them, do not employ a
+pointed iron for removing that layer, but in place of this, for
+greater safety, set about grinding the glasses with a copper wheel
+fixed on the end of an iron instrument; and thus, little by little,
+by the use of emery, they contrive to leave only a layer of white
+glass, which turns out very clear. Then, if a yellow colour has to
+be applied to the piece of glass thus left white, at the moment when
+it is to be placed into the furnace for firing, it is painted by
+means of a brush with calcined silver, which is a colour similar to
+bole, but somewhat thick; and in the fire this melts over the glass,
+fuses, and takes a firm hold, penetrating into the glass and making
+a very beautiful yellow. These methods of working no one used
+better, or with more ingenuity and art, than Prior Guglielmo; and it
+is in these things that the difficulty consists, for painting the
+glass with oil-colours or in any other manner is little or nothing,
+and that it should be diaphanous or transparent is not a matter of
+much importance, whereas firing it in the furnace and making it such
+that it will withstand the action of water and remain fresh for
+ever, is a difficult work and well worthy of praise. Wherefore this
+excellent master deserves the highest praise, since there is not a
+man of his profession who has done as much, whether in design, or
+invention, or colouring, or general excellence.
+
+He then made the great round-window of the same church, containing
+the Descent of the Holy Spirit, and likewise the Baptism of Christ
+by S. John, wherein he represented Christ in the Jordan, awaiting S.
+John, who has taken a cup of water in order to baptize Him, while a
+nude old man is taking off his shoes, and some angels are preparing
+Christ's raiment, and on high is the Father, sending down the Holy
+Spirit upon His Son. This window is over the baptismal font of that
+Duomo, for which he also executed the window containing the
+Resurrection of Lazarus on the fourth day after death; wherein it
+seems impossible that he could have included in so small a space
+such a number of figures, in which may be recognized the terror and
+amazement of the people, with the stench from the body of Lazarus,
+whose resurrection causes his two sisters to rejoice amid their
+tears. In this work are innumerable colours, flashed one over the
+other in the glass, and every least thing truly appears most natural
+in its own kind.
+
+And whoever wishes to learn how much the hand of the Prior was able
+to effect in this art, should study the window of S. Matthew over
+the Chapel of that Apostle, and observe the marvellous invention of
+that scene, wherein he can see a living figure of Christ calling
+Matthew from his tables, while Matthew, following Him and stretching
+out his arms to receive Him, abandons the riches and treasures that
+he has acquired. And at the same time an Apostle may be seen in a
+very spirited attitude, awaking another who has fallen asleep on
+some steps; and in like manner there may also be perceived a S.
+Peter speaking with S. John, both being so beautiful that they seem
+truly divine. In this same window are temples in perspective,
+staircases, and figures so well grouped, and landscapes so natural,
+that one would never think it was glass, but rather a thing rained
+down from Heaven for the consolation of mankind. In the same place
+he made the window of S. Anthony and that of S. Nicholas, both most
+beautiful, with two others, one containing the scene of Christ
+driving the traders from the Temple, and the other that of the woman
+taken in adultery; all these works being held to be truly excellent
+and marvellous.
+
+So fully were the labours and abilities of the Prior recognized by
+the Aretines, what with praises, favours, and rewards, and so
+satisfied and contented was he by this result, that he resolved to
+adopt that city as his home, and to change himself from a Frenchman
+into an Aretine. Afterwards, reflecting in his own mind that the art
+of glass-painting, on account of the destruction that takes place
+every moment in such works, was no lasting one, there came to him a
+desire to devote himself to painting, and he therefore undertook to
+execute for the Wardens of Works of the Vescovado in that city three
+very large vaults in fresco, thinking thus to leave a memorial of
+himself behind him. The Aretines, in return for this, presented to
+him a farm that belonged to the Confraternity of S. Maria della
+Misericordia, near their city, with some excellent houses, for his
+enjoyment during his lifetime. And they ordained that when the work
+was finished, its value should be estimated by some distinguished
+craftsman, and that the Wardens should make this good to him in
+full. Whereupon he made up his mind to show his worth in this
+undertaking, and he made his figures very large on account of the
+height, after the manner of the works in Michelagnolo's chapel. And
+so mightily did his wish to become excellent in such an art avail in
+him, that although he was fifty years of age, he improved little by
+little in such a manner, that he showed that his knowledge and
+comprehension of the beautiful were not less than his delight in
+imitating the good in the execution of his work. He went on to
+represent the earlier events of the New Testament, even as in the
+three large works he had depicted the beginning of the Old. For this
+reason, therefore, I am inclined to believe that any man of genius
+who has the desire to attain to perfection, is able, if he will but
+take the pains, to make naught of the limits of any science. At the
+beginning of those works, indeed, he was alarmed by their size, and
+because he had never executed any before; which was the reason that
+he sent to Rome for Maestro Giovanni, a French miniaturist, who,
+coming to Arezzo, painted over S. Antonio an arch with a Christ in
+fresco, and for that Company the banner that is carried in
+processions, which he executed with great diligence, having received
+the commission for them from the Prior.
+
+At the same time Guglielmo made the round window for the façade of
+the Church of S. Francesco, a great work, in which he represented
+the Pope in Consistory, with the Conclave of Cardinals, and S.
+Francis going to Rome for the confirmation of his Rule and bearing
+the roses of January. In this work he proved what a master of
+composition he was, so that it may be said with truth that he was
+born for that profession; nor may any craftsman ever think to equal
+him in beauty, in abundance of figures, or in grace. There are
+innumerable windows executed by him throughout that city, all most
+beautiful, such as the great round window in the Madonna delle
+Lacrime, containing the Assumption of Our Lady and the Apostles, and
+a very beautiful window with an Annunciation; a round window with
+the Marriage of the Virgin, and another containing a S. Jerome
+executed for the Spadari, and likewise three other windows below, in
+various parts of the church; with a most beautiful round window with
+the Nativity of Christ in the Church of S. Girolamo, and another in
+S. Rocco. He sent some, also, to various places, such as Castiglione
+del Lago, and one to Florence for Lodovico Capponi, to be set up in
+S. Felicita, where there is the panel by Jacopo da Pontormo, a most
+excellent painter, and the chapel adorned by him with mural
+paintings in oils and in fresco and with panel-pictures; which
+window came into the hands of the Frati Ingesuati in Florence, who
+worked at that craft, and they took it all to pieces in order to
+learn how it was made, removing many pieces as specimens and
+replacing them with new ones, so that in the end they made quite a
+different window.
+
+He also conceived the wish to paint in oils, and for the Chapel of
+the Conception in S. Francesco at Arezzo he executed a panel-picture
+wherein are some vestments very well painted, and many heads most
+lifelike, and so beautiful that he was honoured thereby ever
+afterwards, seeing that this was the first work that he had ever
+done in oils.
+
+The Prior was a very honourable person, and delighted in agriculture
+and in making alterations in buildings; wherefore, having bought a
+most beautiful house, he made in it a vast number of improvements.
+As a man of religion, he was always most upright in his ways; and
+the remorse of conscience, on account of his departure from his
+convent, kept him sorely afflicted. For which reason he made a very
+beautiful window for the Chapel of the High-altar in S. Domenico, a
+convent of his Order at Arezzo; wherein he depicted a vine that
+issues from the body of S. Dominic and embraces a great number of
+sanctified friars, who constitute the tree of the Order; and at the
+highest point is Our Lady, with Christ, who is marrying S. Catherine
+of Siena--a work much extolled and of great mastery, for which he
+would accept no payment, believing himself to be much indebted to
+that Order. He sent a very beautiful window to S. Lorenzo in
+Perugia, and an endless number of others to many places round
+Arezzo.
+
+And because he took much pleasure in matters of architecture, he
+made for the citizens of that country a number of designs of
+buildings and adornments for their city, such as the two doors of S.
+Rocco in stone, and the ornament of grey-stone that was added to the
+panel-picture of Maestro Luca in S. Girolamo; and he designed an
+ornament in the Abbey of Cipriano d' Anghiari, and another for the
+Company of the Trinità in the Chapel of the Crocifisso, and a very
+rich lavatory for the sacristy; which were all executed with great
+perfection by the stone-cutter Santi.
+
+Finally, ever delighting in labour, and continually working both
+winter and summer at his mural painting, which breaks down the
+healthiest of men, he became so afflicted by the damp and so
+swollen with dropsy, that his physicians had to tap him, and in a
+few days he rendered up his soul to Him who had given it. First,
+like a good Christian, he partook of the Sacraments of the Church,
+and made his will. Then, having a particular devotion for the
+Hermits of Camaldoli, who have their seat on the summit of the
+Apennines, twenty miles distant from Arezzo, he bequeathed to them
+his property and his body, and to Pastorino da Siena, his assistant,
+who had been with him many years, he left his glasses, his
+working-instruments, and his designs, of which there is one in our
+book, a scene of the Submersion of Pharaoh in the Red Sea.
+
+This Pastorino afterwards applied himself to many other fields of
+art, and also to glass windows, although the works that he produced
+in that craft were but few. Guglielmo was much imitated, also, by
+one Maso Porro of Cortona, who was more able in firing and putting
+together the glass than in painting it. One of the pupils of
+Guglielmo was Battista Borro of Arezzo, who continues to imitate him
+greatly in the making of windows; and he also taught the first
+rudiments to Benedetto Spadari and to Giorgio Vasari of Arezzo.
+
+The Prior lived sixty-two years, and died in the year 1537. He
+deserves infinite praise, in that by him there was brought into
+Tuscany the art of working in glass with the greatest mastery and
+delicacy that could be desired. Wherefore, since he conferred such
+great benefits upon us, we also will pay him honour, exalting him
+continually with loving and unceasing praise both for his life and
+for his works.
+
+
+
+
+SIMONE
+
+
+
+
+LIFE OF SIMONE, CALLED IL CRONACA
+
+[_SIMONE DEL POLLAIUOLO_]
+
+ARCHITECT OF FLORENCE
+
+
+Many intellects are lost that would make rare and worthy works, if,
+on coming into the world, they were to hit upon persons able and
+willing to set them to work on those labours for which they are
+fitted. But it often happens that he who has the means is neither
+capable nor willing; and if, indeed, there chances to be one willing
+to erect some worthy building, he often takes no manner of care to
+seek out an architect of real merit or of any loftiness of spirit.
+Nay, he puts his honour and glory into the keeping of certain
+thievish creatures, who generally disgrace the name and fame of such
+memorials; and in order to thrust forward into greatness those who
+depend entirely upon him (so great is the power of ambition), he
+often rejects the good designs that are offered to him, and puts
+into execution the very worst; wherefore his own fame is left
+besmirched by the clumsiness of the work, since it is considered by
+all men of judgment that the craftsman and the patron who employs
+him, in that they are conjoined in their works, are of one and the
+same mind. And on the other hand, how many Princes of little
+understanding have there been, who, through having chanced upon
+persons of excellence and judgment, have obtained after death no
+less fame from the memory of their buildings than they enjoyed when
+alive from their sovereignty over their people.
+
+Truly fortunate, however, in his day, was Cronaca, in that he not
+only had the knowledge, but also found those who kept him
+continually employed, and that always on great and magnificent
+works. Of him it is related that while Antonio Pollaiuolo was in
+Rome, working at the tombs of bronze that are in S. Pietro, there
+came to his house a young lad, his relative, whose proper name was
+Simone, and who had fled from Florence on account of some brawl.
+This Simone, having worked with a master in woodwork, and being much
+inclined to the art of architecture, began to observe the beautiful
+antiquities of that city, and, delighting in them, went about
+measuring them with the greatest diligence. And, going on with this,
+he had not been long in Rome before he showed that he had made much
+proficience, both in taking measurements and in carrying one or two
+things into execution.
+
+Thereupon he conceived the idea of returning to Florence, and
+departed from Rome; and on arriving in his native city, having
+become a passing good master of words, he described the marvels of
+Rome and of other places with such accuracy, that from that time
+onwards he was called Il Cronaca, every man thinking that he was
+truly a chronicle of information in his discourse. Now he had become
+such that he was held to be the most excellent of the modern
+architects in the city of Florence, seeing that he had good judgment
+in choosing sites, and showed that he had an intellect more lofty
+than that of many others who were engaged in that profession; for it
+was evident from his works how good an imitator he was of
+antiquities, and how closely he had observed the rules of Vitruvius
+and the works of Filippo di Ser Brunellesco.
+
+[Illustration: DETAIL OF CORNICE
+
+(_After_ Simone [Il Cronaca], _Florence: Palazzo Strozzi_)
+
+_Alinari_]
+
+There was then in Florence that Filippo Strozzi who is now called
+"the elder," to distinguish him from his son; and he, being very
+rich, wished to leave to his native city and to his children, among
+other memorials of himself, one in the form of a beautiful palace.
+Wherefore Benedetto da Maiano, having been called upon by him for
+this purpose, made him a model entirely isolated, which was
+afterwards put into execution, although not in all its extent, as
+will be related below, for some of his neighbours would not give up
+their houses to accommodate him. Benedetto began the palace,
+therefore, in the best way that he could, and brought the outer
+shell almost to completion before the death of Filippo: which outer
+shell is in the Rustic Order, with varying degrees of rustication,
+as may be seen, since the boss-covered part from the first range of
+windows downwards, together with the doors, is very much Rustic, and
+the part from the first range of windows to the second is much less
+Rustic. Now it happened that at the very moment when Benedetto
+was leaving Florence, Cronaca returned from Rome; whereupon, Simone
+being presented to Filippo, the latter was so pleased with the model
+that he made for the courtyard and for the great cornice which goes
+round the outer side of the palace, that, having recognized the
+excellence of his intellect, he decided that thenceforward the whole
+work should pass through his hands, and availed himself of his
+services ever afterwards. Cronaca, then, in addition to the
+beautiful exterior in the Tuscan Order, made at the top a very
+magnificent Corinthian cornice, which serves to complete the roof;
+and half of it is seen finished at the present day, with such
+extraordinary grace that nothing could be added to it, nor could
+anything more beautiful be desired. This cornice was taken by
+Cronaca, who copied it in Rome with exact measurements, from an
+ancient one that is to be found at Spoglia Cristo, which is held to
+be the most beautiful among the many that are in that city; although
+it is true that it was enlarged by Cronaca to the proportions
+required by the palace, to the end that it might make a suitable
+finish, and might also complete the roof of that palace by means of
+its projection. Thus, then, the genius of Cronaca was able to make
+use of the works of others and to transform them almost into his
+own; which does not succeed with many, since the difficulty lies not
+in merely having drawings and copies of beautiful things, but in
+accommodating them to the purpose which they have to serve, with
+grace, true measurement, proportion, and fitness. But just as much
+as this cornice of Cronaca's was and always will be extolled, so was
+that one censured which was made for the Palace of the Bartolini in
+the same city by Baccio d' Agnolo, who, seeking to imitate Cronaca,
+placed over a small façade, delicate in detail, a great ancient
+cornice copied with the exact measurements from the frontispiece of
+Monte Cavallo; which resulted in such ugliness, from his not having
+known how to adapt it with judgment, that it could not look worse,
+for it seems like an enormous cap on a small head. It is not enough
+for craftsmen, when they have executed their works, to excuse
+themselves, as many do, by saying that they were taken with exact
+measurements from the antique and copied from good masters, seeing
+that good judgment and the eye play a greater part in all such
+matters than measuring with compasses. Cronaca, then, executed half
+of the said cornice with great art right round that palace, together
+with dentils and ovoli, and finished it completely on two sides,
+counterpoising the stones in such a way, in order that they might
+turn out well bound and balanced, that there is no better masonry to
+be seen, nor any carried to perfection with more diligence. In like
+manner, all the other stones are so well put together, and with so
+high a finish, that the whole does not appear to be of masonry, but
+rather all of one piece. And to the end that everything might be in
+keeping, he caused beautiful pieces of iron-work to be made for all
+parts of the palace, as adornments for it, and the lanterns that are
+at the corners, which were all executed with supreme diligence by
+Niccolò Grosso, called Il Caparra, a smith of Florence. In those
+marvellous lanterns may be seen cornices, columns, capitals, and
+brackets of iron, fixed together with wonderful craftsmanship; nor
+has any modern ever executed in iron works so large and so
+difficult, and with such knowledge and mastery.
+
+[Illustration: IRON LINK-HOLDER
+
+(_After_ Niccolò Grosso. _Florence: Palazzo Strozzi_)
+
+_Alinari_]
+
+Niccolò Grosso was an eccentric and self-willed person, claiming
+justice for himself and giving it to others, and never covetous of
+what was not his own. He would never give anyone credit in the
+payment of his works, and always insisted on having his
+earnest-money. For this reason Lorenzo de' Medici called him Il
+Caparra,[28] and he was known to many others by that name. He had a
+sign fixed over his shop, wherein were books burning; wherefore,
+when one asked for time to make his payment, he would say, "I cannot
+give it, for my books are burning, and I can enter no more debtors
+in them." He was commissioned by the honourable Captains of the
+Guelph party to make a pair of andirons, which, when he had finished
+them, were sent for several times. But he kept saying, "On this
+anvil do I sweat and labour, and on it will I have my money paid
+down." Whereupon they sent to him once more for the work, with a
+message that he should come for his money, for he would straightway
+be paid; but he, still obstinate, answered that they must first
+bring the money. The provveditore, therefore, knowing that the
+Captains wished to see the work, fell into a rage, and sent to him
+saying that he had received half the money, and that when he
+had dispatched the andirons, he would pay him the rest. On which
+account Caparra, recognizing that this was true, gave one of the
+andirons to the messenger, saying: "Take them this one, for it is
+theirs; and if it pleases them, bring me the rest of the money, and
+I will hand over the other; but at present it is mine." The
+officials, seeing the marvellous work that he had put into it, sent
+the money to his shop; and he sent them the other andiron. It is
+related, also, that Lorenzo de' Medici resolved to have some pieces
+of iron-work made, to be sent abroad as presents, in order that the
+excellence of Caparra might be made known. He went, therefore, to
+his shop, and happened to find him working at some things for
+certain poor people, from whom he had received part of the price as
+earnest-money. On Lorenzo making his request, Niccolò would in no
+way promise to serve him before having satisfied the others, saying
+that they had come to his shop before Lorenzo, and that he valued
+their money as much as his. To the same master some young men of the
+city brought a design, from which he was to make for them an iron
+instrument for breaking and forcing open other irons by means of a
+screw, but he absolutely refused to serve them; nay, he upbraided
+them, and said: "Nothing will induce me to serve you in such a
+matter; for these things are nothing but thieves' tools, or
+instruments for abducting and dishonouring young girls. Such things
+are not for me, I tell you, nor for you, who seem to me to be honest
+men." And they, perceiving that Caparra would not do their will,
+asked him who there was in Florence who might serve them; whereupon,
+flying into a rage, he drove them away with a torrent of abuse. He
+would never work for Jews, and was wont, indeed, to say that their
+money was putrid and stinking. He was a good man and a religious,
+but whimsical in brain and obstinate: and he would never leave
+Florence, for all the offers that were made to him, but lived and
+died in that city. Of him I have thought it right to make this
+record, because he was truly unique in his craft, and has never had
+and never will have an equal, as may be seen best from the iron-work
+and the beautiful lanterns of the Palace of the Strozzi.
+
+[Illustration: IRON LANTERN
+
+(_After_ Niccolò Grosso. _Florence: Palazzo Strozzi_)
+
+_Alinari_]
+
+This palace was brought to completion by Cronaca, and adorned with
+a very rich courtyard in the Corinthian and Doric Orders, with
+ornaments in the form of columns, capitals, cornices, windows, and
+doors, all most beautiful. And if it should appear to anyone that
+the interior of this palace is not in keeping with the exterior, he
+must know that the fault is not Cronaca's, for the reason that he
+was forced to adapt his interior to an outer shell begun by others,
+and to follow in great measure what had been laid down by those
+before him; and it was no small feat for him to have given it such
+beauty as it displays. The same answer may be made to any who say
+that the ascent of the stairs is not easy, nor correct in
+proportion, but too steep and sudden; and likewise, also, to such as
+say that the rooms and apartments of the interior in general are out
+of keeping, as has been described, with the grandeur and
+magnificence of the exterior. Nevertheless this palace will never be
+held as other than truly magnificent, and equal to any private
+building whatsoever that has been erected in Italy in our own times;
+wherefore Cronaca rightly obtained, as he still does, infinite
+commendation for this work.
+
+The same master built the Sacristy of S. Spirito in Florence, which
+is in the form of an octagonal temple, beautiful in proportions, and
+executed with a high finish; and among other things to be seen in
+this work are some capitals fashioned by the happy hand of Andrea
+dal Monte Sansovino, which are wrought with supreme perfection; and
+such, likewise, is the antechamber of that sacristy, which is held
+to be very beautiful in invention, although the coffered ceiling, as
+will be described, is not well distributed over the columns. The
+same Cronaca also erected the Church of S. Francesco dell'
+Osservanza on the hill of S. Miniato, without Florence; and likewise
+the whole of the Convent of the Servite Friars, which is a highly
+extolled work.
+
+[Illustration: INTERIOR OF SACRISTY
+
+(_After_ Simone [Il Cronaca]. _Florence: S. Spirito_)
+
+_Alinari_]
+
+At this same time there was about to be built, by the advice of Fra
+Girolamo Savonarola, a most famous preacher of that day, the Great
+Council Chamber of the Palace of the Signoria in Florence; and for
+this opinions were taken from Leonardo da Vinci, Michelagnolo
+Buonarroti, although he was a mere lad, Giuliano da San Gallo,
+Baccio d' Agnolo, and Simone del Pollaiuolo, called Il Cronaca, who
+was the devoted friend and follower of Savonarola. These men, after
+many disputes, came to an agreement, and decided that the Hall
+should be made in that form which it retained down to our own times,
+when, as has been mentioned and will be related yet again in another
+place, it was almost rebuilt. The charge of the whole work was given
+to Cronaca, as a man of talent and also as the friend of the
+aforesaid Fra Girolamo; and he executed it with great promptitude
+and diligence, showing the beauty of his genius particularly in the
+making of the roof, since the structure is of vast extent in every
+direction. He made the tie-beams of the roof-truss, which are
+thirty-eight braccia in length from wall to wall, of a number of
+timbers well scarfed and fastened together, since it was not
+possible to find beams of sufficient size for the purpose; and
+whereas the tie-beams of other roof-trusses have only one king-post,
+all those of this Hall have three each, a king-post in the middle,
+and a queen-post on either side. The rafters are long in proportion,
+and so are the struts of each king-post and queen-post; nor must I
+omit to say that the struts of the queen-posts, on the side nearest
+the wall, thrust against the rafters, and, towards the centre,
+against the struts of the king-post. I have thought it right to
+describe how this roof-truss is made, because it was constructed
+with beautiful design, and I have seen drawings made of it by many
+for sending to various places. When these tie-beams, thus contrived,
+had been drawn up and placed at intervals of six braccia, and the
+roof had been likewise laid down in a very short space of time,
+Cronaca attended to the fixing of the ceiling, which was then made
+of plain wood and divided into panels, each of which was four
+braccia square and surrounded by an ornamental cornice of few
+members; and a flat moulding was made of the same width as the
+planks, which enclosed the panels and the whole work, with large
+bosses at the intersections and the corners of the whole ceiling.
+And although the end walls of this Hall, one on either side, were
+eight braccia out of the square, they did not make up their minds,
+as they might have done, to thicken the walls so as to make it
+square, but carried them up to the roof just as they were, making
+three large windows on each of those end walls. But when the whole
+was finished, the Hall, on account of its extraordinary size, turned
+out to be too dark, and also stunted and wanting in height in
+relation to its great length and breadth; in short, almost wholly
+out of proportion. They sought, therefore, but with little success,
+to improve it by making two windows in the middle of the eastern
+side of the Hall, and four on the western side. After this, in order
+to give it its final completion, they made on the level of the brick
+floor, with great rapidity, being much pressed by the citizens, a
+wooden tribune right round the walls of the Hall, three braccia both
+in breadth and height, with seats after the manner of a theatre, and
+with a balustrade in front; on which tribune all the magistrates of
+the city were to sit. In the middle of the eastern side was a more
+elevated daïs, on which the Signori sat with the Gonfalonier of
+Justice; and on either side of this more prominent place was a door,
+one of them leading to the Segreto[29] and the other to the
+Specchio.[30] Opposite to this, on the west side, was an altar at
+which Mass was read, with a panel by the hand of Fra Bartolommeo, as
+has been mentioned; and beside the altar was the pulpit for making
+speeches. In the middle of the Hall, then, were benches in rows laid
+crossways, for the citizens; while in the centre and at the corners
+of the tribune were some gangways with six steps, providing a
+convenient ascent for the ushers in the collection of votes. In this
+Hall, which was much extolled at that day for its many beautiful
+features and the rapidity with which it was erected, time has since
+served to reveal such errors as that it is low, dark, gloomy, and
+out of the square. Nevertheless Cronaca and the others deserve to be
+excused, both on account of the haste with which it was executed at
+the desire of the citizens, who intended in time to have it adorned
+with pictures and the ceiling overlaid with gold, and because up to
+that day there had been no greater hall built in Italy; although
+there are others very large, such as that of the Palace of S. Marco
+in Rome, that of the Vatican, erected by Pius II and Innocent VIII,
+that of the Castle of Naples, that of the Palace of Milan, and those
+of Urbino, Venice, and Padua.
+
+After this, to provide an ascent to this Hall, Cronaca, with the
+advice of the same masters, made a great staircase six braccia wide
+and curving in two flights, richly adorned with grey-stone, and with
+Corinthian pilasters and capitals, double cornices, and arches, of
+the same stone; and with barrel-shaped vaulting, and windows with
+columns of variegated marble and carved marble capitals. But
+although this work was much extolled, it would have won even greater
+praise if the staircase had not turned out inconvenient and too
+steep; for it is a sure fact that it could have been made more
+gentle, as has been done in the time of Duke Cosimo, within the same
+amount of space and no more, in the new staircase made, opposite to
+that of Cronaca, by Giorgio Vasari, which is so gentle in ascent and
+so convenient, that going up it is almost like walking on the level.
+This has been the work of the aforesaid Lord Duke Cosimo, who, being
+a man of most happy genius and most profound judgment both in the
+government of his people and in all other things, grudges neither
+expense nor anything else in his desire to make all the
+fortifications and other buildings, both public and private,
+correspond to the greatness of his own mind, and not less beautiful
+than useful or less useful than beautiful.
+
+His Excellency, then, reflecting that the body of this Hall is the
+largest, the most magnificent, and the most beautiful in all Europe,
+has resolved to have it improved in such parts as are defective, and
+to have it made in every other part more ornate than any other
+structure in Italy, by the design and hand of Giorgio Vasari of
+Arezzo. And thus, the walls having been raised twelve braccia above
+their former height, in such a manner that the height from the
+pavement to the ceiling is thirty-two braccia, the roof-truss made
+by Cronaca to support the roof has been restored and replaced on
+high after a new arrangement; and the old ceiling, which was simple
+and commonplace, and by no means worthy of that Hall, has been
+remodelled with a system of compartments of great variety, rich in
+mouldings, full of carvings, and all overlaid with gold, together
+with thirty-nine painted panels, square, round, and octagonal, the
+greater number of which are each nine braccia in extent, and some
+even more, and all containing scenes painted in oils, with the
+largest figures seven or eight braccia high. In these stories,
+commencing with the very beginning, may be seen the rise, the
+honours, the victories, and the glorious deeds of the city and
+state of Florence, and in particular the wars of Pisa and Siena,
+together with an endless number of other things, which it would take
+too long to describe. And on each of the side walls there has been
+left a convenient space of sixty braccia, in each of which are to be
+painted three scenes in keeping with the ceiling and embracing the
+space of seven pictures on either side, which represent events from
+the wars of Pisa and Siena. These compartments on the walls are so
+large, that no greater spaces for the painting of historical
+pictures have ever been seen either by the ancients or by the
+moderns. And the said compartments are adorned by some vast stone
+ornaments which meet at the ends of the Hall, at one side of which,
+namely, the northern side, the Lord Duke has caused to be finished a
+work begun and carried nearly to completion by Baccio Bandinelli,
+that is, a façade filled with columns and pilasters and with niches
+containing statues of marble; which space is to serve as a public
+audience chamber, as will be related in the proper place. On the
+other side, opposite to this, there is to be, in a similar façade
+that is being made by the sculptor and architect Ammanati, a
+fountain to throw up water in the Hall, with a rich and most
+beautiful adornment of columns and statues of marble and bronze. Nor
+will I forbear to say that this Hall, in consequence of the roof
+having been raised twelve braccia, has gained not only height, but
+also an ample supply of windows, since, in addition to the others
+that are higher up, in each of those end walls are to be made three
+large windows, which will be over the level of a corridor that is to
+form a loggia within the Hall and to extend on one side over the
+work of Bandinelli, whence there will be revealed a most beautiful
+view of the whole Piazza. But of this Hall, and of the other
+improvements that have been or are being made in the Palace, there
+will be a longer account in another place. This only let me say at
+present, that if Cronaca and those other ingenious craftsmen who
+gave the design for the Hall could return to life, in my belief they
+would not recognize either the Palace, or the Hall, or any other
+thing that is there. The Hall, namely, that part which is
+rectangular, without counting the works of Bandinelli and Ammanati,
+is ninety braccia in length and thirty-eight braccia in breadth.
+
+But returning to Cronaca: in the last years of his life there
+entered into his head such a frenzy for the cause of Fra Girolamo
+Savonarola, that he would talk of nothing else but that. Living
+thus, in the end he died after a passing long illness, at the age of
+fifty-five, and was buried honourably in the Church of S. Ambrogio
+at Florence, in the year 1509; and after no long space of time the
+following epitaph was written for him by Messer Giovan Battista
+Strozzi:
+
+  CRONACA
+  VIVO, E MILLE E MILLE ANNI E MILLE ANCORA,
+  MERCÈ DE' VIVI MIEI PALAZZI E TEMPI,
+  BELLA ROMA, VIVRÀ L' ALMA MIA FLORA.
+
+Cronaca had a brother called Matteo, who gave himself to sculpture
+and worked under the sculptor Antonio Rossellino; but although he
+was a man of good and beautiful intelligence, a fine draughtsman,
+and well practised in working marble, he left no finished work,
+because, being snatched from the world by death at the age of
+nineteen, he was not able to accomplish that which was expected from
+him by all who knew him.
+
+FOOTNOTE:
+
+[28] Earnest-money.
+
+[29] Room in which the beans used in voting for the
+election of magistrates were counted.
+
+[30] Office of those who had charge of the Specchio, the
+book in which were inscribed the names of such citizens as were in
+arrears with their taxes.
+
+
+
+
+DOMENICO PULIGO
+
+
+
+
+LIFE OF DOMENICO PULIGO
+
+PAINTER OF FLORENCE
+
+
+It is a marvellous and almost incredible thing, that many followers
+of the art of painting, through continual practice and handling of
+colours, either by an instinct of nature or by the trick of a good
+manner, acquired without any draughtsmanship or grounding, carry
+their works to such thorough completion, and very often contrive to
+make them so good, that, although the craftsmen themselves may be
+none of the rarest, their pictures force the world to extol them and
+to hold them in supreme veneration. And it has been perceived in the
+past from many examples, and in many of our painters, that the most
+vivacious and perfect works are produced by those who have a
+beautiful manner from nature, although they must exercise it with
+continual study and labour; while this gift of nature has such
+power, that even if they neglect or abandon the studies of art, and
+pay attention to nothing save the mere practice of painting and of
+handling colours with a grace infused in them by nature, at the
+first glance their works have the appearance of displaying all the
+excellent and marvellous qualities that are wont to appear after a
+close inspection in the works of those masters whom we hold to be
+the best. And that this is true, is demonstrated to us in our own
+day by experience, from the works of Domenico Puligo, a painter of
+Florence; wherein what has been said above may be clearly recognized
+by one who has knowledge of the matters of art.
+
+[Illustration: MADONNA AND CHILD, WITH SAINTS
+
+(_After the panel by =Domenico Puligo= (?). Florence: S. Maria
+Maddalena de' Pazzi_)
+
+_Alinari_]
+
+While Ridolfo, the son of Domenico Ghirlandajo, was executing a
+number of works in painting at Florence, as will be related, he
+followed his father's habit of always keeping many young men
+painting in his workshop: which was the reason that not a few of
+them, through competing one with another, became very good masters,
+some at making portraits from life, some at working in fresco,
+others in distemper, and others at painting readily on cloth. Making
+these lads execute pictures, panels, and canvases, in the course of
+a few years Ridolfo, with great profit for himself, sent an endless
+number of these to England, to Germany, and to Spain. Baccio Gotti
+and Toto del Nunziata, disciples of Ridolfo, were summoned, one to
+France by King Francis, and the other to England by the King of that
+country, each of whom invited them after having seen some of their
+work. Two other disciples of the same master remained with him,
+working under him for many years, because, although they had many
+invitations into Spain and Hungary from merchants and others, they
+were never induced either by promises or by money to tear themselves
+away from the delights of their country, in which they had more work
+to do than they were able to execute. One of these two was Antonio
+del Ceraiuolo, a Florentine, who, having been many years with
+Lorenzo di Credi, had learnt from him, above all, to draw so well
+from nature, that with supreme facility he gave his portraits an
+extraordinary likeness to the life, although otherwise he was no
+great draughtsman. And I have seen some heads portrayed from life by
+his hand, which, although they have, for example, the nose crooked,
+one lip small and the other large, and other suchlike deformities,
+nevertheless resemble the life, through his having well caught the
+expression of the subject; whereas, on the other hand, many
+excellent masters have made pictures and portraits of absolute
+perfection with regard to art, but with no resemblance whatever to
+those that they are supposed to represent. And to tell the truth, he
+who executes portraits must contrive, without thinking of what is
+looked for in a perfect figure, to make them like those for whom
+they are intended. When portraits are like and also beautiful, then
+may they be called rare works, and their authors truly excellent
+craftsmen. This Antonio, then, besides many portraits, executed a
+number of panel-pictures in Florence; but for the sake of brevity I
+will make mention only of two. One of these, wherein he painted a
+Crucifixion, with S. Mary Magdalene and S. Francis, is in S. Jacopo
+tra Fossi, on the Canto degli Alberti; and in the other, which is
+in the Nunziata, is a S. Michael who is weighing souls.
+
+The other of the two aforesaid disciples was Domenico Puligo, who
+was more excellent in draughtsmanship and more pleasing and gracious
+in colouring than any of the others mentioned above. He, considering
+that his method of painting with softness, without overloading his
+works with colour or making them hard, but causing the distances to
+recede little by little as though veiled with a kind of mist, gave
+his pictures both relief and grace, and that although the outlines
+of the figures that he made were lost in such a way that his errors
+were concealed and hidden from view in the dark grounds into which
+the figures merged, nevertheless his colouring and the beautiful
+expressions of his heads made his works pleasing, always kept to the
+same method of working and to the same manner, which caused him to
+be held in esteem as long as he lived. But omitting to give an
+account of the pictures and portraits that he made while in the
+workshop of Ridolfo, some of which were sent abroad and some
+remained in the city, I shall speak only of those which he painted
+when he was rather the friend and rival of Ridolfo than his
+disciple, and of those that he executed when he was so much the
+friend of Andrea del Sarto, that nothing was more dear to him than
+to see that master in his workshop, in order to learn from him,
+showing him his works and asking his opinion of them, so as to avoid
+such errors and defects as those men often fall into who do not show
+their work to any other craftsman, but trust so much in their own
+judgment that they would rather incur the censure of all the world
+when those works are finished, than correct them by means of the
+suggestions of loving friends.
+
+One of the first things that Domenico executed was a very beautiful
+picture of Our Lady for Messer Agnolo della Stufa, who has it in his
+Abbey of Capalona in the district of Arezzo, and holds it very dear
+for the great diligence of its execution and the beauty of its
+colouring. He painted another picture of Our Lady, no less beautiful
+than that one, for Messer Agnolo Niccolini, now Archbishop of Pisa
+and a Cardinal, who keeps it in his house on the Canto de' Pazzi in
+Florence; and likewise another, of equal size and excellence, which
+is now in the possession of Filippo dell' Antella, at Florence. In
+another, which is about three braccia in height, Domenico made a
+full-length Madonna with the Child between her knees, a little S.
+John, and another head; and this picture, which is held to be one of
+the best works that he executed, since there is no sweeter colouring
+to be seen, is at the present day in the possession of Messer
+Filippo Spini, Treasurer to the most Illustrious Prince of Florence,
+and a gentleman of magnificent spirit, who takes much delight in
+works of painting.
+
+Among other portraits that Domenico made from the life, which are
+all beautiful and also good likenesses, the most beautiful is the
+one which he painted of Monsignore Messer Piero Carnesecchi, at that
+time a marvellously handsome youth, for whom he also made some other
+pictures, all very beautiful and executed with much diligence. In
+like manner, he portrayed in a picture the Florentine Barbara, a
+famous and most lovely courtesan of that day, much beloved by many
+no less for her fine culture than for her beauty, and particularly
+because she was an excellent musician and sang divinely. But the
+best work that Domenico ever executed was a large picture wherein he
+made a life-size Madonna, with some angels and little boys, and a S.
+Bernard who is writing; which picture is now in the hands of
+Giovanni Gualberto del Giocondo, and of his brother Messer Niccolò,
+a Canon of S. Lorenzo in Florence.
+
+The same master made many other pictures, which are dispersed among
+the houses of citizens, and in particular some wherein may be seen a
+half-length figure of Cleopatra, causing an asp to bite her on the
+breast, and others wherein is the Roman Lucretia killing herself
+with a dagger. There are also some very beautiful portraits from
+life and pictures by the same hand at the Porta a Pinti, in the
+house of Giulio Scali, a man whose judgment is as fine in the
+matters of our arts as it is in those of every other most noble and
+most honourable profession. Domenico executed for Francesco del
+Giocondo, in a panel for his chapel in the great tribune of the
+Church of the Servi at Florence, a S. Francis who is receiving the
+Stigmata; which work is very sweet and soft in colouring, and
+wrought with much diligence. In the Church of Cestello, round the
+Tabernacle of the Sacrament, he painted two angels in fresco, and on
+the panel of a chapel in the same church he made a Madonna with her
+Son in her arms, S. John the Baptist, S. Bernard, and other saints.
+And since it appeared to the monks of that place that he had
+acquitted himself very well in those works, they caused him to paint
+in a cloister of their Abbey of Settimo, without Florence, the
+Visions of Count Ugo, who built seven abbeys. And no long time
+after, Puligo painted, in a shrine at the corner of the Via Mozza da
+S. Catarina, a Madonna standing, with her Son in her arms marrying
+S. Catherine, and a figure of S. Peter Martyr. For a Company in the
+township of Anghiari he executed a Deposition from the Cross, which
+may be numbered among his best works.
+
+But since it was his profession to attend rather to pictures of Our
+Lady, portraits, and other heads, than to great works, he gave up
+almost all his time to such things. Now if he had devoted himself
+not so much to the pleasures of the world, as he did, and more to
+the labours of art, there is no doubt that he would have made great
+proficience in painting, and especially as Andrea del Sarto, who was
+much his friend, assisted him on many occasions both with advice and
+with drawings; for which reason many of his works reveal a
+draughtsmanship as fine as the good and beautiful manner of the
+colouring. But the circumstance that Domenico was unwilling to
+endure much fatigue, and accustomed to labour rather in order to get
+through work and make money than for the sake of fame, prevented him
+from reaching a greater height. And thus, associating with gay
+spirits and lovers of good cheer, and with musicians and women, he
+died at the age of fifty-two, in the year 1527, in the pursuit of a
+love-affair, having caught the plague at the house of his mistress.
+
+Colour was handled by him in so good and harmonious a manner, that
+it is for that reason, rather than for any other, that he deserves
+praise. Among his disciples was Domenico Beceri of Florence, who,
+giving a high finish to his colouring, executed his works in an
+excellent manner.
+
+
+
+
+INDEX
+
+
+
+
+INDEX OF NAMES
+
+OF THE CRAFTSMEN MENTIONED IN VOLUME IV
+
+
+    Abbot of S. Clemente (Don Bartolommeo della Gatta), 41, 82, 216, 217
+
+    Agnolo, Baccio d', 101, 204, 267, 270
+
+    Agnolo Gaddi, 52, 54
+
+    Agostino Busto, 60
+
+    Albertinelli, Biagio di Bindo, 165
+
+    Albertinelli, Mariotto, _Life_, 165-171. 151, 154
+
+    Albrecht Dürer, 232
+
+    Aldigieri (Altichiero) da Zevio, 51, 54, 55
+
+    Alessandro Filipepi (Sandro Botticelli, or Sandro di
+      Botticello), 3, 4, 82
+
+    Alessandro Moretto, 60
+
+    Alesso Baldovinetti, 82
+
+    Alonzo Berughetta, 8
+
+    Alunno, Niccolò, 18, 19
+
+    Ammanati, 274
+
+    Andrea Contucci (Andrea Sansovino, or Andrea dal Monte
+      Sansovino), 5, 144, 186, 223, 270
+
+    Andrea dal Castagno (Andrea degl' Impiccati), 82
+
+    Andrea dal Monte Sansovino (Andrea Sansovino, or Andrea
+      Contucci), 5, 144, 186, 223, 270
+
+    Andrea degl' Impiccati (Andrea dal Castagno), 82
+
+    Andrea del Gobbo, 122
+
+    Andrea del Sarto, 83, 129, 134, 281, 283
+
+    Andrea di Cosimo, 129
+
+    Andrea Luigi (L'Ingegno), 47
+
+    Andrea Mantegna, 24, 55, 82
+
+    Andrea Sansovino (Andrea Contucci, or Andrea dal Monte
+      Sansovino), 5, 144, 186, 223, 270
+
+    Andrea Verrocchio, 35, 39, 81, 90, 92, 112
+
+    Angelico, Fra (Fra Giovanni da Fiesole), 73, 154, 185
+
+    Angelo, Battista d', 61
+
+    Antonio (Antoniasso), 6, 7
+
+    Antonio da Correggio, _Life_, 117-122. 83, 125
+
+    Antonio da San Gallo, _Life_, 191-205. 145, 254
+
+    Antonio del Ceraiuolo, 280
+
+    Antonio di Giorgio, 36
+
+    Antonio Filarete, 56
+
+    Antonio Montecavallo, 140
+
+    Antonio Pollaiuolo, 4, 81, 265
+
+    Antonio Rossellino, 275
+
+    Apelles, 82, 83, 105
+
+    Arezzo, Niccolò d', 55
+
+    Aristotile da San Gallo, 212
+
+    Avanzi, Jacopo (Jacopo Davanzo), 51, 55
+
+
+    Bacchiaccha, Il (Francesco), 46
+
+    Baccio Bandinelli, 204, 274
+
+    Baccio d' Agnolo, 101, 204, 267, 270
+
+    Baccio da Montelupo, 186
+
+    Baccio della Porta (Fra Bartolommeo di San Marco), _Life_, 151-162.
+      82, 151-162, 165-167, 215, 244, 272
+
+    Baccio Gotti, 280
+
+    Baccio Ubertino, 46
+
+    Baldassarre Peruzzi, 145, 146, 200
+
+    Baldovinetti, Alesso, 82
+
+    Bandinelli, Baccio, 204, 274
+
+    Barile, Gian, 238
+
+    Bartolommeo, Fra (Fra Carnovale da Urbino), 138
+
+    Bartolommeo Clemente of Reggio, 60
+
+    Bartolommeo della Gatta, Don (Abbot of S. Clemente), 41, 82, 216, 217
+
+    Bartolommeo di San Marco, Fra (Baccio della Porta), _Life_, 151-162.
+      82, 151-162, 165-167, 215, 244, 272
+
+    Bartolommeo Montagna, 52, 60
+
+    Bartolommeo Vivarini, 52, 59
+
+    Basaiti, Marco (Il Bassiti, or Marco Basarini), 52, 58
+
+    Bastiani, Lazzaro (Sebastiano Scarpaccia, or Lazzaro
+      Scarpaccia), 52, 57, 58
+
+    Bastiano da Monte Carlo, 179
+
+    Battista Borro, 262
+
+    Battista d' Angelo, 61
+
+    Baviera, 232, 233
+
+    Bazzi, Giovanni Antonio (Sodoma), 72, 218
+
+    Beceri, Domenico, 283
+
+    Bellini, Gentile, 57, 59, 109
+
+    Bellini, Giovanni, 57, 58, 82, 109
+
+    Bellini, Vittore (Belliniano), 52, 59, 60
+
+    Benedetto Buglioni, 155
+
+    Benedetto Buonfiglio, 17, 18
+
+    Benedetto (Giovan Battista) Caporali, 48, 75, 76
+
+    Benedetto Cianfanini, 162
+
+    Benedetto da Maiano, 36, 151, 266, 267
+
+    Benedetto da Rovezzano, 155
+
+    Benedetto Diana, 52, 60
+
+    Benedetto Spadari, 262
+
+    Bernardino da Trevio, 138
+
+    Bernardino Pinturicchio, _Life_, 13-19. 46, 65, 211, 212
+
+    Bertoldo, 185
+
+    Berughetta, Alonzo, 8
+
+    Biagio di Bindo Albertinelli, 165
+
+    Bianco, Simon, 60
+
+    Bologna, Il, 237
+
+    Bolognese, Marc' Antonio, 232, 233
+
+    Boltraffio, Giovanni Antonio, 105
+
+    Bonsignori, Francesco, 60
+
+    Borgo a San Sepolcro, Piero dal (Piero della Francesca), 71, 82, 216
+
+    Borro, Battista, 262
+
+    Botticelli, Sandro (Alessandro Filipepi, or Sandro di
+      Botticello), 3, 4, 82
+
+    Bramante da Urbino, _Life_, 137-148. 199-202, 216, 217, 223,
+      232, 237, 254
+
+    Bramantino, 217
+
+    Bresciano, Vincenzio (Vincenzio Zoppa or Foppa), 51, 52, 56
+
+    Bronzino, 179
+
+    Brunelleschi, Filippo (Filippo di Ser Brunellesco), 137, 185, 266
+
+    Bugiardini, Giuliano, 154, 161, 170, 186
+
+    Buglioni, Benedetto, 155
+
+    Buonarroti, Michelagnolo, 41, 43, 48, 65, 66, 74, 84, 85, 101,
+      104, 145, 157, 186, 187, 199, 201, 204, 209, 212, 215, 223, 224,
+      242-245, 259, 270
+
+    Buonconsigli, Giovanni, 52, 60
+
+    Buonfiglio, Benedetto, 17, 18
+
+    Busto, Agostino, 60
+
+
+    Cadore, Tiziano da, 114
+
+    Campagnola, Girolamo, 51, 55, 56
+
+    Campagnola, Giulio, 51, 56, 57
+
+    Caparra, Il (Niccolò Grosso), 268, 269
+
+    Caporali, Benedetto (Giovan Battista), 48, 75, 76
+
+    Caporali, Giulio, 48
+
+    Caradosso, 23, 144
+
+    Caravaggio, Polidoro da, 83, 237
+
+    Carnovale da Urbino, Fra (Fra Bartolommeo), 138
+
+    Caroto, Francesco, 60
+
+    Carpaccio (Scarpaccia), Vittore, _Life_, 51-61
+
+    Carpi, Ugo da, 233
+
+    Cartoni, Niccolò (Niccolò Zoccolo), 9, 10
+
+    Castagno, Andrea dal (Andrea degl' Impiccati), 82
+
+    Castel Bolognese, Giovanni da, 111
+
+    Castel della Pieve, Pietro da (Pietro Vannucci, or Pietro
+      Perugino), _Life_, 33-48. 13, 15, 18, 33-48, 82, 159, 169,
+      210-212, 236, 242, 243
+
+    Castelfranco, Giorgione da, _Life_, 109-114. 82, 125
+
+    Catena, Vincenzio, 52, 58
+
+    Cecchino del Frate, 162
+
+    Ceraiuolo, Antonio del, 280
+
+    Cesare Cesariano, 138
+
+    Cianfanini, Benedetto, 162
+
+    Cimabue, Giovanni, 77
+
+    Claudio, Maestro, 254, 255
+
+    Conigliano, Giovan Battista da, 52, 58
+
+    Contucci, Andrea (Andrea Sansovino, or Andrea dal Monte
+      Sansovino), 5, 144, 186, 223, 270
+
+    Cordegliaghi, Giovanetto, 52, 58, 59
+
+    Correggio, Antonio da, _Life_, 117-122. 83, 125
+
+    Cortona, Luca da (Luca Signorelli), _Life_, 71-76. 82, 216, 261
+
+    Cosimo, Andrea di, 129
+
+    Cosimo, Piero di, _Life_, 125-134
+
+    Cosimo Rosselli, 82, 125, 126, 151, 165
+
+    Credi, Lorenzo di, 153, 186, 280
+
+    Cristofano, 55
+
+    Cronaca, Il (Simone, or Simone del Pollaiuolo), _Life_, 265-275. 101
+
+
+    Davanzo, Jacopo (Jacopo Avanzi), 51, 55
+
+    Davanzo, Jacopo (of Milan), 60
+
+    Diamante, Fra, 3
+
+    Diana, Benedetto, 52, 60
+
+    Domenico Beceri, 283
+
+    Domenico di Paris, 47
+
+    Domenico Ghirlandajo, 36, 65, 82, 279
+
+    Domenico Pecori, 257
+
+    Domenico Puligo, _Life_, 279-283
+
+    Don Bartolommeo della Gatta (Abbot of S. Clemente), 41, 82, 216, 217
+
+    Donato (Donatello), 52, 152, 185
+
+    Dürer, Albrecht, 232
+
+
+    Ercole Ferrarese (Ercole da Ferrara), 82
+
+    Eusebio San Giorgio, 47
+
+
+    Fabiano di Stagio Sassoli, 256, 257
+
+    Ferrara, Stefano da, 56
+
+    Ferrarese, Ercole (Ercole da Ferrara), 82
+
+    Ferrarese, Galasso (Galasso Galassi), 55
+
+    Fiesole, Fra Giovanni da (Fra Angelico), 73, 154, 185
+
+    Filarete, Antonio, 56
+
+    Filipepi, Alessandro (Sandro Botticelli, or Sandro di
+      Botticello), 3, 4, 82
+
+    Filippo Brunelleschi (Filippo di Ser Brunellesco), 137, 185, 266
+
+    Filippo Lippi (Filippino), _Life_, 3-10. 44, 82, 99, 100, 176, 177
+
+    Filippo Lippi, Fra, 3, 5, 9, 185
+
+    Fivizzano, 29
+
+    Flore, Jacobello de, 51, 55
+
+    Foppa, Vincenzio (Vincenzio Zoppa, or Vincenzio Bresciano), 51, 52, 56
+
+    Fra Angelico (Fra Giovanni da Fiesole), 73, 154, 185
+
+    Fra Bartolommeo (Fra Carnovale da Urbino), 138
+
+    Fra Bartolommeo di San Marco (Baccio della Porta), _Life_, 151-162.
+      82, 151-162, 165-167, 215, 244, 272
+
+    Fra Carnovale da Urbino (Fra Bartolommeo), 138.
+
+    Fra Diamante, 3
+
+    Fra Filippo Lippi, 3, 5, 9, 185
+
+    Fra Giocondo of Verona, 145
+
+    Fra Giovanni da Fiesole (Fra Angelico), 73, 154, 185
+
+    Fra Giovanni da Verona, 222
+
+    Fra Paolo Pistoiese, 162
+
+    Fra Sebastiano del Piombo, 84, 114, 240
+
+    Francesca, Piero della (Piero dal Borgo a San Sepolcro), 71, 82, 216
+
+    Francesco (Il Bacchiaccha), 46
+
+    Francesco (L'Indaco), 66, 67
+
+    Francesco, Maestro, 142
+
+    Francesco Bonsignori, 60
+
+    Francesco Caroto, 60
+
+    Francesco da Melzo, 99
+
+    Francesco da San Gallo, 134, 203, 204
+
+    Francesco Francia, _Life_, 23-29. 82
+
+    Francesco Giamberti, 134, 191
+
+    Francesco Granacci (Il Granaccio), 4, 169, 186
+
+    Francesco Masini, Messer, 227
+
+    Francesco Mazzuoli (Parmigiano), 83
+
+    Francesco Turbido (Il Moro), 61
+
+    Francia, Francesco, _Life_, 23-29. 82
+
+    Franciabigio, 170
+
+    Francione, 191, 192
+
+    Frate, Cecchino del, 162
+
+
+    Gabriele Rustici, 162
+
+    Gaddi, Agnolo, 52, 54
+
+    Galasso Ferrarese (Galasso Galassi), 55
+
+    Galieno, 179
+
+    Garbo, Raffaellino del, _Life_, 175-179. 6, 9
+
+    Gasparo Misceroni, 60
+
+    Gatta, Don Bartolommeo della (Abbot of S. Clemente), 41, 82, 216, 217
+
+    Gentile Bellini, 57, 59, 109
+
+    Gerino Pistoiese (Gerino da Pistoia), 18, 46
+
+    Gherardo, 36
+
+    Ghirlandajo, Domenico, 36, 65, 82, 279
+
+    Ghirlandajo, Ridolfo, 169, 212, 216, 279-281
+
+    Giamberti, Francesco, 134, 191
+
+    Gian Barile, 238
+
+    Gian Niccola, 47, 48
+
+    Giocondo of Verona, Fra, 145
+
+    Giorgio, Antonio di, 36
+
+    Giorgio Vasari. See Vasari (Giorgio)
+
+    Giorgione da Castelfranco, _Life_, 109-114. 82, 125
+
+    Giotto, 80
+
+    Giovan Battista da Conigliano, 52, 58
+
+    Giovan Battista (Benedetto) Caporali, 48, 75, 76
+
+    Giovan Francesco Penni, 237, 247
+
+    Giovan Francesco Rustici, 105, 186
+
+    Giovanetto Cordegliaghi, 52, 58, 59
+
+    Giovanni (Lo Spagna), 46, 47
+
+    Giovanni, Maestro, 260
+
+    Giovanni Antonio Bazzi (Sodoma), 72, 218
+
+    Giovanni Antonio Boltraffio, 105
+
+    Giovanni Bellini, 57, 58, 82, 109
+
+    Giovanni Buonconsigli. 52. 60
+
+    Giovanni Cimabue, 77
+
+    Giovanni da Castel Bolognese, 111
+
+    Giovanni da Fiesole, Fra (Fra Angelico), 73, 154, 185
+
+    Giovanni da Udine, 237, 239
+
+    Giovanni da Verona, Fra, 222
+
+    Giovanni de' Santi, 46, 210, 213, 249
+
+    Giovanni Mansueti, 52, 59
+
+    Giovanni Pisano, 142
+
+    Giovanni Rosto, 46
+
+    Girolamo Campagnola, 51, 55, 56
+
+    Girolamo Misceroni, 60
+
+    Girolamo Romanino, 60
+
+    Giromin Morzone, 55, 56
+
+    Giuliano Bugiardini, 154, 161, 170, 186
+
+    Giuliano da Maiano, 197
+
+    Giuliano da San Gallo, _Life_, 191-205. 101, 134, 145, 191-205, 270
+
+    Giuliano Leno, 147
+
+    Giulio Campagnola, 51, 56, 57
+
+    Giulio Caporali, 48
+
+    Giulio Romano, 76, 84, 119, 232, 237, 247
+
+    Giusto (of Padua), 51, 56
+
+    Gobbo, Andrea del, 122
+
+    Gotti, Baccio, 280
+
+    Granacci, Francesco (Il Granaccio), 4, 169, 186
+
+    Grosso, Niccolò (Il Caparra), 268, 269
+
+    Guerriero da Padova, 51, 56
+
+    Guglielmo da Marcilla (Guillaume de Marcillac), _Life_, 253-262
+
+
+    Il Bacchiaccha (Francesco), 46
+
+    Il Bassiti (Marco Basarini, or Marco Basaiti), 52, 58
+
+    Il Bologna, 237
+
+    Il Caparra (Niccolò Grosso), 268, 269
+
+    Il Cronaca (Simone, or Simone del Pollaiuolo), _Life_, 265-275. 101
+
+    Il Granaccio (Francesco Granacci), 4, 169, 186
+
+    Il Moro (Francesco Turbido), 61
+
+    Il Rosso, 84
+
+    Imola, Innocenzio da, 170
+
+    Impiccati, Andrea degl' (Andrea dal Castagno), 82
+
+    Indaco, L' (Francesco), 66, 67
+
+    Indaco, L' (Jacopo), _Life_, 65-67
+
+    Innocenzio da Imola, 170
+
+
+    Jacobello de Flore, 51, 55
+
+    Jacopo (L'Indaco), _Life_, 65-67
+
+    Jacopo Avanzi (Jacopo Davanzo), 51, 55
+
+    Jacopo Davanzo (of Milan), 60
+
+    Jacopo da Pontormo, 179, 246, 260
+
+
+    Lanzilago, Maestro, 6, 7
+
+    Lazzaro Scarpaccia (Sebastiano Scarpaccia, or Lazzaro
+      Bastiani), 52, 57, 58
+
+    Lazzaro Vasari (the elder), 71, 82
+
+    Leno, Giuliano, 147
+
+    Leonardo da Vinci, _Life_. 89-105. 44, 82, 85, 89-105, 109, 127,
+      138, 151, 156, 196, 212, 215, 242, 270
+
+    Liberale, Maestro, 54
+
+    L'Indaco (Francesco), 66, 67
+
+    L'Indaco (Jacopo), _Life_, 65-67
+
+    L'Ingegno (Andrea Luigi), 47
+
+    Lippi, Filippo (Filippino), _Life_, 3-10. 44, 82, 99, 100, 176, 177
+
+    Lippi, Fra Filippo, 3, 5, 9, 185
+
+    Lo Spagna (Giovanni), 46, 47
+
+    Lombardo, Tullio, 60
+
+    Lorenzetto, 240
+
+    Lorenzo (father of Piero di Cosimo), 125
+
+    Lorenzo di Credi, 153, 186, 280
+
+    Luca da Cortona (Luca Signorelli), _Life_, 71-76. 82, 216, 261
+
+    Luca della Robbia (the younger), 237
+
+    Luca Signorelli (Luca da Cortona), _Life_, 71-76. 82, 216, 261
+
+    Luigi, Andrea (L'Ingegno), 47
+
+    Luigi Vivarini, 52
+
+
+    Maestro Claudio, 254, 255
+
+    Maestro Francesco, 142
+
+    Maestro Giovanni, 260
+
+    Maestro Lanzilago, 6, 7
+
+    Maestro Liberale, 54
+
+    Maestro Zeno, 60
+
+    Maiano, Benedetto da, 36, 151, 266, 267
+
+    Maiano, Giuliano da, 197
+
+    Mansueti, Giovanni, 52, 59
+
+    Mantegna, Andrea, 24, 55, 82
+
+    Marc' Antonio Bolognese, 232, 233
+
+    Marcilla, Guglielmo da (Guillaume de Marcillac), _Life_, 253-262
+
+    Marco Basaiti (Il Bassiti, or Marco Basarini), 52, 58
+
+    Marco da Ravenna, 233
+
+    Marco Oggioni, 105
+
+    Mariotto Albertinelli, _Life_, 165-171. 151, 154
+
+    Masaccio, 3, 185, 215
+
+    Masini, Messer Francesco, 227
+
+    Maso Papacello, 76
+
+    Maso Porro, 262
+
+    Masolino da Panicale, 3
+
+    Matteo (brother of Cronaca), 275
+
+    Maturino, 83
+
+    Mazzuoli, Francesco (Parmigiano), 83
+
+    Melzo, Francesco da, 99
+
+    Messer Francesco Masini, 227
+
+    Michelagnolo Buonarroti, 41, 43, 48, 65, 66, 74, 84, 85, 101, 104,
+      145, 157, 186, 187, 199, 201, 204, 209, 212, 215, 223, 224, 242-245.
+      259, 270
+
+    Misceroni, Gasparo, 60
+
+    Misceroni, Girolamo, 60
+
+    Modena, Pellegrino da, 237
+
+    Montagna, Bartolommeo, 52, 60
+
+    Monte Carlo, Bastiano da, 179
+
+    Montecavallo, Antonio, 140
+
+    Montelupo, Baccio da, 186
+
+    Montevarchi, 46
+
+    Monte Sansovino, Andrea dal (Andrea Contucci, or Andrea Sansovino),
+      5, 144, 186, 223, 270
+
+    Moreto, Niccolò, 57
+
+    Moretto, Alessandro, 60
+
+    Moro, Il (Francesco Turbido), 61
+
+    Morzone, Giromin, 55, 56
+
+
+    Niccola Pisano, 142
+
+    Niccolò Alunno, 18, 19
+
+    Niccolò Cartoni (Niccolò Zoccolo), 9, 10
+
+    Niccolò d' Arezzo, 55
+
+    Niccolò Grosso (Il Caparra), 268, 269
+
+    Niccolò Moreto, 57
+
+    Niccolò Soggi, 186
+
+    Niccolò Zoccolo (Niccolò Cartoni), 9, 10
+
+    Nunziata, Toto del, 280
+
+
+    Oggioni, Marco, 105
+
+    Orazio di Paris, 47
+
+
+    Padova, Guerriero da, 51, 56
+
+    Panicale, Masolino da, 3
+
+    Paolo da Verona, 179
+
+    Paolo Pistoiese, Fra, 162
+
+    Paolo Uccello, 185, 246
+
+    Papacello, Maso, 76
+
+    Paris, Domenico di, 47
+
+    Paris, Orazio di, 47
+
+    Parmigiano (Francesco Mazzuoli), 83
+
+    Pastorino da Siena, 262
+
+    Pecori, Domenico, 257
+
+    Pellegrino da Modena, 237
+
+    Penni, Giovan Francesco, 237, 247
+
+    Perino del Vaga, 84, 237, 254
+
+    Perugino, Pietro (Pietro Vannucci, or Pietro da Castel della Pieve),
+      _Life_, 33-48. 13, 15, 18, 33-48, 82, 159, 169, 210-212, 236, 242,
+      243
+
+    Peruzzi, Baldassarre, 145, 146, 200
+
+    Pesello, 82
+
+    Pheidias, 105
+
+    Piero della Francesca (Piero dal Borgo a San Sepolcro), 71, 82, 216
+
+    Piero di Cosimo, _Life_, 125-134
+
+    Pietro Perugino (Pietro Vannucci, or Pietro da Castel della Pieve),
+      _Life_, 33-48. 13, 15, 18, 33-48, 82, 159, 169, 210-212, 236, 242,
+      243
+
+    Pietro Rosselli, 159
+
+    Pinturicchio, Bernardino, _Life_, 13-19. 46, 65, 211, 212
+
+    Piombo, Fra Sebastiano del, 84, 114, 240
+
+    Pisano, Giovanni, 142
+
+    Pisano, Niccola, 142
+
+    Pistoiese, Fra Paolo, 162
+
+    Pistoiese, Gerino (Gerino da Pistoia), 18, 46
+
+    Polidoro da Caravaggio, 83, 237
+
+    Pollaiuolo, Antonio, 4, 81, 265
+
+    Pollaiuolo, Simone del (Simone, or Il Cronaca), _Life_, 265-275. 101
+
+    Pontormo, Jacopo da, 179, 246, 260
+
+    Porro, Maso, 262
+
+    Porta, Baccio della (Fra Bartolommeo di San Marco), _Life_, 151-162.
+      82, 151-162, 165-167, 215, 244, 272
+
+    Puligo, Domenico, _Life_, 279-283
+
+
+    Raffaellino del Garbo, _Life_, 175-179. 6, 9
+
+    Raffaello da Urbino (Raffaello Sanzio), _Life_, 209-250. 13, 28, 29,
+      44-47, 82, 83, 143, 145, 146, 155-158, 200, 201, 203, 209-250, 255
+
+    Raggio, 4
+
+    Ravenna, Marco da, 233
+
+    Ridolfo Ghirlandajo, 169, 212, 216, 279-281
+
+    Robbia, Luca della (the younger), 237
+
+    Rocco Zoppo, 46
+
+    Romanino, Girolamo, 60
+
+    Romano, Giulio, 76, 84, 119, 232, 237, 247
+
+    Rosselli, Cosimo, 82, 125, 126, 151, 165
+
+    Rosselli, Pietro, 159
+
+    Rossellino, Antonio, 275
+
+    Rosso, Il, 84
+
+    Rosto, Giovanni, 46
+
+    Rovezzano, Benedetto da, 155
+
+    Rustici, Gabriele, 162
+
+    Rustici, Giovan Francesco, 105, 186
+
+
+    Salai, 99
+
+    S. Clemente, Abbot of (Don Bartolommeo della Gatta), 41, 82, 216, 217
+
+    San Gallo, Antonio da, _Life_, 191-205. 145, 254
+
+    San Gallo, Aristotile da, 212
+
+    San Gallo, Francesco da, 134, 203, 204
+
+    San Gallo, Giuliano da, _Life_, 191-205. 101, 134, 145, 191-205, 270
+
+    San Gimignano, Vincenzio da, 237
+
+    San Giorgio, Eusebio, 47
+
+    San Marco, Fra Bartolommeo di (Baccio della Porta), _Life_, 151-162.
+      82, 151-162, 165-167, 215, 244, 272
+
+    Sandro Botticelli (Alessandro Filipepi, or Sandro di Botticello), 3,
+      4, 82
+
+    Sansovino, Andrea (Andrea Contucci, or Andrea dal Monte Sansovino),
+      5, 144, 186, 223, 270
+
+    Santi, 261
+
+    Santi, Giovanni de', 46, 210, 213, 249
+
+    Sanzio, Raffaello (Raffaello da Urbino), _Life_, 209-250. 13, 28, 29,
+      44-47, 82, 83, 143, 145, 146, 155-158, 200, 201, 203, 209-250, 255
+
+    Sarto, Andrea del, 83, 129, 134, 281, 283
+
+    Sassoli, Fabiano di Stagio, 256, 257
+
+    Sassoli, Stagio, 73, 257
+
+    Scarpaccia, Lazzaro (Sebastiano Scarpaccia, or Lazzaro Bastiani),
+      52, 57, 58
+
+    Scarpaccia, Sebastiano (Lazzaro Scarpaccia, or Lazzaro Bastiani),
+      52, 57, 58
+
+    Scarpaccia (Carpaccio), Vittore, _Life_, 51-61
+
+    Sebastiano del Piombo, Fra, 84, 114, 240
+
+    Sebastiano Scarpaccia (Lazzaro Scarpaccia, or Lazzaro Bastiani),
+      52, 57, 58
+
+    Sebeto da Verona, 51, 55
+
+    Siena, Pastorino da, 262
+
+    Signorelli, Luca (Luca da Cortona), _Life_, 71-76. 82, 216, 261
+
+    Simon Bianco, 60
+
+    Simone, 55
+
+    Simone (Simone del Pollaiuolo, or Il Cronaca), _Life_, 265-275. 101
+
+    Sodoma (Giovanni Antonio Bazzi), 72, 218
+
+    Soggi, Niccolò, 186
+
+    Spadari, Benedetto, 262
+
+    Spagna, Lo (Giovanni), 46, 47
+
+    Squarcione, 56
+
+    Stagio Sassoli, 73, 257
+
+    Stefano da Ferrara, 56
+
+    Stefano da Zevio (Stefano Veronese), 51-54
+
+    Stefano Veronese (Stefano da Zevio), 51-54
+
+
+    Tiziano da Cadore, 114
+
+    Tommaso, 76
+
+    Torrigiano, _Life_, 183-188
+
+    Toto del Nunziata, 280
+
+    Trevio, Bernardino da, 138
+
+    Tullio Lombardo, 60
+
+    Turbido, Francesco (Il Moro), 61
+
+
+    Ubertino, Baccio, 46
+
+    Uccello, Paolo, 185, 246
+
+    Udine, Giovanni da, 237, 239
+
+    Ugo da Carpi, 233
+
+    Urbino, Bramante da, _Life_, 137-148. 199-202, 216, 217, 223,
+      232, 237, 254
+
+    Urbino, Fra Carnovale da (Fra Bartolommeo), 138
+
+    Urbino, Raffaello da (Raffaello Sanzio), _Life_, 209-250. 13, 28,
+      29, 44-47, 82, 83, 143, 145, 146, 155-158, 200, 201, 203, 209-250,
+      255
+
+
+    Vaga, Perino del, 84, 237, 254
+
+    Vannucci, Pietro (Pietro Perugino, or Pietro da Castel della Pieve),
+      _Life_, 33-48. 13, 15, 18, 33-48, 82, 159, 169, 210-212, 236, 242,
+      243
+
+    Vasari, Giorgio--
+     as art-collector, 6, 13, 46, 58, 67, 90, 91, 95, 113, 118, 132, 138,
+       143, 161, 170, 175, 187, 262
+     as author, 7, 9, 17, 19, 26, 28, 33, 36, 38, 39, 46, 48, 51, 52,
+       54-56, 61, 66, 67, 71, 74-77, 79, 82-85, 91, 98, 99, 111-114, 117,
+       118, 121, 126-132, 134, 137, 145, 151, 154, 155, 159, 162, 170, 176,
+       177, 185, 186, 204, 214, 219, 222, 223, 227, 229-231, 233, 236, 242,
+       244-248, 257, 260, 262, 269, 271, 274, 280, 281
+     as painter, 231, 262, 273, 274
+     as architect, 148, 231, 273, 274
+
+    Vasari, Lazzaro (the elder), 71, 82
+
+    Ventura, 147, 148
+
+    Verchio, Vincenzio, 60
+
+    Verona, Fra Giovanni da, 222
+
+    Verona, Paolo da, 179
+
+    Verona, Sebeto da, 51, 55
+
+    Veronese, Stefano (Stefano da Zevio), 51-54
+
+    Verrocchio, Andrea, 35, 39, 81, 90, 92, 112
+
+    Vincenzio Bresciano (Vincenzio Zoppa, or Foppa), 51, 52, 56
+
+    Vincenzio Catena, 52, 58
+
+    Vincenzio da San Gimignano, 237
+
+    Vincenzio Foppa (Vincenzio Bresciano, or Vincenzio Zoppa), 51, 52, 56
+
+    Vincenzio Verchio, 60
+
+    Vincenzio Zoppa (Vincenzio Bresciano, or Vincenzio Foppa), 51, 52, 56
+
+    Vinci, Leonardo da, _Life_, 89-105. 44, 82, 85, 89-105, 109, 127, 138,
+      151, 156, 196, 212, 215, 242, 270
+
+    Visino, 170, 171
+
+    Vitruvius, 48, 75, 138, 205, 266
+
+    Vittore Scarpaccia (Carpaccio), _Life_, 51-61
+
+    Vittore Bellini (Belliniano), 52, 59, 60
+
+    Vivarini, Bartolommeo, 52, 59
+
+    Vivarini, Luigi, 52
+
+
+    Zeno, Maestro, 60
+
+    Zeuxis, 82, 83
+
+    Zevio, Aldigieri (Altichiero) da, 51, 54, 55
+
+    Zevio, Stefano da (Stefano Veronese), 51-54
+
+    Zoccolo, Niccolò (Niccolò Cartoni), 9, 10
+
+    Zoppa, Vincenzio (Vincenzio Foppa, or Vincenzio Bresciano), 51, 52, 56
+
+    Zoppo, Rocco, 46
+
+
+END OF VOL. IV.
+
+
+  PRINTED UNDER THE SUPERVISION OF CHAS. T. JACOBI
+  OF THE CHISWICK PRESS, LONDON. THE COLOURED
+  REPRODUCTIONS ENGRAVED AND PRINTED BY
+  HENRY STONE AND SON, LTD., BANBURY
+
+
+
+
+
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+  <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 &amp; Architects,
+        Volume IV.  by Georgio Vasari.
+    </title>
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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. 04 (of 10), Filippino Lippi to Domenico Puligo
+
+Author: Giorgio Vasari
+
+Translator: Gaston du C. De Vere
+
+Release Date: March 27, 2009 [EBook #28420]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK EMINENT PAINTERS ***
+
+
+
+
+Produced by Mark C. Orton, Christine P. Travers 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>
+
+
+<hr style="width: 65%;">
+<h1>LIVES OF THE MOST EMINENT PAINTERS SCULPTORS &amp; ARCHITECTS</h1>
+<h2>BY</h2>
+<h2>GIORGIO VASARI:</h2>
+
+<h2>VOLUME IV.<br> FILIPPINO LIPPI TO DOMENICO PULIGO<br>   1913</h2>
+
+<h4>NEWLY TRANSLATED BY GASTON <span class="smcap">Du</span> C. DE VERE. WITH FIVE HUNDRED
+  ILLUSTRATIONS: IN TEN VOLUMES</h4>
+
+<div class="figcenter">
+<img src="images/img001.jpg" width="423" height="600" alt="Title page" title="">
+</div>
+
+<p class="center">PHILIP LEE WARNER,<br>
+ PUBLISHER TO THE MEDICI SOCIETY, LIMITED<br> 7 GRAFTON
+  ST. LONDON, W. 1912-14</p>
+
+<hr style="width: 65%;">
+<h2><a name="CONTENTS_OF_VOLUME_IV" id="CONTENTS_OF_VOLUME_IV"></a><span class="pagenum"><a id="Page_v" name="Page_v">[Pg v]</a></span> CONTENTS OF VOLUME IV</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">Filippo Lippi, called Filippino</span></td><td align='right'><a href='#Page_1'><b>1</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Bernardino Pinturicchio</span></td><td align='right'><a href='#Page_11'><b>11</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Francesco Francia</span></td><td align='right'><a href='#Page_21'><b>21</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Pietro Perugino [Pietro Vannucci, <i>or</i> Pietro da Castel
+  della Pieve]</span></td><td align='right'><a href='#Page_31'><b>31</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Vittore Scarpaccia [Carpaccio], and other Venetian and
+  Lombard Painters</span></td><td align='right'><a href='#Page_49'><b>49</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Jacopo, called L'Indaco</span></td><td align='right'><a href='#Page_63'><b>63</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Luca Signorelli [Luca da Cortona]</span></td><td align='right'><a href='#Page_69'><b>69</b></a></td></tr>
+<tr><td align='left'><span class="smcap">The Author's Preface to the Third Part</span></td><td align='right'><a href='#Page_77'><b>77</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Leonardo da Vinci</span></td><td align='right'><a href='#Page_87'><b>87</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Giorgione da Castelfranco</span></td><td align='right'><a href='#Page_107'><b>107</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Antonio da Correggio</span></td><td align='right'><a href='#Page_115'><b>115</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Piero di Cosimo</span></td><td align='right'><a href='#Page_123'><b>123</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Bramante da Urbino</span></td><td align='right'><a href='#Page_135'><b>135</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Fra Bartolommeo di San Marco [Baccio della Porta]</span></td><td align='right'><a href='#Page_149'><b>149</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Mariotto Albertinelli</span></td><td align='right'><a href='#Page_163'><b>163</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Raffaellino del Garbo</span></td><td align='right'><a href='#Page_173'><b>173</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Torrigiano</span></td><td align='right'><a href='#Page_181'><b>181</b></a></td></tr>
+<tr><td align='left'><span class="smcap"><span class="pagenum"><a id="Page_vi" name="Page_vi">[Pg vi]</a></span> Giuliano and Antonio da San Gallo</span></td><td align='right'><a href='#Page_189'><b>189</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Raffaello da Urbino [Raffaello Sanzio]</span></td><td align='right'><a href='#Page_207'><b>207</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Guglielmo da Marcilla [Guillaume de Marcillac]</span></td><td align='right'><a href='#Page_251'><b>251</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Simone, called Il Cronaca [Simone del Pollaiuolo]</span></td><td align='right'><a href='#Page_263'><b>263</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Domenico Puligo</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_285'><b>285</b></a></td></tr>
+</table>
+</div>
+
+
+
+<hr style="width: 65%;">
+<h2><a name="ILLUSTRATIONS_TO_VOLUME_IV" id="ILLUSTRATIONS_TO_VOLUME_IV"></a><span class="pagenum"><a id="Page_vii" name="Page_vii">[Pg vii]</a></span> ILLUSTRATIONS TO VOLUME IV</h2>
+
+<h3>PLATES IN COLOUR</h3>
+
+<div class='centered'>
+<table border="0" cellpadding="2" width="100%" cellspacing="0" summary="ILLUSTRATIONS TO VOLUME IV">
+
+<tr>
+<td><span class="smcap">Filippo Lippi (Filippino)</span></td>
+<td>The Vision of S. Bernard</td>
+<td>Florence: Church of the Badia</td>
+<td align="right"><a href='#img002'><b>2</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Bernardino Pinturicchio</span></td>
+<td>The Madonna in Glory</td>
+<td>San Gimignano: Palazzo Pubblico</td>
+<td align="right"><a href='#img006'><b>14</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Benedetto Buonfiglio</span></td>
+<td>Madonna, Child, and Three Angels</td>
+<td>Perugia: Pinacoteca</td>
+<td align="right"><a href='#img009'><b>18</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Francesco Francia</span></td>
+<td>Pietà</td>
+<td>London: N.G., 180</td>
+<td align="right"><a href='#img012'><b>26</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Pietro Perugino</span></td>
+<td>Apollo and Marsyas</td>
+<td>Paris: Louvre, 1509</td>
+<td align="right"><a href='#img013'><b>34</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Pietro Perugino</span></td>
+<td>Triptych: The Madonna adoring, with the Archangels Michael, Raphael, and Tobit</td>
+<td>London: N.G., 288</td>
+<td align="right"><a href='#img017'><b>42</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Vittore Scarpaccia (Carpaccio)</span></td>
+<td>The Vision of S. Ursula</td>
+<td>Venice: Accademia, 578</td>
+<td align="right"><a href='#img021'><b>56</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Vincenzio Catena</span></td>
+<td>S. Jerome in his Study</td>
+<td>London: N.G., 694</td>
+<td align="right"><a href='#img023'><b>58</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giovan Battista da Conigliano (Cima)</span></td>
+<td>Detail: Tobit and the Angel</td>
+<td>Venice: Accademia, 592</td>
+<td align="right"><a href='#img024'><b>58</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Luca Signorelli</span></td>
+<td>Pan</td>
+<td>Berlin: Kaiser Friedrich Museum, 79A</td>
+<td align="right"><a href='#img027'><b>72</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Andrea Verrocchio</span></td>
+<td>The Baptism in Jordan</td>
+<td>Florence: Accademia, 71</td>
+<td align="right"><a href='#img029'><b>92</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Leonardo da Vinci</span></td>
+<td>Monna Lisa</td>
+<td>(formerly) Paris: Louvre, 1601</td>
+<td align="right"><a href='#img033'><b>102</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giorgione da Castelfranco</span></td>
+<td>Figures in a Landscape</td>
+<td>Venice: Prince Giovanelli's Collection</td>
+<td align="right"><a href='#img036'><b>110</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Antonio da Correggio</span></td>
+<td>Antiope</td>
+<td>Paris: Louvre, 1118</td>
+<td align="right"><a href='#img040'><b>118</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Antonio da Correggio</span></td>
+<td>The Adoration of the Magi</td>
+<td>Milan: Brera, 427</td>
+<td align="right"><a href='#img043'><b>122</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Piero di Cosimo</span></td>
+<td>The Death of Procris</td>
+<td>London: N.G., 698</td>
+<td align="right"><a href='#img044'><b>126</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Fra Bartolommeo di San Marco</span></td>
+<td>The Deposition from the Cross</td>
+<td>Florence: Pitti, 64</td>
+<td align="right"><a href='#img051'><b>152</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap"><span class="pagenum"><a id="Page_viii" name="Page_viii">[Pg viii]</a></span> Mariotto Albertinelli</span></td>
+<td>The Salutation</td>
+<td>Florence: Uffizi, 1259</td>
+<td align="right"><a href='#img056'><b>168</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Raffaello da Urbino</span></td>
+<td>S. George and the Dragon</td>
+<td>S. Petersburg: Hermitage, 39</td>
+<td align="right"><a href='#img060'><b>210</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Raffaello da Urbino</span></td>
+<td>Angelo Doni</td>
+<td>Florence: Pitti, 61</td>
+<td align="right"><a href='#img063'><b>214</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Raffaello da Urbino</span></td>
+<td>The Three Graces</td>
+<td>Chantilly, 38</td>
+<td align="right"><a href='#img069'><b>242</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Raffaello da Urbino</span></td>
+<td>Baldassare Gastiglione</td>
+<td>Paris: Louvre, 1505</td>
+<td align="right"><a href='#img070'><b>248</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 IV">
+
+<tr>
+<td><span class="smcap">Filippo Lippi (Filippino)</span></td>
+<td>The Liberation of S. Peter</td>
+<td>Florence: S. Maria Del Carmine</td>
+<td align="right"><a href='#img003'><b>6</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Filippo Lippi (Filippino)</span></td>
+<td>S. John the Evangelist Raising Drusiana from the Dead</td>
+<td>Florence: S. Maria Novella, Strozzi Chapel</td>
+<td align="right"><a href='#img004'><b>8</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Filippo Lippi (Filippino)</span></td>
+<td>The Adoration of the Magi</td>
+<td>Florence: Uffizi, 1257</td>
+<td align="right"><a href='#img005'><b>10</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Bernardino Pinturicchio</span></td>
+<td>Frederick III Crowning the Poet Æneas Sylvius</td>
+<td>Siena: Sala Piccolominea</td>
+<td align="right"><a href='#img007'><b>16</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Bernardino Pinturicchio</span></td>
+<td>Pope Alexander VI Adoring the Risen Christ</td>
+<td>Rome: the Vatican, Borgia Apartments</td>
+<td align="right"><a href='#img008'><b>16</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Francesco Francia and a Pupil</span></td>
+<td>Medals</td>
+<td>London: British Museum</td>
+<td align="right"><a href='#img010'><b>22</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Francesco Francia</span></td>
+<td>Madonna and Child, With Saints</td>
+<td>Bologna: S. Giacomo Maggiore, Bentivoglio Chapel</td>
+<td align="right"><a href='#img011'><b>24</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Pietro Perugino</span></td>
+<td>The Deposition</td>
+<td>Florence: Pitti, 164</td>
+<td align="right"><a href='#img014'><b>38</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Pietro Perugino</span></td>
+<td>Christ Giving the Keys to S. Peter</td>
+<td>Rome: Sistine Chapel</td>
+<td align="right"><a href='#img015'><b>40</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Pietro Perugino</span></td>
+<td>Fortitude and Temperance, with Warriors</td>
+<td>Perugia: Collegio Del Cambio</td>
+<td align="right"><a href='#img016'><b>40</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giovanni (Lo Spagna)</span></td>
+<td>Madonna and Child, with Saints</td>
+<td>Assisi: Lower Church</td>
+<td align="right"><a href='#img018'><b>46</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Stefano da Verona (da Zevio)</span></td>
+<td>The Madonna and Child with S. Catharine in a Rose Garden</td>
+<td>Verona: Gallery, 559</td>
+<td align="right"><a href='#img019'><b>52</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Aldigieri da Zevio (Altichiero)</span></td>
+<td>Presentation to the Madonna of Three Knights of the Cavalli Family</td>
+<td>Verona: S. Anastasia</td>
+<td align="right"><a href='#img020'><b>54</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Vittore Scarpaccia (Carpaccio)</span></td>
+<td>S. George and the Dragon</td>
+<td>Venice: S. Giorgio Degli Schiavoni</td>
+<td align="right"><a href='#img022'><b>56</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Marco Bassiti (Basaiti)</span></td>
+<td>Christ on the Mount of Olives</td>
+<td>Venice: Accademia, 69</td>
+<td align="right"><a href='#img025'><b>60</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap"><span class="pagenum"><a id="Page_ix" name="Page_ix">[Pg ix]</a></span> Giovanni Buonconsigli</span></td>
+<td>Pietà</td>
+<td>Vicenza: Pinacoteca, 22</td>
+<td align="right"><a href='#img026'><b>60</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Luca Signorelli</span></td>
+<td>Detail: The Last Judgment</td>
+<td>Orvieto: Duomo</td>
+<td align="right"><a href='#img028'><b>74</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Leonardo da Vinci</span></td>
+<td>The Adoration of the Magi</td>
+<td>Florence: Uffizi, 1252</td>
+<td align="right"><a href='#img030'><b>94</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Leonardo da Vinci</span></td>
+<td>The Last Supper</td>
+<td>Milan: S. Maria delle Grazie</td>
+<td align="right"><a href='#img031'><b>96</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Leonardo da Vinci</span></td>
+<td>Cartoon: The Madonna and Child with S. Anne</td>
+<td>London: Burlington House</td>
+<td align="right"><a href='#img032'><b>98</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Leonardo da Vinci</span> (?)</td>
+<td>Fragment of Cartoon: The  Battle of the Standard</td>
+<td>Oxford: Ashmolean Museum</td>
+<td align="right"><a href='#img034'><b>104</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giovan Antonio Boltraffio</span></td>
+<td>Man and Woman Praying</td>
+<td>Milan: Brera, 281</td>
+<td align="right"><a href='#img035'><b>104</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giorgione da Castelfranco</span></td>
+<td>Portrait of a Young Man</td>
+<td>Berlin: Kaiser Friedrich Museum, 12A</td>
+<td align="right"><a href='#img037'><b>112</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giorgione da Castelfranco</span></td>
+<td>Judith</td>
+<td>S. Petersburg: Hermitage, 112</td>
+<td align="right"><a href='#img038'><b>112</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giorgione da Castelfranco</span> (?)</td>
+<td>Caterina, Queen of Cyprus</td>
+<td>Milan: Crespi Collection</td>
+<td align="right"><a href='#img039'><b>114</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Antonio da Correggio</span></td>
+<td>Detail: S. Thomas and S. James the Less</td>
+<td>Parma: S. Giovanni Evangelista</td>
+<td align="right"><a href='#img041'><b>120</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Antonio da Correggio</span></td>
+<td>The Madonna and Child with S. Jerome</td>
+<td>Parma: Gallery, 351</td>
+<td align="right"><a href='#img042'><b>120</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Piero di Cosimo</span></td>
+<td>Perseus delivering Andromeda</td>
+<td>Florence: Uffizi, 1312</td>
+<td align="right"><a href='#img045'><b>128</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Piero di Cosimo</span></td>
+<td>Venus, Mars, and Cupid</td>
+<td>Berlin: Kaiser Friedrich Museum, 107</td>
+<td align="right"><a href='#img046'><b>130</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Piero di Cosimo</span></td>
+<td>Francesco Giamberti</td>
+<td>Hague: Royal Museum, 255</td>
+<td align="right"><a href='#img047'><b>134</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Bramante da Urbino</span></td>
+<td>Interior of Sacristy</td>
+<td>Milan: S. Satiro</td>
+<td align="right"><a href='#img048'><b>138</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Bramante da Urbino</span></td>
+<td>Tempietto</td>
+<td>Rome: S. Pietro in Montorio</td>
+<td align="right"><a href='#img049'><b>142</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Bramante da Urbino</span></td>
+<td>Palazzo Giraud</td>
+<td>Rome</td>
+<td align="right"><a href='#img050'><b>146</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Fra Bartolommeo di San Marco</span></td>
+<td>The Holy Family</td>
+<td>Rome: Corsini Gallery, 579</td>
+<td align="right"><a href='#img052'><b>154</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Fra Bartolommeo di San Marco</span></td>
+<td>S. Mark</td>
+<td>Florence: Pitti, 125</td>
+<td align="right"><a href='#img053'><b>158</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Fra Bartolommeo di San Marco</span></td>
+<td>God the Father, with SS. Mary Magdalen and Catharine</td>
+<td>Lucca: Gallery, 12</td>
+<td align="right"><a href='#img054'><b>160</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Mariotto  Albertinelli</span></td>
+<td>The Madonna enthroned, with Saints</td>
+<td>Florence: Accademia, 167</td>
+<td align="right"><a href='#img055'><b>166</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Raffaellino del Garbo</span></td>
+<td>The Resurrection</td>
+<td>Florence: Accademia, 90</td>
+<td align="right"><a href='#img057'><b>176</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap"><span class="pagenum"><a id="Page_x" name="Page_x">[Pg x]</a></span> Torrigiano</span></td>
+<td>Tomb of Henry VII</td>
+<td>London: Westminster Abbey</td>
+<td align="right"><a href='#img058'><b>186</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giuliano da San Gallo</span></td>
+<td>Façade of S. Maria delle Carceri</td>
+<td>Prato</td>
+<td align="right"><a href='#img059'><b>194</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Raffaello da Urbino</span></td>
+<td>Lo Sposalizio</td>
+<td>Milan: Brera, 472</td>
+<td align="right"><a href='#img061'><b>212</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Raffaello da Urbino</span></td>
+<td>Maddalena Doni</td>
+<td>Florence: Pitti, 59</td>
+<td align="right"><a href='#img062'><b>212</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Raffaello da Urbino</span></td>
+<td>"The School of Athens"</td>
+<td>Rome: The Vatican</td>
+<td align="right"><a href='#img064'><b>216</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Raffaello da Urbino</span></td>
+<td>The "Disputa del Sacramento"</td>
+<td>Rome: The Vatican</td>
+<td align="right"><a href='#img065'><b>222</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Raffaello da Urbino</span></td>
+<td>The Mass of Bolsena</td>
+<td>Rome: The Vatican</td>
+<td align="right"><a href='#img066'><b>224</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Raffaello da Urbino</span></td>
+<td>Pope Leo X with Two Cardinals</td>
+<td>Florence: Pitti, 40</td>
+<td align="right"><a href='#img067'><b>230</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Raffaello da Urbino</span></td>
+<td>The Transfiguration</td>
+<td>Rome: The Vatican</td>
+<td align="right"><a href='#img068'><b>240</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Simone (Il Cronaca)</span></td>
+<td>Detail of Cornice</td>
+<td>Florence: Palazzo Strozzi</td>
+<td align="right"><a href='#img071'><b>266</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Niccolò Grosso</span></td>
+<td>Iron Link-holder</td>
+<td>Florence: Palazzo Strozzi</td>
+<td align="right"><a href='#img072'><b>268</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Niccolò Grosso</span></td>
+<td>Iron Lantern</td>
+<td>Florence: Palazzo Strozzi</td>
+<td align="right"><a href='#img073'><b>268</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Simone (Il Cronaca)</span></td>
+<td>Interior of Sacristy</td>
+<td>Florence: S. Spirito</td>
+<td align="right"><a href='#img074'><b>270</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Domenico Puligo</span> (?)</td>
+<td>Madonna and Child, with Saints</td>
+<td>Florence: S. Maria Maddalena de' Pazzi</td>
+<td align="right"><a href='#img075'><b>280</b></a></td>
+</tr>
+</table>
+</div>
+
+
+<hr style="width: 65%;">
+<h2><a name="lippi" id="lippi"></a><span class="pagenum"><a id="Page_1" name="Page_1">[Pg 1]</a></span> FILIPPO LIPPI</h2>
+
+
+<div class="figcenter">
+<a name="img002" id="img002"></a>
+<img src="images/img002-tb.jpg" width="450" height="475" alt="The Vision of S. Bernard." title="">
+<p class="caption">FILIPPO LIPPI (FILIPPINO): THE VISION OF S. BERNARD<br>
+(<i>Florence: Church of the Badia. Panel</i>)<br>
+<span class="link"><a href="images/img002.jpg">View larger image</a></span></p>
+</div>
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_lippi" id="life_of_lippi"></a><span class="pagenum"><a id="Page_3" name="Page_3">[Pg 3]</a></span> LIFE OF FILIPPO LIPPI, CALLED FILIPPINO</h2>
+
+<h3>PAINTER OF FLORENCE</h3>
+
+
+<p>There was at this same time in Florence a painter of most beautiful
+intelligence and most lovely invention, namely, Filippo, son of Fra
+Filippo of the Carmine, who, following in the steps of his dead father
+in the art of painting, was brought up and instructed, being still
+very young, by Sandro Botticelli, notwithstanding that his father had
+commended him on his death-bed to Fra Diamante, who was much his
+friend&mdash;nay, almost his brother. Such was the intelligence of Filippo,
+and so abundant his invention in painting, and so bizarre and new were
+his ornaments, that he was the first who showed to the moderns the new
+method of giving variety to vestments, and embellished and adorned his
+figures with the girt-up garments of antiquity. He was also the first
+to bring to light grotesques, in imitation of the antique, and he
+executed them on friezes in terretta or in colours, with more design
+and grace than the men before him had shown; wherefore it was a
+marvellous thing to see the strange fancies that he expressed in
+painting. What is more, he never executed a single work in which he
+did not avail himself with great diligence of Roman antiquities, such
+as vases, buskins, trophies, banners, helmet-crests, adornments of
+temples, ornamental head-dresses, strange kinds of draperies, armour,
+scimitars, swords, togas, mantles, and such a variety of other
+beautiful things, that we owe him a very great and perpetual
+obligation, seeing that he added beauty and adornment to art in this
+respect.</p>
+
+<p>In his earliest youth he completed the Chapel of the Brancacci in the
+Carmine at Florence, begun by Masolino, and left not wholly finished
+by Masaccio on account of his death. Filippo, therefore, gave it its
+final <span class="pagenum"><a id="Page_4" name="Page_4">[Pg 4]</a></span> perfection with his own hand, and executed what was
+lacking in one scene, wherein S. Peter and S. Paul are restoring to
+life the nephew of the Emperor. In the nude figure of this boy he
+portrayed the painter Francesco Granacci, then a youth; and he also
+made portraits of the Chevalier, Messer Tommaso Soderini, Piero
+Guicciardini, father of Messer Francesco the historian, Piero del
+Pugliese, and the poet Luigi Pulci; likewise Antonio Pollaiuolo, and
+himself as a youth, as he then was, which he never did again
+throughout the whole of his life, so that it has not been possible to
+find a portrait of him at a more mature age. In the scene following
+this he portrayed Sandro Botticelli, his master, and many other
+friends and people of importance; among others, the broker Raggio, a
+man of great intelligence and wit, who executed in relief on a conch
+the whole Inferno of Dante, with all the circles and divisions of the
+pits and the nethermost well in their exact proportions, and all the
+figures and details that were most ingeniously imagined and described
+by that great poet; which conch was held in those times to be a
+marvellous thing.</p>
+
+<p>Next, in the Chapel of Francesco del Pugliese at Campora, a seat of
+the Monks of the Badia, without Florence, he painted a panel in
+distemper of S. Bernard, to whom Our Lady is appearing with certain
+angels, while he is writing in a wood; which picture is held to be
+admirable in certain respects, such as rocks, books, herbage, and
+similar things, that he painted therein, besides the portrait from
+life of Francesco himself, so excellent that he seems to lack nothing
+save speech. This panel was removed from that place on account of the
+siege, and placed for safety in the Sacristy of the Badia of Florence.
+In S. Spirito in the same city, for Tanai de' Nerli, he painted a
+panel with Our Lady, S. Martin, S. Nicholas, and S. Catherine; with a
+panel in the Chapel of the Rucellai in S. Pancrazio, and a Crucifix
+and two figures on a ground of gold in S. Raffaello. In front of the
+Sacristy of S. Francesco, without the Porta a S. Miniato, he made a
+God the Father, with a number of children. At Palco, a seat of the
+Frati del Zoccolo, without Prato, he painted a panel; and in the
+Audience Chamber of the Priori in that territory he executed a little
+panel containing the Madonna, S. Stephen, and S. John the <span class="pagenum"><a id="Page_5" name="Page_5">[Pg 5]</a></span>
+Baptist, which has been much extolled. On the Canto al Mercatale, also
+in Prato, in a shrine opposite to the Nuns of S. Margherita, and near
+some houses belonging to them, he painted in fresco a very beautiful
+Madonna, with a choir of seraphim, on a ground of dazzling light. In
+this work, among other things, he showed art and beautiful judgment in
+a dragon that is at the feet of S. Margaret, which is so strange and
+horrible, that it is revealed to us as a true fount of venom, fire,
+and death; and the whole of the rest of the work is so fresh and
+vivacious in colouring, that it deserves infinite praise.</p>
+
+<p>He also wrought certain things in Lucca, particularly a panel in a
+chapel of the Church of S. Ponziano, which belongs to the Monks of
+Monte Oliveto; in the centre of which chapel there is a niche
+containing a very beautiful S. Anthony in relief by the hand of Andrea
+Sansovino, a most excellent sculptor. Being invited to go to Hungary
+by King Matthias, Filippo refused, but made up for this by painting
+two very beautiful panels for that King in Florence, and sending them
+to him; and in one of these he made a portrait of the King, taken from
+his likeness on medals. He also sent certain works to Genoa; and
+beside the Chapel of the High-Altar in S. Domenico at Bologna, on the
+left hand, he painted a S. Sebastian on a panel, which was a thing
+worthy of much praise. For Tanai de' Nerli he executed another panel
+in S. Salvadore, without Florence; and for his friend Piero del
+Pugliese he painted a scene with little figures, executed with so much
+art and diligence that when another citizen besought him to make a
+second like it, he refused, saying that it was not possible to do it.</p>
+
+<p>After these things he executed a very great work in Rome for the
+Neapolitan Cardinal, Olivieri Caraffa, at the request of the elder
+Lorenzo de' Medici, who was a friend of that Cardinal. While going
+thither for that purpose, he passed through Spoleto at the wish of
+Lorenzo, in order to give directions for the making of a marble tomb
+for his father Fra Filippo at the expense of Lorenzo, who had not been
+able to obtain his body from the people of Spoleto for removal to
+Florence. Filippo, therefore, made a beautiful design for the said
+tomb, and Lorenzo had it <span class="pagenum"><a id="Page_6" name="Page_6">[Pg 6]</a></span> erected after that design (as has
+been told in another place), sumptuous and beautiful. Afterwards,
+having arrived in Rome, Filippo painted a chapel in the Church of the
+Minerva for the said Cardinal Caraffa, depicting therein scenes from
+the life of S. Thomas Aquinas, and certain most beautiful poetical
+compositions ingeniously imagined by himself, for he had a nature ever
+inclined to this. In the scene, then, wherein Faith has taken
+Infidelity captive, there are all the heretics and infidels. Hope has
+likewise overcome Despair, and so, too, there are many other Virtues
+that have subjugated the Vice that is their opposite. In a disputation
+is S. Thomas defending the Church "ex cathedra" against a school of
+heretics, and holding vanquished beneath him Sabellius, Arius,
+Averroes, and others, all clothed in graceful garments; of which scene
+we have in our book of drawings the original design by Filippo's own
+hand, with certain others by the same man, wrought with such mastery
+that they could not be bettered. There, too, is the scene when, as S.
+Thomas is praying, the Crucifix says to him, "Bene scripsisti de me,
+Thoma"; while a companion of the Saint, hearing that Crucifix thus
+speaking, is standing amazed and almost beside himself. In the panel
+is the Virgin receiving the Annunciation from Gabriel; and on the main
+wall there is her Assumption into Heaven, with the twelve Apostles
+round the sepulchre. The whole of this work was held, as it still is,
+to be very excellent and wrought perfectly for a work in fresco. It
+contains a portrait from life of the said Cardinal Olivieri Caraffa,
+Bishop of Ostia, who was buried in this chapel in the year 1511, and
+afterwards removed to the Piscopio in Naples.</p>
+
+<div class="figcenter">
+<a name="img003" id="img003"></a>
+<img src="images/img003-tb.jpg" width="300" height="727" alt="The Liberation of S. Peter." title="">
+<p class="caption">THE LIBERATION OF S. PETER<br>
+(<i>After the fresco by</i> Filippo Lippi (Filippino).<br>
+<i>Florence: S. Maria del Carmine</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img003.jpg">View larger image</a></span></p>
+</div>
+
+<p>Having returned to Florence, Filippo undertook to paint at his leisure
+the Chapel of the elder Filippo Strozzi in S. Maria Novella, and he
+actually began it; but, having finished the ceiling, he was compelled
+to return to Rome, where he wrought a tomb with stucco-work for the
+said Cardinal, and decorated with gesso a little chapel beside that
+tomb in a part of the same Church of the Minerva, together with
+certain figures, some of which were executed by his disciple,
+Raffaellino del Garbo. The chapel described above was valued by
+Maestro Lanzilago of Padua and by the Roman Antonio, known as
+Antoniasso, two of <span class="pagenum"><a id="Page_7" name="Page_7">[Pg 7]</a></span> the best painters that were then in
+Rome, at 2,000 ducats of gold, without the cost of the blues and of
+the assistants. Having received this sum, Filippo returned to
+Florence, where he finished the aforesaid Chapel of the Strozzi, which
+was executed so well, and with so much art and design, that it causes
+all who see it to marvel, by reason of the novelty and variety of the
+bizarre things that are seen therein&mdash;armed men, temples, vases,
+helmet-crests, armour, trophies, spears, banners, garments, buskins,
+head-dresses, sacerdotal vestments, and other things&mdash;all executed in
+so beautiful a manner that they deserve the highest commendation. In
+this work there is the scene of Drusiana being restored to life by S.
+John the Evangelist, wherein we see most admirably expressed the
+marvel of the bystanders at beholding a man restore life to a dead
+woman by a mere sign of the cross; and the greatest amazement of all
+is seen in a priest, or rather philosopher, whichever he may be, who
+is clothed in ancient fashion and has a vase in his hand. In the same
+scene, likewise, among a number of women draped in various manners,
+there is a little boy, who, terrified by a small spaniel spotted with
+red, which has seized him with its teeth by one of his swathing-bands,
+is running round his mother and hiding himself among her clothes, and
+appears to be as much afraid of being bitten by the dog as his mother
+is awestruck and filled with a certain horror at the resurrection of
+Drusiana. Next to this, in the scene where S. John himself is being
+boiled in oil, we see the wrath of the judge, who is giving orders for
+the fire to be increased, and the flames reflected on the face of the
+man who is blowing at them; and all the figures are painted in
+beautiful and varied attitudes. On the other side is S. Philip in the
+Temple of Mars, compelling the serpent, which has slain the son of the
+King with its stench, to come forth from below the altar. In certain
+steps the painter depicted the hole through which the serpent issued
+from beneath the altar, and so well did he paint the cleft in one of
+the steps, that one evening one of Filippo's lads, wishing to hide
+something, I know not what, from the sight of someone who was knocking
+for admittance, ran up in haste in order to conceal it in the hole,
+being wholly deceived by it. Filippo also showed so much art in the
+serpent, that its venom, fetid breath, and <span class="pagenum"><a id="Page_8" name="Page_8">[Pg 8]</a></span> fire, appear
+rather real than painted. Greatly extolled, too, is his invention in
+the scene of the Crucifixion of that Saint, for he imagined to
+himself, so it appears, that the Saint was stretched on the cross
+while it lay on the ground, and that afterwards the whole was drawn up
+and raised on high by means of ropes, cords, and poles; which ropes
+and cords are wound round certain fragments of antiquities, pieces of
+pillars, and bases, and pulled by certain ministers. On the other side
+the weight of the said cross and of the Saint who is stretched nude
+thereon is supported by two men, on the one hand by a man with a
+ladder, with which he is propping it up, and on the other hand by
+another with a pole, upholding it, while two others, setting a lever
+against the base and stem of the cross, are balancing its weight and
+seeking to place it in the hole made in the ground, wherein it had to
+stand upright. But why say more? It would not be possible for the work
+to be better either in invention or in drawing, or in any other
+respect whatsoever of industry or art. Besides this, it contains many
+grotesques and other things wrought in chiaroscuro to resemble marble,
+executed in strange fashion with invention and most beautiful drawing.</p>
+
+<div class="figcenter">
+<a name="img004" id="img004"></a>
+<img src="images/img004-tb.jpg" width="450" height="345" alt="S. John the Evangelist raising Drusiana from the Dead." title="">
+<p class="caption">S. JOHN THE EVANGELIST RAISING DRUSIANA FROM THE DEAD<br>
+(<i>After the fresco by</i> Filippo Lippi [Filippino].<br>
+<i>Florence: S. Maria Novella, Strozzi Chapel</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img004.jpg">View larger image</a></span></p>
+</div>
+
+<p>For the Frati Scopetini, also, at S. Donato, without Florence, which
+is called Scopeto and is now in ruins, he painted a panel with the
+Magi presenting their offerings to Christ, finished with great
+diligence, wherein he portrayed the elder Pier Francesco de' Medici,
+son of Lorenzo di Bicci, in the figure of an astrologer who is holding
+a quadrant in his hand, and likewise Giovanni, father of Signor
+Giovanni de' Medici, and another Pier Francesco, brother of that
+Signor Giovanni, and other people of distinction. In this work are
+Moors, Indians, costumes of strange shapes, and a most bizarre hut. In
+a loggia at Poggio a Cajano he began a Sacrifice in fresco for Lorenzo
+de' Medici, but it remained unfinished. And for the Nunnery of S.
+Geronimo, above the Costa di S. Giorgio in Florence, he began the
+panel of the high-altar, which was brought nearly to completion after
+his death by the Spaniard Alonzo Berughetta, but afterwards wholly
+finished by other painters, Alonzo having gone to Spain. In the
+Palazzo della Signoria he painted the panel of the hall where the
+Council of Eight held their sittings, and he made the design
+<span class="pagenum"><a id="Page_9" name="Page_9">[Pg 9]</a></span> for another large panel, with its ornament, for the Sala
+del Consiglio; which design his death prevented him from beginning to
+put into execution, although the ornament was carved; which ornament
+is now in the possession of Maestro Baccio Baldini, a most excellent
+physician of Florence, and a lover of every sort of talent. For the
+Church of the Badia of Florence he made a very beautiful S. Jerome;
+and he began a Deposition from the Cross for the high-altar of the
+Friars of the Nunziata, but only finished the figures in the upper
+half of the picture, for, being overcome by a most cruel fever and by
+that contraction of the throat that is commonly known as quinsy, he
+died in a few days at the age of forty-five.</p>
+
+<p>Thereupon, having ever been courteous, affable, and kindly, he was
+lamented by all those who had known him, and particularly by the youth
+of his noble native city, who, in their public festivals, masques, and
+other spectacles, ever availed themselves, to their great
+satisfaction, of the ingenuity and invention of Filippo, who has never
+had an equal in things of that kind. Nay, he was so excellent in all
+his actions, that he blotted out the stain (if stain it was) left to
+him by his father&mdash;blotted it out, I say, not only by the excellence
+of his art, wherein he was inferior to no man of his time, but also by
+the modesty and regularity of his life, and, above all, by his
+courtesy and amiability; and how great are the force and power of such
+qualities to conciliate the minds of all men without exception, is
+only known to those who either have experienced or are experiencing
+it. Filippo was buried by his sons in S. Michele Bisdomini, on April
+13, 1505; and while he was being borne to his tomb all the shops in
+the Via de' Servi were closed, as is done sometimes for the obsequies
+of great men.</p>
+
+<p>Among the disciples of Filippo, who all failed by a great measure to
+equal him, was Raffaellino del Garbo, who made many works, as will be
+told in the proper place, although he did not justify the opinions and
+hopes that were conceived of him while Filippo was alive and
+Raffaellino himself still a young man. The fruits, indeed, are not
+always equal to the blossoms that are seen in the spring. Nor did any
+great success come to Niccolò Zoccolo, otherwise known as Niccolò
+Cartoni, who was likewise <span class="pagenum"><a id="Page_10" name="Page_10">[Pg 10]</a></span> a disciple of Filippo, and painted
+at Arezzo the wall that is over the altar of S. Giovanni Decollato; a
+little panel, passing well done, in S. Agnesa; a panel over a lavatory
+in the Abbey of S. Fiora, containing a Christ who is asking for water
+from the woman of Samaria; and many other works, which, since they
+were commonplace, are not mentioned.</p>
+
+<div class="figcenter">
+<a name="img005" id="img005"></a>
+<img src="images/img005-tb.jpg" width="400" height="422" alt="The Adoration of the Magi." title="">
+<p class="caption">THE ADORATION OF THE MAGI<br>
+(<i>After the panel by</i> Filippo Lippi (Filippino).<br>
+<i>Florence: Uffizi, 1257</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img005.jpg">View larger image</a></span></p>
+</div>
+
+
+
+<hr style="width: 65%;">
+<h2><a name="pinturicchio" id="pinturicchio"></a><span class="pagenum"><a id="Page_11" name="Page_11">[Pg 11]</a></span> BERNARDINO PINTURICCHIO</h2>
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_pinturicchio" id="life_of_pinturicchio"></a><span class="pagenum"><a id="Page_13" name="Page_13">[Pg 13]</a></span> LIFE OF BERNARDINO PINTURICCHIO</h2>
+
+<h3>PAINTER OF PERUGIA</h3>
+
+
+<p>Even as many are assisted by fortune without being endowed with much
+talent, so, on the contrary, there is an infinite number of able men
+who are persecuted by an adverse and hostile fortune; whence it is
+clearly manifest that she acknowledges as her children those who
+depend upon her without the aid of any talent, since it pleases her to
+exalt by her favour certain men who would never be known through their
+own merit; which is seen in Pinturicchio of Perugia, who, although he
+made many works and was assisted by various helpers, nevertheless had
+a much greater name than his works deserved. However, he was a man who
+had much practice in large works, and ever kept many assistants to aid
+him in his labours. Now, having worked at many things in his early
+youth under his master Pietro da Perugia,<a id="FNanchor1" name="FNanchor1"></a><a href="#Footnote1" title="Go to footnote 1" class="fnanchor">[1]</a> receiving a third of all
+that was earned, he was summoned to Siena by Cardinal Francesco
+Piccolomini to paint the library made by Pope Pius II in the Duomo of
+that city. It is true, indeed, that the sketches and cartoons for all
+the scenes that he painted there were by the hand of Raffaello da
+Urbino, then a youth, who had been his companion and fellow-disciple
+under the same Pietro, whose manner the said Raffaello had mastered
+very well. One of these cartoons is still to be seen at the present
+day in Siena, and some of the sketches, by the hand of Raffaello, are
+in our book.</p>
+
+<div class="figcenter">
+<a name="img006" id="img006"></a>
+<img src="images/img006-tb.jpg" width="400" height="573" alt="The Madonna in Glory." title="">
+<p class="caption">BERNARDINO PINTURICCHIO: THE MADONNA IN GLORY<br>
+(<i>San Gimignano. Panel</i>)<br>
+<span class="link"><a href="images/img006.jpg">View larger image</a></span></p>
+</div>
+
+<p>Now the stories in this work, wherein Pinturicchio was aided by many
+pupils and assistants, all of the school of Pietro, were divided into
+ten pictures. In the first is painted the scene when the said Pope
+Pius II was born to Silvio Piccolomini and Vittoria, and was called
+Æneas, in <span class="pagenum"><a id="Page_14" name="Page_14">[Pg 14]</a></span> the year 1405, in Valdorcia, at the township of
+Corsignano, which is now called Pienza after the name of that Pope,
+who afterwards enriched it with buildings and made it a city; and in
+this picture are portraits from nature of the said Silvio and
+Vittoria. In the same is the scene when, in company with Cardinal
+Domenico of Capranica, he is crossing the Alps, which are covered with
+ice and snow, on his way to the Council of Bâle. In the second the
+Council is sending Æneas on many embassies&mdash;namely, to Argentina
+(three times), to Trent, to Constance, to Frankfurt, and to Savoy. In
+the third is the sending of the same Æneas by the Antipope Felix as
+ambassador to the Emperor Frederick III, with whom the ready
+intelligence, the eloquence, and the grace of Æneas found so much
+favour that he was given the poet's crown of laurel by Frederick
+himself, who made him his Protonotary, received him into the number of
+his friends, and appointed him his First Secretary. In the fourth he
+is sent by Frederick to Eugenius IV, by whom he was made Bishop of
+Trieste, and then Archbishop of Siena, his native city. In the fifth
+scene the same Emperor, who is about to come to Italy to receive the
+crown of Empire, is sending Æneas to Telamone, a port of the people of
+Siena, to meet his wife, Leonora, who was coming from Portugal. In the
+sixth Æneas is going to Calistus IV,<a id="FNanchor2" name="FNanchor2"></a><a href="#Footnote2" title="Go to footnote 2" class="fnanchor">[2]</a> at the bidding of the said
+Emperor, to induce him to make war against the Turks; and in this
+part, Siena being harassed by the Count of Pittigliano and by others
+at the instigation of King Alfonso of Naples, that Pontiff is sending
+him to treat for peace. This effected, war is planned against the
+Orientals; and he, having returned to Rome, is made a Cardinal by the
+said Pontiff. In the seventh, Calistus being dead, Æneas is seen being
+created Supreme Pontiff, and called Pius II. In the eighth the Pope
+goes to Mantua for the Council about the expedition against the Turks,
+where the Marquis Lodovico receives him with most splendid pomp and
+incredible magnificence. In the ninth the same Pope is placing in the
+catalogue of saints&mdash;or, as the saying is, canonizing&mdash;Catherine of
+Siena, a holy woman and nun of the Preaching Order. In the tenth and
+last, while preparing a vast expedition against the Turks with the
+help and favour <span class="pagenum"><a id="Page_15" name="Page_15">[Pg 15]</a></span> of all the Christian Princes, Pope Pius
+dies at Ancona; and a hermit of the Hermitage of Camaldoli, a holy
+man, sees the soul of the said Pontiff being borne by Angels into
+Heaven at the very moment of his death, as may also be read.
+Afterwards, in the same picture, the body of the same Pope is seen
+being borne from Ancona to Rome by a vast and honourable company of
+lords and prelates, who are lamenting the death of so great a man and
+so rare and holy a Pontiff. The whole of this work is full of
+portraits from the life, so numerous that it would be a long story to
+recount their names; and it is all painted with the finest and most
+lively colours, and wrought with various ornaments of gold, and with
+very well designed partitions in the ceiling. Below each scene is a
+Latin inscription, which describes what is contained therein. In the
+centre of this library the said Cardinal Francesco Piccolomini, nephew
+of the Pope, placed the three Graces of marble, ancient and most
+beautiful, which are still there, and which were the first antiquities
+to be held in price in those times. This library, wherein are all the
+books left by the said Pius II, was scarcely finished, when the same
+Cardinal Francesco, nephew of the aforesaid Pontiff, Pius II, was
+created Pope, choosing the name of Pius III in memory of his uncle.
+Over the door of that library, which opens into the Duomo, the same
+Pinturicchio painted in a very large scene, occupying the whole extent
+of the wall, the Coronation of the said Pope Pius III, with many
+portraits from life; and beneath it may be read these words:</p>
+
+<p class="center">
+     PIUS III SENENSIS, PII SECUNDI NEPOS, MDIII, SEPTEMBRIS XXI,<br>
+     APERTIS ELECTUS SUFFRAGIIS, OCTAVO OCTOBRIS CORONATUS EST.</p>
+
+<p>When Pinturicchio was working with Pietro Perugino and painting at
+Rome in the time of Pope Sixtus, he had also been in the service of
+Domenico della Rovere, Cardinal of San Clemente; wherefore the said
+Cardinal, having built a very beautiful palace in the Borgo Vecchio,
+charged Pinturicchio to paint the whole of it, and to make on the
+façade the coat of arms of Pope Sixtus, with two little boys as
+supporters. The same master executed certain works for Sciarra Colonna
+in the Palace of S. Apostolo; and no long time after&mdash;namely, in the
+year 1484&mdash;Innocent <span class="pagenum"><a id="Page_16" name="Page_16">[Pg 16]</a></span> VIII, the Genoese, caused him to paint
+certain halls and loggie in the Palace of the Belvedere, where, among
+other things, by order of that Pope, he painted a loggia full of
+landscapes, depicting therein Rome, Milan, Genoa, Florence, Venice,
+and Naples, after the manner of the Flemings; and this, being a thing
+not customary at that time, gave no little satisfaction. In the same
+place, over the principal door of entrance, he painted a Madonna in
+fresco. In S. Pietro, in the chapel that contains the Lance which
+pierced the side of Christ, he painted a panel in distemper, with the
+Madonna larger than life, for the said Innocent VIII; and he painted
+two chapels in the Church of S. Maria del Popolo, one for the
+aforesaid Domenico della Rovere, Cardinal of San Clemente, who was
+afterwards buried therein, and the other for Cardinal Innocenzio Cibo,
+wherein he also was afterwards buried; and in each of these chapels he
+portrayed the Cardinal who had caused him to paint it. In the Palace
+of the Pope he painted certain rooms that look out upon the courtyard
+of S. Pietro, the ceilings and paintings of which were renovated a few
+years ago by Pope Pius IV. In the same palace Alexander VI caused
+Pinturicchio to paint all the rooms that he occupied, together with
+the whole of the Borgia Tower, wherein he wrought stories of the
+liberal arts in one room, besides decorating all the ceilings with
+stucco and gold; but, since they did not then know the method of
+stucco-work that is now in use, the aforesaid ornaments are for the
+most part ruined. Over the door of an apartment in the said palace he
+portrayed the Signora Giulia Farnese in the countenance of a Madonna,
+and, in the same picture, the head of Pope Alexander in a figure that
+is adoring her.</p>
+
+<p>Bernardino was much given to making gilt ornaments in relief for his
+pictures, to satisfy people who had little understanding of his art
+with the more showy lustre that this gave them, which is a most
+barbarous thing in painting. Having then executed a story of S.
+Catherine in the said apartments, he depicted the arches of Rome in
+relief and the figures in painting, insomuch that, the figures being
+in the foreground and the buildings in the background, the things that
+should recede stand out more prominently than those that should strike
+the eye as the larger&mdash;a very grave heresy in our art.</p>
+
+<div class="figcenter">
+<a name="img007" id="img007"></a>
+<img src="images/img007-tb.jpg" width="400" height="510" alt="Frederick III crowning the Poet Æneas Sylvius." title="">
+<p class="caption">FREDERICK III CROWNING THE POET ÆNEAS SYLVIUS<br>
+(<i>After the fresco by</i> Bernardino Pinturicchio.<br>
+<i>Siena: Sala Piccolominea</i>)<br>
+<i>Brogi</i><br>
+<span class="link"><a href="images/img007.jpg">View larger image</a></span></p>
+</div>
+
+<p><span class="pagenum"><a id="Page_17" name="Page_17">[Pg 17]</a></span> In the Castello di S. Angelo he painted a vast number of
+rooms with grotesques; and in the Great Tower, in the garden below, he
+painted stories of Pope Alexander, with portraits of the Catholic
+Queen, Isabella; Niccolò Orsino, Count of Pittigliano; Gianjacomo
+Trivulzi, and many other relatives and friends of the said Pope, in
+particular Cæsar Borgia and his brother and sisters, with many
+talented men of those times. At Monte Oliveto in Naples, in the Chapel
+of Paolo Tolosa, there is a panel with an Assumption by the hand of
+Pinturicchio. This master made an infinite number of other works
+throughout all Italy, which, since they are of no great excellence,
+and wrought in a superficial manner, I will pass over in silence.
+Pinturicchio used to say that a painter could only give the greatest
+relief to his figures when he had it in himself, without owing
+anything to principles or to others. He also made works in Perugia,
+but these were few. In the Araceli he painted the Chapel of S.
+Bernardino; and in S. Maria del Popolo, where, as we have said, he
+painted the two chapels, he made the four Doctors of the Church on the
+vaulting of the principal chapel.</p>
+
+<div class="figcenter">
+<a name="img008" id="img008"></a>
+<img src="images/img008-tb.jpg" width="400" height="486" alt="Pope Alexander VI adoring the Risen Christ." title="">
+<p class="caption">POPE ALEXANDER VI ADORING THE RISEN CHRIST<br>
+(<i>After the fresco by</i> Bernardino Pinturicchio.<br>
+<i>Rome: The Vatican, Borgia Apartments</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img008.jpg">View larger image</a></span></p>
+</div>
+
+<p>Afterwards, having reached the age of fifty-nine, he was commissioned
+to paint the Nativity of Our Lady on a panel in S. Francesco at Siena.
+To this he set his hand, and the friars assigned to him a room to live
+in, which they gave to him, as he wished, empty and stripped of
+everything, save only a huge old chest, which appeared to them too
+awkward to remove. But Pinturicchio, like the strange and whimsical
+man that he was, made such an outcry at this, and repeated it so
+often, that finally in despair the friars set themselves to carry it
+away. Now their good fortune was such, that in removing it there was
+broken a plank which contained 500 Roman ducats of gold; at which
+Pinturicchio was so displeased, and felt so aggrieved at the good luck
+of those poor friars, that it can hardly be imagined&mdash;nay, he took it
+so much to heart, being unable to get it out of his thoughts, that it
+was the death of him. His pictures date about the year 1513.</p>
+
+<p>A companion and friend of Pinturicchio, although he was a much older
+man, was Benedetto Buonfiglio, a painter of Perugia, who executed many
+works in company with other masters in the Papal Palace at <span class="pagenum"><a id="Page_18" name="Page_18">[Pg 18]</a></span>
+Rome. In the Chapel of the Signoria in Perugia, his native city, he
+painted scenes from the life of S. Ercolano, Bishop and Protector of
+that city, and in the same place certain miracles wrought by S. Louis.
+In S. Domenico he painted the story of the Magi on a panel in
+distemper, and many saints on another. In the Church of S. Bernardino
+he painted a Christ in the sky, with S. Bernardino himself, and a
+multitude below. In short, this master was in no little repute in his
+native city before Pietro Perugino had come to be known.</p>
+
+<p>Another friend of Pinturicchio, associated with him in not a few of
+his works, was Gerino Pistoiese, who was held to be a diligent
+colourist and a faithful imitator of the manner of Pietro Perugino,
+with whom he worked nearly up to his death. He did little work in his
+native city of Pistoia; but for the Company of the Buon Gesù in Borgo
+San Sepolcro he painted a Circumcision in oil on a panel, which is
+passing good. In the Pieve of the same place he painted a chapel in
+fresco; and on the bank of the Tiber, on the road that leads to
+Anghiari, he painted another chapel, also in fresco, for the Commune.
+And he painted still another chapel in the same place, in S. Lorenzo,
+an abbey of the Monks of Camaldoli. By reason of all these works he
+made so long a stay in the Borgo that he almost adopted it as his
+home. He was a sorry fellow in matters of art, labouring with the
+greatest difficulty, and toiling with such pains at the execution of a
+work, that it was a torture to him.</p>
+
+<div class="figcenter">
+<a name="img009" id="img009"></a>
+<img src="images/img009-tb.jpg" width="350" height="615" alt="Madonna, Child and Three Angels." title="">
+<p class="caption">BENEDETTO BUONFIGLIO: MADONNA, CHILD AND THREE ANGELS<br>
+(<i>Perugia: Pinacoteca. Panel</i>)<br>
+<span class="link"><a href="images/img009.jpg">View larger image</a></span></p>
+</div>
+
+<p>At this same time there was a painter in the city of Foligno, Niccolò
+Alunno, who was held to be excellent, for it was little the custom
+before Pietro Perugino's day to paint in oil, and many were held to be
+able men who did not afterwards justify this opinion. Niccolò
+therefore gave no little satisfaction with his works, since, although
+he only painted in distemper, he portrayed the heads of his figures
+from life, so that they appeared alive, and his manner won
+considerable praise. In S. Agostino at Foligno there is a panel by his
+hand with a Nativity of Christ, and a predella with little figures. At
+Assisi he painted a banner that is borne in processions, besides the
+panel of the high-altar in the Duomo, and another panel in S.
+Francesco. But the best painting that Niccolò ever did was in a chapel
+in the Duomo, where, among other things, there <span class="pagenum"><a id="Page_19" name="Page_19">[Pg 19]</a></span> is a Pietà,
+with two angels who are holding two torches and weeping so naturally,
+that I do not believe that any other painter, however excellent, would
+have been able to do much better. In the same place he also painted
+the façade of S. Maria degli Angeli, besides many other works of which
+there is no need to make mention, it being enough to have touched on
+the best. And let this be the end of the Life of Pinturicchio, who,
+besides his other qualities, gave no little satisfaction to many
+princes and lords because he finished and delivered his works quickly,
+which is their pleasure, although such works are perchance less
+excellent than those that are made slowly and deliberately.</p>
+
+
+<hr style="width: 65%;">
+<h2><a name="francia" id="francia"></a><span class="pagenum"><a id="Page_21" name="Page_21">[Pg 21]</a></span> FRANCESCO FRANCIA</h2>
+
+<div class="figcenter">
+<a name="img010" id="img010"></a>
+<img src="images/img010-tb.jpg" width="400" height="505" alt="Medals." title="">
+<p class="caption center">MEDALS<br>
+(<i>London: British Museum</i>)</p>
+
+<span class="floatleft">1. ULISSE MUSOTTI</span>
+<p class="left60">3. FRANCESCO ALIDOSI</p>
+<span class="floatleft">2. GIOVANNI II BENTIVOGLIO</span>
+<p class="left60">4. BERNARDO ROSSI</p>
+<span class="floatleft">(<i>After</i> Francesco Francia)</span>
+<p class="left60">(<i>After</i> a pupil of Francesco Francia)</p>
+
+<p class="caption link"><a href="images/img010.jpg">View larger image</a></p>
+</div>
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_francia" id="life_of_francia"></a><span class="pagenum"><a id="Page_23" name="Page_23">[Pg 23]</a></span> LIFE OF FRANCESCO FRANCIA</h2>
+
+<h3>GOLDSMITH AND PAINTER OF BOLOGNA</h3>
+
+
+<p>Francesco Francia, who was born in Bologna in the year 1450, of
+parents who were artisans, but honest and worthy enough, was
+apprenticed in his earliest boyhood to the goldsmith's art, in which
+calling he worked with intelligence and spirit; and as he grew up he
+became so well proportioned in person and appearance, and so sweet and
+pleasant in manner and speech, that he was able to keep the most
+melancholy of men cheerful and free from care with his talk; for which
+reason he was beloved not only by all those who knew him, but also by
+many Italian princes and other lords. While working as a goldsmith,
+then, he gave attention to design, in which he took so much pleasure,
+that his mind began to aspire to higher things, and he made very great
+progress therein, as may be seen from many works in silver that he
+executed in his native city of Bologna, and particularly from certain
+most excellent works in niello. In this manner of work he often put
+twenty most beautiful and well-proportioned little figures within a
+space no higher than the breadth of two fingers and not much more in
+length. He also enamelled many works in silver, which were destroyed
+at the time of the ruin and exile of the Bentivogli. In a word, he did
+everything that can be done in that art better than any other man.</p>
+
+<p>But that in which he delighted above all, and in which he was truly
+excellent, was the making of dies for medals, wherein he was the
+rarest master of his day, as may be seen in some that he made with a
+most lifelike head of Pope Julius II, which bear comparison with those
+of Caradosso; not to mention that he made medals of Signor Giovanni
+Bentivogli, in which he appears alive, and of an infinite number of
+princes, <span class="pagenum"><a id="Page_24" name="Page_24">[Pg 24]</a></span> who would stop in Bologna on their way through the
+city, whereupon he would make their portraits in wax for medals, and
+afterwards, having finished the matrices of the dies, he would send
+them; for which, besides immortal fame, he also received very rich
+presents. As long as he lived he was ever Master of the Mint in
+Bologna, for which he made the stamps of all the dies, both under the
+rule of the Bentivogli and also during the lifetime of Pope Julius,
+after their departure, as is proved by the coins struck by that Pope
+on his entrance into the city, which had on one side his head
+portrayed from life, and on the other these words: <span class="smcap">BONONIA PER JULIUM
+A TYRANNO LIBERATA</span>. So excellent was he held in this profession, that
+he continued to make the dies for the coinage down to the time of Pope
+Leo; and the impressions of his dies are so greatly prized, and those
+who have some hold them in such esteem, that money cannot buy them.</p>
+
+<div class="figcenter">
+<a name="img011" id="img011"></a>
+<img src="images/img011-tb.jpg" width="400" height="447" alt="Madonna and Child, with Saints." title="">
+<p class="caption">MADONNA AND CHILD, WITH SAINTS<br>
+(<i>After the panel by</i> Francesco Francia.<br>
+<i>Bologna: S. Giacomo Maggiore, Bentivoglio Chapel</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img011.jpg">View larger image</a></span></p>
+</div>
+
+<p>Now it came to pass that Francia, being desirous of greater glory, and
+having known Andrea Mantegna and many other painters who had gained
+wealth and honours by their art, determined to try whether he could
+succeed in that part of painting which had to do with colour; his
+drawing was already such that it could well bear comparison with
+theirs. Thereupon, having made arrangements to try his hand, he
+painted certain portraits and some little things, keeping in his house
+for many months men of that profession to teach him the means and
+methods of colouring, insomuch that, having very good judgment, he
+soon acquired the needful practice. The first work that he made was a
+panel of no great size for Messer Bartolommeo<a id="FNanchor3" name="FNanchor3"></a><a href="#Footnote3" title="Go to footnote 3" class="fnanchor">[3]</a> Felicini, who placed
+it in the Misericordia, a church without Bologna; in which panel there
+is a Madonna seated on a throne, with many other figures, and the said
+Messer Bartolommeo portrayed from life. This work, which was wrought
+in oil with the greatest diligence, was painted by him in the year
+1490; and it gave such satisfaction in Bologna, that Messer Giovanni
+Bentivogli, desiring to honour his own chapel, which was in S. Jacopo
+in that city, with works by this new painter, commissioned him to
+paint a panel with the Madonna in the sky, two figures on either side
+of her, and two angels below <span class="pagenum"><a id="Page_25" name="Page_25">[Pg 25]</a></span> sounding instruments; which
+work was so well executed by Francia, that he won from Messer
+Giovanni, besides praise, a most honourable present. Wherefore
+Monsignore de' Bentivogli, impressed by this work, caused him to paint
+a panel containing the Nativity of Christ, which was much extolled,
+for the high-altar of the Misericordia; wherein, besides the design,
+which is not otherwise than beautiful, the invention and the colouring
+are worthy of nothing but praise. In this work he made a portrait of
+Monsignore de' Bentivogli from the life (a very good likeness, so it
+is said by those who knew him), clothed in that very pilgrim's dress
+in which he returned from Jerusalem. He also painted a panel in the
+Church of the Nunziata, without the Porta di S. Mammolo, representing
+the Madonna receiving the Annunciation from the Angel, with two
+figures on either side, which is held to be a very well executed work.</p>
+
+<p>Now that Francia's works had spread his fame abroad, even as his
+painting in oil had brought him both profit and repute, so he
+determined to try whether he would succeed as well at working in
+fresco. Messer Giovanni Bentivogli had caused his palace to be painted
+by diverse masters of Ferrara and Bologna, and by certain others from
+Modena; but, having seen Francia's experiments in fresco, he
+determined that this master should paint a scene on one wall of an
+apartment that he occupied for his own use. There Francia painted the
+camp of Holofernes, guarded by various sentinels both on foot and on
+horseback, who were keeping watch over the pavilions; and the while
+that they were intent on something else, the sleeping Holofernes was
+seen surprised by a woman clothed in widow's garments, who, with her
+left hand, was holding his hair, which was wet with the heat of wine
+and sleep, and with her right hand she was striking the blow to slay
+her enemy, the while that an old wrinkled handmaid, with the true air
+of a most faithful slave, and with her eyes fixed on those of her
+Judith in order to encourage her, was bending down and holding a
+basket near the ground, to receive therein the head of the slumbering
+lover. This scene was one of the most beautiful and most masterly that
+Francia ever painted, but it was thrown to the ground in the
+destruction of that edifice at the time of the expulsion of the
+Bentivogli, together with another scene over that same apartment,
+<span class="pagenum"><a id="Page_26" name="Page_26">[Pg 26]</a></span> coloured to look like bronze, and representing a disputation
+of philosophers, which was excellently wrought, with his conception
+very well expressed. These works brought it about that he was loved
+and honoured by Messer Giovanni and all the members of his house, and,
+after them, by all the city.</p>
+
+<p>In the Chapel of S. Cecilia, which is attached to the Church of S.
+Jacopo, he painted two scenes wrought in fresco, in one of which he
+made the Marriage of Our Lady with Joseph, and in the other the Death
+of S. Cecilia&mdash;a work held in great esteem by the people of Bologna.
+And, indeed, Francia gained such mastery and such confidence from
+seeing his works advancing towards the perfection that he desired,
+that he executed many pictures, of which I will make no mention, it
+being enough for me to point out, to all who may wish to see his
+works, only the best and most notable. Nor did his painting hinder him
+from carrying on both the Mint and his other work of making medals, as
+he had done from the beginning. Francia, so it is said, felt the
+greatest sorrow at the departure of Messer Giovanni Bentivogli, for he
+had received such great benefits from Messer Giovanni, that it caused
+him infinite grief; however, like the prudent and orderly man that he
+was, he kept at his work. After his parting from his patron, he
+painted three panels that went to Modena, in one of which there was
+the Baptism of Christ by S. John; in the second, a very beautiful
+Annunciation; and in the last, which was placed in the Church of the
+Frati dell' Osservanza, a Madonna in the sky with many figures.</p>
+
+<div class="figcenter">
+<a name="img012" id="img012"></a>
+<img src="images/img012-tb.jpg" width="500" height="248" alt="Pietà." title="">
+<p class="caption">FRANCESCO FRANCIA: PIETÀ<br>
+(<i>London: National Gallery, 180. Panel</i>)<br>
+<span class="link"><a href="images/img012.jpg">View larger image</a></span></p>
+</div>
+
+<p>The fame of so excellent a master being spread abroad by means of so
+many works, the cities contended with one another to obtain his
+pictures. Whereupon he painted a panel for the Black Friars of S.
+Giovanni in Parma, containing a Dead Christ in the lap of Our Lady,
+surrounded by many figures; which panel was universally held to be a
+most beautiful work; and the same friars, therefore, thinking that
+they had been well served, induced him to make another for a house of
+theirs at Reggio in Lombardy, wherein he painted a Madonna with many
+figures. At Cesena, likewise for the church of these friars, he
+executed another panel, painting therein the Circumcision of Christ,
+with lovely colouring. Nor <span class="pagenum"><a id="Page_27" name="Page_27">[Pg 27]</a></span> would the people of Ferrara
+consent to be left behind by their neighbours; nay, having determined
+to adorn their Duomo with works by Francia, they commissioned him to
+paint a panel, on which he made a great number of figures; and they
+named it the panel of Ognissanti. He painted one in S. Lorenzo at
+Bologna, with a Madonna, a figure on either side, and two children
+below, which was much extolled; and scarcely had he finished this when
+he had to make another in S. Giobbe, representing a Crucifixion, with
+that Saint kneeling at the foot of the Cross, and two figures at the
+sides.</p>
+
+<p>So widely had the fame and the works of this craftsman spread
+throughout Lombardy, that even from Tuscany men sent for something by
+his hand, as they did from Lucca, whither there went a panel
+containing a S. Anne and a Madonna, with many other figures, and a
+Dead Christ above in the lap of His Mother; which work is set up in
+the Church of S. Fridiano, and is held in great price by the people of
+Lucca. For the Church of the Nunziata in Bologna he painted two other
+panels, which were wrought with much diligence; and in the
+Misericordia, likewise, without the Porta a Strà Castione, at the
+request of a lady of the Manzuoli family, he painted another, wherein
+he depicted the Madonna with the Child in her arms, S. George, S. John
+the Baptist, S. Stephen, and S. Augustine, with an angel below, who
+has his hands clasped with such grace, that he appears truly to belong
+to Paradise. He executed another for the Company of S. Francesco in
+the same city, and likewise one for the Company of S. Gieronimo. He
+lived in close intimacy with Messer Polo Zambeccaro, who, being much
+his friend, and wishing to have some memorial of him, caused him to
+paint a rather large picture of the Nativity of Christ, which is one
+of the most celebrated works that he ever made; and for this reason
+Messer Polo commissioned him to paint at his villa two figures in
+fresco, which are very beautiful. He also executed a most charming
+scene in fresco in the house of Messer Gieronimo Bolognino, with many
+varied and very beautiful figures.</p>
+
+<p>All these works together had won him such veneration in that city,
+that he was held in the light of a god; and what made this infinitely
+greater was that the Duke of Urbino caused him to paint a set of
+horse's <span class="pagenum"><a id="Page_28" name="Page_28">[Pg 28]</a></span> caparisons, in which he made a vast forest of trees
+that had caught fire, from which there were issuing great numbers of
+all sorts of animals, both of the air and of the earth, and certain
+figures&mdash;a terrible, awful, and truly beautiful thing, which was held
+in no little esteem by reason of the time spent in painting the
+plumage of the birds, and the various sorts of terrestrial animals, to
+say nothing of the diversity of foliage and the variety of branches
+that were seen in the different trees. For this work Francia was
+rewarded with gifts of great value as a recompense for his labours,
+not to mention that the Duke ever held himself indebted to him for the
+praises that he received for it. Duke Guido Baldo, also, has in his
+guardaroba a picture of the Roman Lucretia, which he esteems very
+highly, by the same man's hand, together with many other pictures, of
+which mention will be made when the time comes.</p>
+
+<p>After these things he painted a panel for the altar of the Madonna in
+SS. Vitale e Agricola; in which panel are two very beautiful angels,
+who are playing on the lute. I will not enumerate the pictures that
+are scattered throughout Bologna in the houses of gentlemen of that
+city, and still less the infinite number of portraits that he made
+from life, for it would be too wearisome. Let it be enough to say that
+while he was living in such glory and enjoying the fruits of his
+labours in peace, Raffaello da Urbino was in Rome, and all day long
+there flocked round him many strangers, among them many gentlemen of
+Bologna, eager to see his works. And since it generally comes to pass
+that every man extols most willingly the intellects of his native
+place, these Bolognese began to praise the works, the life, and the
+talents of Francia in the presence of Raffaello, and they established
+such a friendship between them with these words, that Francia and
+Raffaello sent letters of greeting to each other. And Francia, hearing
+such great praise spoken of the divine pictures of Raffaello, desired
+to see his works; but he was now old, and too fond of his comfortable
+life in Bologna. Now after this it came about that Raffaello painted
+in Rome for Cardinal Santi Quattro, of the Pucci family, a
+panel-picture of S. Cecilia, which had to be sent to Bologna to be
+placed in a chapel of S. Giovanni in Monte, where there is the tomb of
+the Blessed Elena dall' Olio. This he packed up and addressed to
+Francia, who, as his friend, was to have it placed on the altar of
+that chapel, with the <span class="pagenum"><a id="Page_29" name="Page_29">[Pg 29]</a></span> ornament, just as he had prepared it
+himself. Right readily did Francia accept this charge, which gave him
+a chance of seeing a work by Raffaello, as he had so much desired. And
+having opened the letter that Raffaello had written to him, in which
+he besought Francia, if there were any scratch in the work, to put it
+right, and likewise, as a friend, to correct any error that he might
+notice, with the greatest joy he had the said panel taken from its
+case into a good light. But such was the amazement that it caused him,
+and so great his marvel, that, recognizing his own error and the
+foolish presumption of his own rash confidence, he took it greatly to
+heart, and in a very short time died of grief.</p>
+
+<p>Raffaello's panel was divine, not so much painted as alive, and so
+well wrought and coloured by him, that among all the beautiful
+pictures that he painted while he lived, although they are all
+miraculous, it could well be called most rare. Wherefore Francia, half
+dead with terror at the beauty of the picture, which lay before his
+eyes challenging comparison with those by his own hand that he saw
+around him, felt all confounded, and had it placed with great
+diligence in that chapel of S. Giovanni in Monte for which it was
+destined; and taking to his bed in a few days almost beside himself,
+thinking that he was now almost of no account in his art in comparison
+with the opinion held both by himself and by others, he died of grief
+and melancholy, so some believe, overtaken by the same fate, through
+contemplating too attentively that most lifelike picture of
+Raffaello's, as befell Fivizzano from feasting his eyes with his own
+beautiful Death, about which the following epigram was written:</p>
+
+<p class="poem10">
+  Me veram pictor divinus mente recepit;<br>
+<span class="add1em">Admota est operi deinde perita manus.</span><br>
+  Dumque opere in facto defigit lumina pictor,<br>
+<span class="add1em">Intentus nimium, palluit et moritur.</span><br>
+  Viva igitur sum mors, non mortua mortis imago,<br>
+<span class="add1em">Si fungor quo mors fungitur officio.</span></p>
+
+<p>However, certain others say that his death was so sudden, that from
+many symptoms it appeared to be due rather to poison or apoplexy than
+to anything else. Francia was a prudent man, most regular in his way
+of life, and very robust. After his death, in the year 1518, he was
+honourably buried by his sons in Bologna.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="perugino" id="perugino"></a><span class="pagenum"><a id="Page_31" name="Page_31">[Pg 31]</a></span> PIETRO PERUGINO</h2>
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_perugino" id="life_of_perugino"></a><span class="pagenum"><a id="Page_33" name="Page_33">[Pg 33]</a></span> LIFE OF PIETRO PERUGINO</h2>
+
+<h3>[<i>PIETRO VANNUCCI, OR PIETRO DA CASTEL DELLA PIEVE</i>]</h3>
+
+<h3>PAINTER</h3>
+
+
+<p>How great a benefit poverty may be to men of genius, and how potent a
+force it may be to make them become excellent&mdash;nay, perfect&mdash;in the
+exercise of any faculty whatsoever, can be seen clearly enough in the
+actions of Pietro Perugino, who, flying from the extremity of distress
+at Perugia, and betaking himself to Florence in the desire to attain
+to some distinction by means of his talent, remained for many months
+without any other bed than a miserable chest to sleep in, turning
+night into day, and devoting himself with the greatest ardour to the
+unceasing study of his profession. And, having made a habit of this,
+he knew no other pleasure than to labour continually at his art, and
+to be for ever painting; for with the fear of poverty constantly
+before his eyes, he would do for gain such work as he would probably
+not have looked at if he had possessed the wherewithal to live.
+Riches, indeed, might perchance have closed the path on which his
+talent should advance towards excellence, no less effectually than
+poverty opened it to him, while necessity spurred him on in his desire
+to rise from so low and miserable a condition, if not to supreme
+eminence, at least to a rank in which he might have the means of life.
+For this reason he never took heed of cold, of hunger, of hardship, of
+discomfort, of fatigue, or of ridicule, if only he might one day live
+in ease and repose; ever saying, as it were by way of proverb, that
+after bad weather there must come the good, and that during the good
+men build the houses that are to shelter them when there is need.</p>
+
+<div class="figcenter">
+<a name="img013" id="img013"></a>
+<img src="images/img013-tb.jpg" width="400" height="530" alt="Apollo and Marsyas." title="">
+<p class="caption">PIETRO PERUGINO: APOLLO AND MARSYAS<br>
+(<i>Paris: Louvre, 1509. Panel</i>)<br>
+<span class="link"><a href="images/img013.jpg">View larger image</a></span></p>
+</div>
+
+<p>But in order that the rise of this craftsman may be better known, let
+me begin with his origin, and relate that, according to common report,
+<span class="pagenum"><a id="Page_34" name="Page_34">[Pg 34]</a></span> there was born in the city of Perugia, to a poor man of
+Castello della Pieve, named Cristofano, a son who was baptized with
+the name of Pietro. This son, brought up amid misery and distress, was
+given by his father as a shop-boy to a painter of Perugia, who was no
+great master of his profession, but held in great veneration both the
+art and the men who were excellent therein; nor did he ever cease to
+tell Pietro how much gain and honour painting brought to those who
+practised it well, and he would urge the boy to the study of that art
+by recounting to him the rewards won by ancient and modern masters;
+wherefore he fired his mind in such a manner, that Pietro took it into
+his head to try, if only fortune would assist him, to become one of
+these. For this reason he was often wont to ask any man whom he knew
+to have seen the world, in what part the best craftsmen in that
+calling were formed; particularly his master, who always gave him one
+and the same answer&mdash;namely, that it was in Florence more than in any
+other place that men became perfect in all the arts, especially in
+painting, since in that city men are spurred by three things. The
+first is censure, which is uttered freely and by many, seeing that the
+air of that city makes men's intellects so free by nature, that they
+do not content themselves, like a flock of sheep, with mediocre works,
+but ever consider them with regard to the honour of the good and the
+beautiful rather than out of respect for the craftsman. The second is
+that, if a man wishes to live there, he must be industrious, which is
+naught else than to say that he must continually exercise his
+intelligence and his judgment, must be ready and adroit in his
+affairs, and, finally, must know how to make money, seeing that the
+territory of Florence is not so wide or abundant as to enable her to
+support at little cost all who live there, as can be done in countries
+that are rich enough. The third, which is perchance no less potent
+than the others, is an eager desire for glory and honour, which is
+generated mightily by that air in the men of all professions; and this
+desire, in all persons of spirit, will not let them stay content with
+being equal, much less inferior, to those whom they see to be men like
+themselves, although they may recognize them as masters&mdash;nay, it
+forces them very often to desire their own advancement so eagerly,
+that, if they are not kindly or wise by nature, they turn out
+<span class="pagenum"><a id="Page_35" name="Page_35">[Pg 35]</a></span> evil-speakers, ungrateful, and unthankful for benefits. It
+is true, indeed, that when a man has learnt there as much as suffices
+him, he must, if he wishes to do more than live from day to day like
+an animal, and desires to become rich, take his departure from that
+place and find a sale abroad for the excellence of his works and for
+the repute conferred on him by that city, as the doctors do with the
+fame derived from their studies. For Florence treats her craftsmen as
+time treats its own works, which when perfected, it destroys and
+consumes little by little.</p>
+
+<p>Moved by these counsels, therefore, and by the persuasions of many
+others, Pietro came to Florence, minded to become excellent; and well
+did he succeed, for the reason that in those times works in his manner
+were held in very great price. He studied under the discipline of
+Andrea Verrocchio, and his first figures were painted without the
+Porta a Prato, in the Nunnery of S. Martino, now in ruins by reason of
+the wars. In Camaldoli he made a S. Jerome on a wall, which was then
+much esteemed by the Florentines and celebrated with great praise, for
+the reason that he made that Saint old, lean, and emaciated, with his
+eyes fixed on the Crucifix, and so wasted away, that he seems like an
+anatomical model, as may be seen from a copy of that picture which is
+in the hands of the aforesaid Bartolommeo Gondi. In a few years, then,
+he came into such credit, that his works filled not only Florence and
+all Italy, but also France, Spain, and many other countries to which
+they were sent. Wherefore, his paintings being held in very great
+price and repute, merchants began to buy them up wholesale and to send
+them abroad to various countries, to their own great gain and profit.</p>
+
+<p>For the Nuns of S. Chiara he painted a Dead Christ on a panel, with
+such lovely and novel colouring, that he made the craftsmen believe
+that he would become excellent and marvellous. In this work there are
+seen some most beautiful heads of old men, and likewise certain
+figures of the Maries, who, having ceased to weep, are contemplating
+the Dead Jesus with extraordinary awe and love; not to mention that he
+made therein a landscape that was then held most beautiful, because
+the true method of making them, such as it appeared later, had not yet
+been seen. It is said that Francesco del Pugliese offered to give to
+the aforesaid nuns <span class="pagenum"><a id="Page_36" name="Page_36">[Pg 36]</a></span> three times as much money as they had
+paid to Pietro, and to have a similar one made for them by the same
+man's hand, but that they would not consent, because Pietro said that
+he did not believe he could equal it.</p>
+
+<p>There were also many things by the hand of Pietro in the Convent of
+the Frati Gesuati, without the Porta a Pinti; and since the said
+church and convent are now in ruins, I do not wish, with this
+occasion, and before I proceed further with this Life, to grudge the
+labour of giving some little account of them. This church, then, the
+architect of which was Antonio di Giorgio of Settignano, was forty
+braccia long and twenty wide. At the upper end one ascended by four
+treads, or rather steps, to a platform six braccia in extent, on which
+stood the high-altar, with many ornaments carved in stone; and on the
+said altar was a panel with a rich ornament, by the hand, as has been
+related, of Domenico Ghirlandajo. In the centre of the church was a
+partition-wall, with a door wrought in open-work from the middle
+upwards, on either side of which was an altar, while over either
+altar, as will be told, there stood a panel by the hand of Pietro
+Perugino. Over the said door was a most beautiful Crucifix by the hand
+of Benedetto da Maiano, with a Madonna on one side and a S. John on
+the other, both in relief. Before the said platform of the high-altar,
+and against the said partition-wall, was a choir of the Doric Order,
+very well wrought in walnut-wood; and over the principal door of the
+church there was another choir, which rested on well-strengthened
+woodwork, with the under part forming a ceiling, or rather soffit,
+beautifully partitioned, and with a row of balusters acting as parapet
+to the front of the choir, which faced towards the high-altar. This
+choir was very convenient to the friars of that convent for holding
+their night services, for saying their individual prayers, and
+likewise for week-days. Over the principal door of the church&mdash;which
+was made with most beautiful ornaments of stone, and had a portico in
+front raised on columns, which made a covered way as far as the door
+of the convent&mdash;was a lunette with a very beautiful figure of S.
+Giusto, the Bishop, and an angel on either side, by the hand of the
+illuminator Gherardo; and this because that church was dedicated to
+the said S. Giusto, and within it those friars preserved a relic of
+that Saint&mdash;that is, an arm. At the <span class="pagenum"><a id="Page_37" name="Page_37">[Pg 37]</a></span> entrance of the convent
+was a little cloister of exactly the same size as the church&mdash;namely,
+forty braccia long and twenty wide&mdash;with arches and vaulting going
+right round and supported by columns of stone, thus making a spacious
+and most commodious loggia on every side. In the centre of the court
+of this cloister, which was all neatly paved with squared stone, was a
+very beautiful well, with a loggia above, which likewise rested on
+columns of stone, and made a rich and beautiful ornament. In this
+cloister were the chapter-house of the friars, the side-door of
+entrance into the church, and the stairs that ascended to the
+dormitory and other rooms for the use of the friars. On the farther
+side of this cloister, in a straight line with the principal door of
+the convent, was a passage as long as the chapter-house and the
+steward's room put together, leading into another cloister larger and
+more beautiful than the first; and the whole of this straight
+line&mdash;that is, the forty braccia of the loggia of the first cloister,
+the passage, and the line of the second cloister&mdash;made a very long
+enfilade, more beautiful than words can tell, and the rather as from
+that farther cloister, in the same straight line, there issued a
+garden-walk two hundred braccia in length; and all this, as one came
+from the principal door of the convent, made a marvellous view. In the
+said second cloister was a refectory, sixty braccia long and eighteen
+wide, with all those well-appointed rooms, and, as the friars call
+them, offices, which were required in such a convent. Over this was a
+dormitory in the shape of a <b>T</b>, one part of which&mdash;namely, the
+principal part in the direct line, which was sixty braccia long&mdash;was
+double&mdash;that is to say, it had cells on either side, and at the upper
+end, in a space of fifteen braccia, was an oratory, over the altar of
+which there was a panel by the hand of Pietro Perugino; and over the
+door of this oratory was another work by the same man's hand, in
+fresco, as will be told. And on the same floor, above the
+chapter-house, was a large room where those fathers worked at making
+glass windows, with the little furnaces and other conveniences that
+were necessary for such an industry; and since while Pietro lived he
+made the cartoons for many of their works, those that they executed in
+his time were all excellent. Then the garden of this convent was so
+beautiful and so well <span class="pagenum"><a id="Page_38" name="Page_38">[Pg 38]</a></span> kept, and the vines were trained round
+the cloister and in every place with such good order, that nothing
+better could be seen in the neighbourhood of Florence. In like manner
+the room wherein they distilled scented waters and medicines, as was
+their custom, had all the best conveniences that could possibly be
+imagined. In short, that convent was one of the most beautiful and
+best appointed that there were in the State of Florence; and it is for
+this reason that I have wished to make this record of it, and the
+rather as the greater part of the pictures that were therein were by
+the hand of our Pietro Perugino.</p>
+
+<div class="figcenter">
+<a name="img014" id="img014"></a>
+<img src="images/img014-tb.jpg" width="400" height="446" alt="The Deposition." title="">
+<p class="caption">THE DEPOSITION<br>
+(<i>After the panel by</i> Pietro Perugino.<br> <i>Florence: Pitti, 164</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img014.jpg">View larger image</a></span></p>
+</div>
+
+<p>Returning at length to this Pietro, I have to say that of the works
+that he made in the said convent none have been preserved save the
+panels, since those executed in fresco were thrown to the ground,
+together with the whole of that building, by reason of the siege of
+Florence, when the panels were carried to the Porta a S. Pier
+Gattolini, where a home was given to those friars in the Church and
+Convent of S. Giovannino. Now the two panels on the aforesaid
+partition-wall were by the hand of Pietro; and in one was Christ in
+the Garden, with the Apostles sleeping, in whom Pietro showed how well
+sleep can prevail over pains and discomforts, having represented them
+asleep in attitudes of perfect ease. In the other he made a
+Pietà&mdash;that is, Christ in the lap of Our Lady&mdash;surrounded by four
+figures no less excellent than any others in his manner; and, to
+mention only one thing, he made the Dead Christ all stiffened, as if
+He had been so long on the Cross that the length of time and the cold
+had reduced Him to this; wherefore he painted Him supported by John
+and the Magdalene, all sorrowful and weeping. In another panel he
+painted the Crucifixion, with the Magdalene, and, at the foot of the
+Cross, S. Jerome, S. John the Baptist, and the Blessed Giovanni
+Colombini, founder of that Order; all with infinite diligence. These
+three panels have suffered considerably, and they are all cracked in
+the dark parts and where there are shadows; and this comes to pass
+when the first coat of colour, which is laid on the ground (for three
+coats of colour are used, one over the other), is worked on before it
+is thoroughly dry; wherefore afterwards, with time, in the drying,
+they draw through their thickness and come to have the strength to
+make those cracks; which Pietro could <span class="pagenum"><a id="Page_39" name="Page_39">[Pg 39]</a></span> not know, seeing
+that in his time they were only just beginning to paint well in oil.</p>
+
+<p>Now, the works of Pietro being much commended by the Florentines, a
+Prior of the same Convent of the Ingesuati, who took delight in art,
+caused him to make a Nativity, with the Magi, on a wall in the first
+cloister, after the manner of a miniature. This he brought to perfect
+completion with great loveliness and a high finish, and it contained
+an infinite number of different heads, many of them portrayed from
+life, among which was the head of Andrea del Verrocchio, his master.
+In the same court, over the arches of the columns, he made a frieze
+with heads of the size of life, very well executed, among which was
+one of the said Prior, so lifelike and wrought in so good a manner,
+that it was judged by the most experienced craftsmen to be the best
+thing that Pietro ever made. In the other cloister, over the door that
+led into the refectory, he was commissioned to paint a scene of Pope
+Boniface confirming the habit of his Order to the Blessed Giovanni
+Colombino, wherein he portrayed eight of the aforesaid friars, and
+made a most beautiful view receding in perspective, which was much
+extolled, and rightly, since Pietro made a particular profession of
+this. In another scene below the first he began a Nativity of Christ,
+with certain angels and shepherds, wrought with the freshest
+colouring. And in an arch over the door of the aforesaid oratory he
+made three half-length figures&mdash;Our Lady, S. Jerome, and the Blessed
+Giovanni&mdash;with so beautiful a manner, that this was held to be one of
+the best mural paintings that Pietro ever wrought.</p>
+
+<p>The said Prior, so I once heard tell, was very excellent at making
+ultramarine blues, and, therefore, having an abundance of them, he
+desired that Pietro should use them freely in all the above-mentioned
+works; but he was nevertheless so mean and suspicious that he would
+never trust Pietro, and always insisted on being present when he was
+using blue in the work. Wherefore Pietro, who had an honest and
+upright nature, and had no desire for another man's goods save in
+return for his own labour, took the Prior's distrust very ill, and
+resolved to put him to shame; and so, having taken a basin of water,
+and having laid <span class="pagenum"><a id="Page_40" name="Page_40">[Pg 40]</a></span> on the ground for draperies or for anything
+else that he wished to paint in blue and white, from time to time he
+caused the Prior, who turned grudgingly to his little bag, to put some
+ultramarine into the little vase that contained the tempera-water, and
+then, setting to work, at every second stroke of the brush Pietro
+would dip his brush in the basin, so that there remained more in the
+water than he had used on the picture. The Prior, who saw his little
+bag becoming empty without much to show for it in the work, kept
+saying time after time: "Oh, what a quantity of ultramarine this
+plaster consumes!" "Does it not?" Pietro would answer. After the
+departure of the Prior, Pietro took the ultramarine from the bottom of
+the basin, and gave it back to him when he thought the time had come,
+saying: "Father, this is yours; learn to trust honest men, who never
+cheat those who trust them, although, if they wished, they could cheat
+such distrustful persons as yourself."</p>
+
+<p>By reason of these works, then, and many others, Pietro came into such
+repute that he was almost forced to go to Siena, where he painted a
+large panel, which was held very beautiful, in S. Francesco; and he
+painted another in S. Agostino, containing a Crucifix with some
+saints. A little time after this, for the Church of S. Gallo in
+Florence, he painted a panel-picture of S. Jerome in Penitence, which
+is now in S. Jacopo tra Fossi, where the aforesaid friars live, near
+the Canto degli Alberti. He was commissioned to paint a Dead Christ,
+with the Madonna and S. John, above the steps of the side-door of S.
+Pietro Maggiore; and this he wrought in such a manner, that it has
+been preserved, although exposed to rain and wind, as fresh as if it
+had only just been finished by Pietro's hand. Truly intelligent was
+Pietro's understanding of colour, both in fresco and in oil; wherefore
+all experienced craftsmen are indebted to him, for it is through him
+that they have knowledge of the lights that are seen throughout his
+works.</p>
+
+<div class="figcenter">
+<a name="img015" id="img015"></a>
+<img src="images/img015-tb.jpg" width="500" height="373" alt="Christ giving the Keys to S. Peter." title="">
+<p class="caption">CHRIST GIVING THE KEYS TO S. PETER<br>
+(<i>After the fresco by</i> Pietro Perugino.<br>
+<i>Rome: Sistine Chapel</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img015.jpg">View larger image</a></span></p>
+</div>
+
+<p>In S. Croce, in the same city, he made a Pietà&mdash;that is, Our Lady with
+the Dead Christ in her arms&mdash;and two figures, which are marvellous to
+behold, not so much for their excellence, as for the fact that they
+have remained so fresh and vivid in colouring, painted as they are in
+fresco. He was commissioned by Bernardino de' Rossi, a citizen of
+<span class="pagenum"><a id="Page_41" name="Page_41">[Pg 41]</a></span> Florence, to paint a S. Sebastian to be sent into
+France, the price agreed on being one hundred gold crowns; but this
+work was sold by Bernardino to the King of France for four hundred
+gold ducats. At Vallombrosa he painted a panel for the high-altar; and
+in the Certosa of Pavia, likewise, he executed a panel for the friars
+of that place. At the command of Cardinal Caraffa of Naples he painted
+an Assumption of Our Lady, with the Apostles marvelling round the
+tomb, for the high-altar of the Piscopio; and for Abbot Simone de'
+Graziani of Borgo a San Sepolcro he executed a large panel, which was
+painted in Florence, and then borne to S. Gilio in the Borgo on the
+shoulders of porters, at very great expense. To S. Giovanni in Monte
+at Bologna he sent a panel with certain figures standing upright, and
+a Madonna in the sky.</p>
+
+<div class="figcenter">
+<a name="img016" id="img016"></a>
+<img src="images/img016-tb.jpg" width="500" height="372" alt="Fortitude and Temperance, with Warriors." title="">
+<p class="caption">FORTITUDE AND TEMPERANCE, WITH WARRIORS<br>
+(<i>After the fresco by</i> Pietro Perugino.<br>
+<i>Perugia: Collegio del Cambio</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img016.jpg">View larger image</a></span></p>
+</div>
+
+<p>Thereupon the fame of Pietro spread so widely throughout Italy and
+abroad, that to his great glory he was summoned to Rome by Pope Sixtus
+IV to work in his chapel in company with the other excellent
+craftsmen. There, in company with Don Bartolommeo della Gatta, Abbot
+of S. Clemente at Arezzo, he painted the scene of Christ giving the
+keys to S. Peter; and likewise the Nativity and Baptism of Christ, and
+the Birth of Moses, with the daughter of Pharaoh finding him in the
+little ark. And on the same wall where the altar is he painted a mural
+picture of the Assumption of Our Lady, with a portrait of Pope Sixtus
+on his knees. But these works were thrown to the ground in preparing
+the wall for the Judgment of the divine Michelagnolo, in the time of
+Pope Paul III. On a vault of the Borgia Tower in the Papal Palace he
+painted certain stories of Christ, with some foliage in chiaroscuro,
+which had an extraordinary name for excellence in his time. In S.
+Marco, likewise in Rome, he painted a story of two martyrs beside the
+Sacrament&mdash;one of the best works that he made in Rome. For Sciarra
+Colonna, also, in the Palace of S. Apostolo, he painted a loggia and
+certain rooms.</p>
+
+<p>These works brought him a very great sum of money; wherefore, having
+resolved to remain no longer in Rome, and having departed in good
+favour with the whole Court, he returned to his native city of
+Perugia, in many parts of which he executed panels and works in
+fresco; <span class="pagenum"><a id="Page_42" name="Page_42">[Pg 42]</a></span> and, in particular, a panel-picture painted in oils
+for the Chapel of the Palace of the Signori, containing Our Lady and
+other saints. In S. Francesco del Monte he painted two chapels in
+fresco, one with the story of the Magi going to make offering to
+Christ, and the other with the martyrdom of certain friars of S.
+Francis, who, going to the Soldan of Babylon, were put to death. In S.
+Francesco del Convento, likewise, he painted two panels in oil, one
+with the Resurrection of Christ, and the other with S. John the
+Baptist and other saints. For the Church of the Servi he also painted
+two panels, one of the Transfiguration of Our Lord, and in the other,
+which is beside the sacristy, the Story of the Magi; but, since these
+are not of the same excellence as the other works of Pietro, it is
+held to be certain that they are among the first that he made. In the
+Chapel of the Crocifisso in S. Lorenzo, the Duomo of the same city,
+there are by the hand of Pietro the Madonna, the other Maries, S.
+John, S. Laurence, S. James, and other saints. And for the Altar of
+the Sacrament, where there is preserved the ring with which the Virgin
+Mary was married, he painted the Marriage of the Virgin.</p>
+
+<div class="figcenter">
+<a name="img017" id="img017"></a>
+<img src="images/img017-tb.jpg" width="400" height="393" alt="Triptych." title="">
+<p class="caption">PIETRO PERUGINO: TRIPTYCH<br>
+(<i>London: National Gallery, 288. Panel</i>)<br>
+<span class="link"><a href="images/img017.jpg">View larger image</a></span></p>
+</div>
+
+<p>Afterwards he painted in fresco the whole of the Audience Chamber of
+the Cambio,<a id="FNanchor4" name="FNanchor4"></a><a href="#Footnote4" title="Go to footnote 4" class="fnanchor">[4]</a> adorning the compartments of the vaulting with the
+seven planets, drawn in certain cars by diverse animals, according to
+the old usage; on the wall opposite to the door of entrance he painted
+the Nativity and Resurrection of Christ, with a panel containing S.
+John the Baptist in the midst of certain other saints. The side-walls
+he painted in his own manner; one with figures of Fabius Maximus,
+Socrates, Numa Pompilius, F. Camillus, Pythagoras, Trajan, L.
+Sicinius, the Spartan Leonidas, Horatius Cocles, Fabius, Sempronius,
+the Athenian Pericles, and Cincinnatus. On the other wall he made the
+Prophets, Isaiah, Moses, Daniel, David, Jeremiah, and Solomon; and the
+Sibyls, the Erythræan, the Libyan, the Tiburtine, the Delphic, and the
+others. Below each of the said figures he placed, in the form of a
+written motto, something said by them, and appropriate to that place.
+And in one of the ornaments he made his own portrait, which appears
+absolutely alive, and he wrote his own name below it in the following
+manner:</p>
+
+<p class="poem10">
+  <span class="pagenum"><a id="Page_43" name="Page_43">[Pg 43]</a></span> <span class="smcap add3em">PETRUS PERUSINUS EGREGIUS PICTOR.</span><br>
+  PERDITA SI FUERAT, PINGENDO HIC RETULIT ARTEM;<br>
+  SI NUNQUAM INVENTA ESSET HACTENUS, IPSE DEDIT.<br>
+<span class="add7em smcap">ANNO D. 1500.</span></p>
+
+<p>This work, which was very beautiful and more highly extolled than any
+other that was executed by Pietro in Perugia, is now held in great
+price by the men of that city in memory of so famous a craftsman of
+their own country. Afterwards, in the principal chapel of the Church
+of S. Agostino, the same man executed a large panel standing by itself
+and surrounded by a rich ornament, with S. John baptizing Christ on
+the front part, and on the back&mdash;that is, on the side that faces the
+choir&mdash;the Nativity of Christ, with certain saints in the upper parts,
+and in the predella many scenes wrought very diligently with little
+figures. And in the Chapel of S. Niccolò, in the said church, he
+painted a panel for Messer Benedetto Calera.</p>
+
+<p>After this, returning to Florence, he painted a S. Bernard on a panel
+for the Monks of Cestello, and in the chapter-house a Crucifix, the
+Madonna, S. Benedict, S. Bernard, and S. John. And in S. Domenico da
+Fiesole, in the second chapel on the right hand, he painted a panel
+containing Our Lady and three figures, among which is a S. Sebastian
+worthy of the highest praise. Now Pietro had done so much work, and he
+always had so many works in hand, that he would very often use the
+same subjects; and he had reduced the theory of his art to a manner so
+fixed, that he made all his figures with the same expression. By that
+time Michelagnolo Buonarroti had already come to the front, and Pietro
+greatly desired to see his figures, by reason of the praise bestowed
+on him by craftsmen; and seeing the greatness of his own name, which
+he had acquired in every place through so grand a beginning, being
+obscured, he was ever seeking to wound his fellow-workers with biting
+words. For this reason, besides certain insults aimed at him by the
+craftsmen, he had only himself to blame when Michelagnolo told him in
+public that he was a clumsy fool at his art. But Pietro being unable
+to swallow such an affront, they both appeared before the Tribunal of
+Eight, where Pietro came off with little honour. Meanwhile the Servite
+Friars of <span class="pagenum"><a id="Page_44" name="Page_44">[Pg 44]</a></span> Florence, wishing to have the altar-piece of their
+high-altar painted by some famous master, had handed it over, by
+reason of the departure of Leonardo da Vinci, who had gone off to
+France, to Filippino; but he, when he had finished half of one of two
+panels that were to adorn the altar, passed from this life to the
+next; wherefore the friars, by reason of the faith that they had in
+Pietro, entrusted him with the whole work. In that panel, wherein he
+was painting the Deposition of Christ from the Cross, Filippino had
+finished the figures of Nicodemus that are taking Him down; and Pietro
+continued the lower part with the Swooning of the Madonna, and certain
+other figures. Now this work was to be composed of two panels, one
+facing towards the choir of the friars, and the other towards the body
+of the church, and the Deposition from the Cross was to be placed
+behind, facing the choir, with the Assumption of Our Lady in front;
+but Pietro made the latter so commonplace, that the Deposition of
+Christ was placed in front, and the Assumption on the side of the
+choir. These panels have now been removed, both one and the other, and
+replaced by the Tabernacle of the Sacrament; they have been set up
+over certain other altars in that church, and out of the whole work
+there only remain six pictures, wherein are some saints painted by
+Pietro in certain niches. It is said that when the work was unveiled,
+it received no little censure from all the new craftsmen, particularly
+because Pietro had availed himself of those figures that he had been
+wont to use in other pictures; with which his friends twitted him,
+saying that he had taken no pains, and that he had abandoned the good
+method of working, either through avarice or to save time. To this
+Pietro would answer: "I have used the figures that you have at other
+times praised, and which have given you infinite pleasure; if now they
+do not please you, and you do not praise them, what can I do?" But
+they kept assailing him bitterly with sonnets and open insults;
+whereupon, although now old, he departed from Florence and returned to
+Perugia.</p>
+
+<p>There he executed certain works in fresco in the Church of S. Severo,
+a place belonging to the Monks of the Order of Camaldoli, wherein
+Raffaello da Urbino, when quite young and still the disciple of
+Pietro, had painted certain figures, as will be told in his Life.
+Pietro likewise <span class="pagenum"><a id="Page_45" name="Page_45">[Pg 45]</a></span> worked at Montone, at La Fratta, and in many
+other places in the district of Perugia; more particularly in S. Maria
+degli Angeli at Assisi, where he painted in fresco a Christ on the
+Cross, with many figures, on the wall at the back of the Chapel of the
+Madonna, which faces the choir of the monks. And for the high-altar of
+the Church of S. Pietro, an abbey of Black Friars in Perugia, he
+painted a large panel containing the Ascension, with the Apostles
+below gazing up to Heaven; in the predella of which panel are three
+stories, wrought with much diligence&mdash;namely, that of the Magi, the
+Baptism of Christ, and His Resurrection. The whole of this picture is
+seen to be full of beautiful and careful work, insomuch that it is the
+best of those wrought in oil by the hand of Pietro which are in
+Perugia. The same man began a work in fresco of no small importance at
+Castello della Pieve, but did not finish it.</p>
+
+<p>It was ever Pietro's custom on his going and coming between the said
+Castello and Perugia, like a man who trusted nobody, to carry all the
+money that he possessed about his person. Wherefore certain men, lying
+in wait for him at a pass, robbed him, but at his earnest entreaty
+they spared his life for the love of God; and afterwards, by means of
+the services of his friends, who were numerous enough, he also
+recovered a great part of the money that had been taken from him; but
+none the less he came near dying of vexation. Pietro was a man of very
+little religion, and he could never be made to believe in the
+immortality of the soul&mdash;nay, with words in keeping with his head of
+granite, he rejected most obstinately every good suggestion. He placed
+all his hopes in the goods of fortune, and he would have sold his soul
+for money. He earned great riches; and he both bought and built houses
+in Florence, and acquired much settled property both at Perugia and at
+Castello della Pieve. He took a most beautiful young woman to wife,
+and had children by her; and he delighted so greatly in seeing her
+wearing beautiful head-dresses, both abroad and at home, that it is
+said that he would often tire her head with his own hand. Finally,
+having reached the age of seventy-eight, Pietro finished the course of
+his life at Castello della Pieve, where he was honourably buried, in
+the year 1524.</p>
+
+<p>Pietro made many masters in his own manner, and one among them,
+<span class="pagenum"><a id="Page_46" name="Page_46">[Pg 46]</a></span> who was truly most excellent, devoted himself heart and soul
+to the honourable studies of painting, and surpassed his master by a
+great measure; and this was the miraculous Raffaello Sanzio of Urbino,
+who worked for many years under Pietro in company with his father,
+Giovanni de' Santi. Another disciple of this man was Pinturicchio, a
+painter of Perugia, who, as it has been said in his Life, ever held to
+Pietro's manner. His disciple, likewise, was Rocco Zoppo, a painter of
+Florence, by whose hand is a very beautiful Madonna in a round
+picture, which is in the possession of Filippo Salviati; although it
+is true that it was brought to completion by Pietro himself. The same
+Rocco painted many pictures of Our Lady, and made many portraits, of
+which there is no need to speak; I will only say that in the Sistine
+Chapel in Rome he painted portraits of Girolamo Riario and of F.
+Pietro, Cardinal of San Sisto. Another disciple of Pietro was
+Montevarchi, who painted many pictures in San Giovanni di Valdarno;
+more particularly, in the Madonna, the stories of the Miracle of the
+Milk. He also left many works in Montevarchi, his birth-place.
+Likewise a pupil of Pietro's, working with him for no little time, was
+Gerino da Pistoia, of whom there has been mention in the Life of
+Pinturicchio; and so also was Baccio Ubertino of Florence, who was
+most diligent both in colouring and in drawing, for which reason
+Pietro made much use of him. By this man's hand is a drawing in our
+book, done with the pen, of Christ being scourged at the Column, which
+is a very lovely thing.</p>
+
+<div class="figcenter">
+<a name="img018" id="img018"></a>
+<img src="images/img018-tb.jpg" width="400" height="512" alt="Madonna and Child, with Saints." title="">
+<p class="caption">MADONNA AND CHILD, WITH SAINTS<br>
+(<i>After the panel by</i> Giovanni (Lo Spagna).<br>
+<i>Assisi: Lower Church</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img018.jpg">View larger image</a></span></p>
+</div>
+
+<p>A brother of this Baccio, and likewise a disciple of Pietro, was
+Francesco, called Il Bacchiaccha by way of surname, who was a most
+diligent master of little figures, as may be seen in many works
+wrought by him in Florence, above all in the house of Giovan Maria
+Benintendi and in that of Pier Francesco Borgherini. Bacchiaccha
+delighted in painting grotesques, wherefore he covered a little
+cabinet belonging to the Lord Duke Cosimo with animals and rare
+plants, drawn from nature, which are held very beautiful. Besides
+this, he made the cartoons for many tapestries, which were afterwards
+woven in silk by the Flemish master, Giovanni Rosto, for the
+apartments of his Excellency's Palace. Still another disciple of
+Pietro was the Spaniard Giovanni, called Lo Spagna <span class="pagenum"><a id="Page_47" name="Page_47">[Pg 47]</a></span> by way
+of surname, who was a better colourist than any of the others whom
+Pietro left behind him at his death; after which this Giovanni would
+have settled in Perugia, if the envy of the painters of that city, so
+hostile to strangers, had not persecuted him in such wise as to force
+him to retire to Spoleto, where, by reason of his excellence and
+virtue, he obtained a wife of good family and was made a citizen of
+that city. He made many works in that place, and likewise in all the
+other cities of Umbria; and at Assisi, in the lower Church of S.
+Francesco, he painted the panel of the Chapel of S. Caterina, for the
+Spanish Cardinal Egidio, and also one in S. Damiano. In S. Maria degli
+Angeli, in the little chapel where S. Francis died, he painted some
+half-length figures of the size of life&mdash;that is, certain companions
+of S. Francis and other saints&mdash;all very lifelike, on either side of a
+S. Francis in relief.</p>
+
+<p>But the best master among all the aforesaid disciples of Pietro was
+Andrea Luigi of Assisi, called L'Ingegno, who in his early youth
+competed with Raffaello da Urbino under the discipline of Pietro, who
+always employed him in the most important pictures that he made; as
+may be seen in the Audience Chamber of the Cambio in Perugia, where
+there are some very beautiful figures by his hand; in those that he
+wrought at Assisi; and, finally, in the Chapel of Pope Sixtus at Rome.
+In all these works Andrea gave such proof of his worth, that he was
+expected to surpass his master by a great measure, and so, without a
+doubt, it would have come to pass; but fortune, which is almost always
+pleased to oppose herself to lofty beginnings, did not allow L'Ingegno
+to reach perfection, for a flux of catarrh fell upon his eyes, whence
+the poor fellow became wholly blind, to the infinite grief of all who
+knew him. Hearing of this most pitiful misfortune, Pope Sixtus, like a
+man who ever loved men of talent, ordained that a yearly provision
+should be paid to Andrea in Assisi during his lifetime by those who
+managed the revenues there; and this was done until he died at the age
+of eighty-six.</p>
+
+<p>Likewise disciples of Pietro, and also natives of Perugia, were
+Eusebio San Giorgio, who painted the panel of the Magi in S. Agostino;
+Domenico di Paris, who made many works in Perugia and in the
+neighbouring townships, being followed by his brother Orazio; and also
+Gian <span class="pagenum"><a id="Page_48" name="Page_48">[Pg 48]</a></span> Niccola, who painted Christ in the Garden on a panel in
+S. Francesco, the panel of Ognissanti in the Chapel of the Baglioni in
+S. Domenico, and stories of S. John the Baptist in fresco in the
+Chapel of the Cambio. Benedetto Caporali, otherwise called Bitti, was
+also a disciple of Pietro, and there are many pictures by his hand in
+his native city of Perugia. And he occupied himself so greatly with
+architecture, that he not only executed many works, but also wrote a
+commentary on Vitruvius in the manner that all can see, for it is
+printed; in which studies he was followed by his son Giulio, a painter
+of Perugia.</p>
+
+<p>But not one out of all these disciples ever equalled Pietro's
+diligence, or the grace of colouring that he showed in that manner of
+his own, which pleased his time so much, that many came from France,
+from Spain, from Germany, and from other lands, to learn it. And a
+trade was done in his works, as has been said, by many who sent them
+to diverse places, until there came the manner of Michelagnolo, which,
+having shown the true and good path to these arts, has brought them to
+that perfection which will be seen in the Third Part, about to follow,
+wherein we will treat of the excellence and perfection of art, and
+show to craftsmen that he who labours and studies continuously, and
+not in the way of fantasy or caprice, leaves true works behind him and
+acquires fame, wealth, and friends.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="scarpaccia" id="scarpaccia"></a><span class="pagenum"><a id="Page_49" name="Page_49">[Pg 49]</a></span> VITTORE SCARPACCIA (CARPACCIO), AND OTHER VENETIAN AND
+LOMBARD PAINTERS</h2>
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_scarpaccia" id="life_of_scarpaccia"></a><span class="pagenum"><a id="Page_51" name="Page_51">[Pg 51]</a></span> LIVES OF VITTORE SCARPACCIA (CARPACCIO), AND OF OTHER
+VENETIAN AND LOMBARD PAINTERS</h2>
+
+
+<p>It is very well known that when some of our craftsmen make a beginning
+in some province, they are afterwards followed by many, one after
+another; and very often there is an infinite number of them at one and
+the same time, for the reason that rivalry, emulation, and the fact
+that they have been dependent on others, one on one excellent master,
+and one on another, bring it about that the craftsmen seek with all
+the greater effort to surpass one another, to the utmost of their
+ability. And even when many depend on one, no sooner do they separate,
+either at the death of their master or for some other reason, than
+they straightway also separate in aim; whereupon each seeks to prove
+his own worth, in order to appear better than the rest and a master by
+himself.</p>
+
+<p>Of many, then, who flourished almost at one and the same time and in
+one and the same province, and about whom I have not been able to
+learn and am not able to write every particular, I will give some
+brief account, to the end that, now that I find myself at the end of
+the Second Part of this my work, I may not omit some who have laboured
+to leave the world adorned by their works. Of these men, I say,
+besides having been unable to discover their whole history, I have not
+even been able to find the portraits, excepting that of Scarpaccia,
+whom for this reason I have made head of the others. Let my readers
+therefore accept what I can offer in this connection, seeing that I
+cannot offer what I would wish. There lived, then, in the March of
+Treviso and in Lombardy, during a period of many years, Stefano
+Veronese, Aldigieri da Zevio, Jacopo Davanzo of Bologna, Sebeto da
+Verona, Jacobello de Flore, Guerriero da Padova, Giusto, Girolamo
+Campagnola and his son Giulio, and Vincenzio <span class="pagenum"><a id="Page_52" name="Page_52">[Pg 52]</a></span> Bresciano;
+Vittore, Sebastiano,<a id="FNanchor5" name="FNanchor5"></a><a href="#Footnote5" title="Go to footnote 5" class="fnanchor">[5]</a> and Lazzaro<a href="#Footnote5" title="Go to footnote 5" class="fnanchor">[5]</a> Scarpaccia, Venetians;
+Vincenzio Catena, Luigi Vivarini, Giovan Battista da Conigliano, Marco
+Basarini,<a id="FNanchor6" name="FNanchor6"></a><a href="#Footnote6" title="Go to footnote 6" class="fnanchor">[6]</a> Giovanetto Cordegliaghi, Il Bassiti, Bartolommeo
+Vivarini, Giovanni Mansueti, Vittore Bellini, Bartolommeo Montagna of
+Vicenza, Benedetto Diana, and Giovanni Buonconsigli, with many others,
+of whom there is no need to make mention here.</p>
+
+<div class="figcenter">
+<a name="img019" id="img019"></a>
+<img src="images/img019-tb.jpg" width="400" height="548"
+alt="The Madonna and Child with S. Catharine in a Rose Garden." title="">
+<p class="caption">THE MADONNA AND CHILD WITH S. CATHARINE IN A ROSE
+GARDEN<br>
+(<i>After the panel by</i> Stefano da Verona (da Zevio).<br>
+<i>Verona: Gallery, 559</i>)<br>
+<i>Brogi</i><br>
+<span class="link"><a href="images/img019.jpg">View larger image</a></span></p>
+</div>
+
+<p>To begin with the first, I start by saying that Stefano Veronese, of
+whom I gave some account in the Life of Agnolo Gaddi, was a painter
+more than passing good in his day. And when Donatello was working in
+Padua, as has been already told in his Life, going on one of several
+occasions to Verona, he was struck with marvel at the works of
+Stefano, declaring that the pictures which he had made in fresco were
+the best that had been wrought in those parts up to that time. The
+first works of this man were in the tramezzo<a id="FNanchor7" name="FNanchor7"></a><a href="#Footnote7" title="Go to footnote 7" class="fnanchor">[7]</a> of the Church of S.
+Antonio at Verona, at the top of a wall on the left, below the curve
+of a part of the vaulting; and the subjects were a Madonna with the
+Child in her arms, and S. James and S. Anthony, one on either side of
+her. This work is held very beautiful in that city even at the present
+day, by reason of a certain liveliness that is seen in the said
+figures, particularly in the heads, which are wrought with much grace.
+In S. Niccolò, a parish church of that city, likewise, he painted a S.
+Nicholas in fresco, which is very beautiful. On the front of a house
+in the Via di S. Polo, which leads to the Porta del Vescovo, he
+painted the Virgin, with certain very beautiful angels and a S.
+Christopher; and over the wall of the Church of S. Consolata in the
+Via del Duomo, in a recess made in the wall, he painted a Madonna and
+certain birds, in particular a peacock, his emblem. In S. Eufemia, a
+convent of the Eremite Friars of S. Augustine, he painted over the
+side-door a S. Augustine with two other saints, and under the mantle
+of this S. Augustine are many friars and nuns of his Order; but the
+most beautiful things in this work are two half-length prophets of the
+size of life, for the reason that they have the most beautiful and
+most lifelike heads <span class="pagenum"><a id="Page_53" name="Page_53">[Pg 53]</a></span> that Stefano ever made; and the
+colouring of the whole work, having been executed with diligence, has
+remained beautiful even to our own day, notwithstanding that it has
+been much exposed to rain, wind, and frost. If this work had been
+under cover, it would still be as beautiful and fresh as it issued
+from his hands, for the reason that Stefano did not retouch it on the
+dry, but used diligence in executing it well in fresco; as it is, it
+has suffered a little. Within the church, in the Chapel of the
+Sacrament&mdash;namely, round the Tabernacle&mdash;he afterwards painted certain
+angels flying, some of whom are sounding instruments, some singing,
+and others burning incense before the Sacrament; together with a
+figure of Jesus Christ, which he painted at the top as a finish to the
+Tabernacle. Below there are other angels, who are supporting Him,
+clothed in white garments reaching to their feet, and ending, as it
+were, in clouds, which was an idea peculiar to Stefano in painting
+figures of angels, whom he always made most gracious in countenance
+and very beautiful in expression. In this same work are life-size
+figures of S. Augustine and S. Jerome, one on either side; and these
+are supporting with their hands the Church of God, as if to show that
+both of them defend Holy Church from heretics with their learning, and
+support her. On a pilaster of the principal chapel in the same church
+he painted a S. Eufemia in fresco, with a beautiful and gracious
+expression of countenance; and there he wrote his own name in letters
+of gold, perchance since it appeared to him to be, as in fact it is,
+one of the best pictures that he had made; and according to his custom
+he painted there a very beautiful peacock, and beside it two lion
+cubs, which are not very beautiful, because at that time he could not
+see live ones, as he saw the peacock. He also painted for the same
+place a panel containing, as was the custom in those times, many
+half-length figures, such as S. Niccola da Tolentino and others; and
+he filled the predella with scenes in little figures from the life of
+that Saint. In S. Fermo, a church in the same city belonging to the
+Friars of S. Francis, he painted, as an ornament for a Deposition from
+the Cross on the wall opposite to the side-door of entrance, twelve
+half-length prophets of the size of life, with Adam and Eve lying
+below them, and his usual peacock, which is almost the hall-mark of
+pictures executed by him.</p>
+
+<p><span class="pagenum"><a id="Page_54" name="Page_54">[Pg 54]</a></span> In Mantua, at the Martello gate of the Church of S.
+Domenico, the same Stefano painted a most beautiful Madonna; the head
+of which Madonna, when they had need to build in that place, those
+fathers placed with care in the tramezzo<a id="FNanchor8" name="FNanchor8"></a><a href="#Footnote8" title="Go to footnote 8" class="fnanchor">[8]</a> of the church&mdash;that is, in
+the Chapel of S. Orsola, which belongs to the Recuperati family, and
+contains some pictures in fresco by the hand of the same man. And in
+the Church of S. Francesco, on the right hand as one enters by the
+principal door, there is a row of chapels formerly built by the noble
+Della Ramma family, in one of which are seated figures of the four
+Evangelists, painted on the vaulting by the hand of Stefano; and
+behind their shoulders, for a background, he made certain espaliers of
+roses, with a cane trellis-work in a pattern of mandorle, above which
+are various trees and other greenery full of birds, particularly of
+peacocks; and there are also some very beautiful angels. In this same
+church, on a column on the right hand as one enters, he painted a
+life-size figure of S. Mary Magdalene. And in the same city, on the
+frontal of a door in the street called Rompilanza, he painted in
+fresco a Madonna with the Child in her arms, and some angels kneeling
+before her; and the background he made of trees covered with fruit.</p>
+
+<p>These, then, are the works that are found to have been executed by
+Stefano, although it may well be believed, since his life was not a
+short one, that he made many others. But even as I have not been able
+to discover any more of them, so I have failed to find his surname,
+his father's name, his portrait, or any other particulars. Some
+declare that before he came to Florence he was a disciple of Maestro
+Liberale, a painter of Verona; but this matters nothing. It is enough
+that he learnt all that there was of the good in him from Agnolo Gaddi
+in Florence.</p>
+
+<div class="figcenter">
+<a name="img020" id="img020"></a>
+<img src="images/img020-tb.jpg" width="500" height="332"
+alt="Presentation to the Madonna of Three Knights of the Cavalli Family." title="">
+<p class="caption">PRESENTATION TO THE MADONNA OF THREE KNIGHTS OF THE
+CAVALLI FAMILY<br>
+(<i>After the fresco by</i> Aldigieri da Zevio [Altichiero].<br>
+<i>Verona: S. Anastasia</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img020.jpg">View larger image</a></span></p>
+</div>
+
+<p>Of the same city of Verona was Aldigieri da Zevio, who was very much
+the friend of the Signori della Scala, and who, besides many other
+works, painted the Great Hall of their Palace (which is now the
+habitation of the Podestà), depicting therein the War of Jerusalem,
+according as it is described by Josephus. In this work Aldigieri
+showed great spirit <span class="pagenum"><a id="Page_55" name="Page_55">[Pg 55]</a></span> and judgment, distributing one scene
+over the walls of that hall on every side, with a single ornament
+encircling it right round; on the upper part of which ornament, as it
+were to set it off, he placed a row of medallions, in which it is
+believed that there are the portraits from life of many distinguished
+men of those times, particularly of many of those Signori della Scala;
+but, since the truth about this is not known, I will say no more of
+it. I must say, indeed, that Aldigieri showed in this work that he had
+intelligence, judgment, and invention, seeing that he took into
+consideration all the things that can be taken into consideration in a
+serious war. Besides this, the colouring has remained very fresh; and
+among many portraits of men of distinction and learning, there is seen
+that of Messer Francesco Petrarca.</p>
+
+<p>Jacopo Avanzi, a painter of Bologna, shared the work of this hall with
+Aldigieri, and below the aforesaid pictures he painted two most
+beautiful Triumphs, likewise in fresco, with so much art and so good a
+manner, that Girolamo Campagnola declares that Mantegna used to praise
+them as pictures of the rarest merit. The same Jacopo, together with
+Aldigieri and Sebeto da Verona, painted the Chapel of S. Giorgio,
+which is beside the Church of S. Antonio, in Padua, according to the
+directions left in the testaments of the Marquesses of Carrara. Jacopo
+Avanzi painted the upper part; below this were certain stories of S.
+Lucia, with a Last Supper, by Aldigieri; and Sebeto painted stories of
+S. John. Afterwards these three masters, having all returned to
+Verona, joined together to paint a wedding-feast, with many portraits
+and costumes of those times, in the house of the Counts Serenghi. Now
+the work of Jacopo Avanzi was held to be the best of all; but, since
+mention has been made of him in the Life of Niccolò d' Arezzo by
+reason of the works that he made in Bologna in competition with the
+painters Simone, Cristofano, and Galasso, I will say no more about him
+in this place.</p>
+
+<p>A man who was held in esteem at Venice about the same time, although
+he adhered to the Greek manner, was Jacobello de Flore, who made a
+number of works in that city; in particular, a panel for the Nuns of
+the Corpus Domini, which stands on the altar of S. Domenico in their
+church. A competitor of this master was Giromin Morzone, who painted
+<span class="pagenum"><a id="Page_56" name="Page_56">[Pg 56]</a></span> a number of pictures in Venice and in many cities of
+Lombardy; but, since he held to the old manner and made all his
+figures on tiptoe, we will say nothing about him, save that there is a
+panel by his hand, with many saints, on the Altar of the Assumption in
+the Church of S. Lena.</p>
+
+<p>A much better master than Morzone was Guerriero, a painter of Padua,
+who, besides many other works, painted the principal chapel of the
+Eremite Friars of S. Augustine in Padua, and a chapel for the same
+friars in the first cloister. He also painted a little chapel in the
+house of the Urban Prefect, and the Hall of the Roman Emperors, where
+the students go to dance at the time of the Carnival. He also painted
+in fresco, in the Chapel of the Podestà of the same city, some scenes
+from the Old Testament.</p>
+
+<p>Giusto, likewise a painter of Padua, painted in the Chapel of S.
+Giovanni Battista, without the Church of the Vescovado, not only
+certain scenes from the Old Testament and the New, but also the
+Revelations of the Apocalypse of S. John the Evangelist; and in the
+upper part he made a Paradise containing many choirs of angels and
+other adornments, wrought with beautiful conceptions. In the Church of
+S. Antonio he painted in fresco the Chapel of S. Luca; and in a chapel
+in the Church of the Eremite Friars of S. Augustine he painted the
+liberal arts, with the virtues and vices beside them, and likewise
+those who have been celebrated for their virtues, and those who have
+fallen by reason of their vices into the extreme of misery and into
+the lowest depth of Hell.</p>
+
+<p>There was working in Padua, in this man's time, Stefano, a painter of
+Ferrara, who, as has been said elsewhere, adorned with various
+pictures the chapel and the tomb wherein is the body of S. Anthony,
+and also painted the Virgin Mary that is called the Vergine del
+Pilastro.</p>
+
+<div class="figcenter">
+<a name="img021" id="img021"></a>
+<img src="images/img021-tb.jpg" width="400" height="407" alt="The Vision of S. Ursula." title="">
+<p class="caption">VITTORE SCARPACCIA (CARPACCIO): THE VISION OF S. URSULA<br>
+(<i>Venice: Accademia, 578. Canvas</i>)<br>
+<span class="link"><a href="images/img021.jpg">View larger image</a></span></p>
+</div>
+
+<p>Another man who was held in esteem in the same times was Vincenzio, a
+painter of Brescia, according to the account of Filarete, as was also
+Girolamo Campagnola, another Paduan painter, and a disciple of
+Squarcione. Then Giulio, son of Girolamo, made many beautiful works of
+painting, illumination, and copper-engraving, both in Padua and
+<span class="pagenum"><a id="Page_57" name="Page_57">[Pg 57]</a></span> in other places. In the same city of Padua many things
+were wrought by Niccolò Moreto, who lived eighty years, and never
+ceased to exercise his art.</p>
+
+<div class="figcenter">
+<a name="img022" id="img022"></a>
+<img src="images/img022-tb.jpg" width="500" height="201" alt="S. George and the Dragon." title="">
+<p class="caption">S. GEORGE AND THE DRAGON<br>
+(<i>After the panel by</i> Vittore Scarpaccia [Carpaccio].<br>
+<i>Venice: S. Giorgio Segli Schiavoni</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img022.jpg">View larger image</a></span></p>
+</div>
+
+<p>Besides these there were many others, who were connected with Gentile
+and Giovanni Bellini; but Vittore Scarpaccia was truly the first among
+them who made works of importance. His first works were in the Scuola
+of S. Orsola, where he painted on canvas the greater part of the
+stories that are there, representing the life and death of that Saint;
+the labours of which pictures he contrived to carry out so well and
+with such great diligence and art, that he acquired thereby the name
+of a very good and practised master. This, so it is said, was the
+reason that the people of Milan caused him to paint a panel in
+distemper with many figures for the Friars Minor, in their Chapel of
+S. Ambrogio. On the altar of the Risen Christ in the Church of S.
+Antonio he painted the scene of Christ appearing to the Magdalene and
+the other Maries, in which he made a very beautiful view in
+perspective of a landscape receding into the distance; and in another
+chapel he painted the story of the Martyrs&mdash;that is, their
+crucifixion&mdash;in which work he made more than three hundred figures,
+what with the large and the small, besides a number of horses and
+trees, an open Heaven, figures both nude and clothed in diverse
+attitudes, many foreshortenings, and so many other things, that it can
+be seen that he did not execute it without extraordinary labour. For
+the altar of the Madonna, in the Church of S. Giobbe in Canareio, he
+painted her presenting the Infant Christ to Simeon, and depicted the
+Madonna herself standing, and Simeon in his cope between two ministers
+clothed as Cardinals; behind the Virgin are two women, one of whom has
+two doves, and below are three boys, who are playing on a lute, a
+serpent, and a lyre, or rather a viol; and the colouring of the whole
+panel is very charming and beautiful. And, in truth, Vittore was a
+very diligent and practised master, and many pictures by his hand that
+are in Venice, both portraits from life and other kinds, are much
+esteemed for works wrought in those times. He taught his art to two
+brothers of his own, who imitated him closely, one being Lazzaro, and
+the other Sebastiano; and by their hand is a panel on the altar of the
+<span class="pagenum"><a id="Page_58" name="Page_58">[Pg 58]</a></span> Virgin in the Church of the Nuns of the Corpus Domini,
+showing her seated between S. Catherine and S. Martha, with other
+female saints, two angels who are sounding instruments, and a very
+beautiful view of buildings in perspective as a background to the
+whole work, of which we have the original drawings, by the hand of
+these men, in our book.</p>
+
+<p>Another passing good painter in the time of these masters was
+Vincenzio Catena, who occupied himself much more with making portraits
+from the life than with any other sort of painting; and, in truth,
+some that are to be seen by his hand are marvellous&mdash;among others,
+that of a German of the Fugger family, a man of rank and importance,
+who was then living in the Fondaco de' Tedeschi at Venice, was painted
+with great vivacity.</p>
+
+<p>Another man who made many works in Venice, about the same time, was a
+disciple of Giovanni Bellini, Giovan Battista da Conigliano, by whose
+hand is a panel on the altar of S. Pietro Martire in the aforesaid
+Church of the Nuns of the Corpus Domini, containing the said Saint, S.
+Nicholas, and S. Benedict, with landscapes in perspective, an angel
+tuning a cithern, and many little figures more than passing good. And
+if this man had not died young, it may be believed that he would have
+equalled his master.</p>
+
+<p>The name of a master not otherwise than good, likewise, in the same
+art and at the same time, was enjoyed by Marco Basarini, who, painting
+in Venice, where he was born from a Greek father and mother, executed
+in S. Francesco della Vigna a panel with a Deposition of Christ from
+the Cross, and another panel in the Church of S. Giobbe, representing
+Christ in the Garden, and below Him the three Apostles, who are
+sleeping, and S. Francis, S. Dominic, and two other saints; but what
+was most praised in this work was a landscape with many little figures
+wrought with good grace. In that same church the same Marco painted S.
+Bernardino on a rock, with other saints.</p>
+
+<div class="figcenter">
+<a name="img023" id="img023"></a>
+<img src="images/img023-tb.jpg" width="500" height="372" alt="S. Jerome in His Study." title="">
+<p class="caption">VINCENZIO CATENA (DI BIAGIO): S. JEROME IN HIS STUDY<br>
+(<i>London: National Gallery, 694. Panel</i>)<br>
+<span class="link"><a href="images/img023.jpg">View larger image</a></span></p>
+</div>
+
+<p>Giovanetto Cordegliaghi made an infinity of devotional pictures in the
+same city; nay, he scarcely worked at anything else, and, in truth, he
+had in this sort of painting a very delicate and sweet manner, no
+little better than that of the aforesaid masters. In S. Pantaleone, in
+a chapel <span class="pagenum"><a id="Page_59" name="Page_59">[Pg 59]</a></span> beside the principal one, this man painted S.
+Peter making disputation with two other saints, who are wearing most
+beautiful draperies, and are wrought with a beautiful manner.</p>
+
+<div class="figcenter">
+<a name="img024" id="img024"></a>
+<img src="images/img024-tb.jpg" width="400" height="545"
+alt="Tobit and the Angel (Detail)." title="">
+<p class="caption">GIOVAN BATTISTA DA CONIGLIANO (CIMA): TOBIT AND THE
+ANGEL (DETAIL)<br>
+(<i>Venice: Accademia, 592. Panel transferred to Canvas</i>)<br>
+<span class="link"><a href="images/img024.jpg">View larger image</a></span></p>
+</div>
+
+<p>Marco Bassiti was in good repute almost at the same time, and by his
+hand is a large panel in the Church of the Carthusian Monks at Venice,
+in which he painted Christ between Peter and Andrew on the Sea of
+Tiberias, with the sons of Zebedee; making therein an arm of the sea,
+a mountain, and part of a city, with many persons in the form of
+little figures. Many other works by this man could be enumerated, but
+let it be enough to have spoken of this one, which is the best.</p>
+
+<p>Bartolommeo Vivarini of Murano also acquitted himself very well in the
+works that he made, as may be seen, besides many other examples, in
+the panel that he executed for the altar of S. Luigi in the Church of
+SS. Giovanni e Polo; in which panel he portrayed the said S. Luigi
+seated, wearing the cope, with S. Gregory, S. Sebastian, and S.
+Dominic on one side of him, and on the other side S. Nicholas, S.
+Jerome, and S. Rocco, and above them half-length figures of other
+saints.</p>
+
+<p>Another man who executed his pictures very well, taking much delight
+in counterfeiting things of nature, figures, and distant landscapes,
+was Giovanni Mansueti, who, imitating the works of Gentile Bellini not
+a little, made many pictures in Venice. At the upper end of the
+Audience Chamber of the Scuola of S. Marco he painted a S. Mark
+preaching on the Piazza; in which picture he painted the façade of the
+church, and, among the multitude of men and women who are listening to
+the Saint, Turks, Greeks, and the faces of men of diverse nations,
+with bizarre costumes. In the same place, in another scene wherein he
+painted S. Mark healing a sick man, he made a perspective view of two
+staircases and many loggie. In another picture, near to that one, he
+made a S. Mark converting an infinite multitude to the faith of
+Christ; in this he made an open temple, with a Crucifix on an altar,
+and throughout the whole work there are diverse persons with a
+beautiful variety of expression, dress, and features.</p>
+
+<p>The work in the same place was continued after him by Vittore Bellini,
+who made a view of buildings in perspective, which is passing
+<span class="pagenum"><a id="Page_60" name="Page_60">[Pg 60]</a></span> good, in a scene wherein S. Mark is taken prisoner and
+bound, with a number of figures, in which he imitated his
+predecessors. After these men came Bartolommeo Montagna of Vicenza, a
+passing good painter, who lived ever in Venice and made many pictures
+there; and he painted a panel in the Church of S. Maria d' Artone at
+Padua. Benedetto Diana, likewise, was a painter no less esteemed than
+the masters mentioned above, as is proved, to say nothing of his other
+works, by those from his hand that are in S. Francesco della Vigna at
+Venice, where, for the altar of S. Giovanni, he painted that Saint
+standing between two other saints, each of whom has a book in his
+hand.</p>
+
+<p>Another man who was accounted a good master was Giovanni Buonconsigli,
+who painted a picture in the Church of SS. Giovanni e Polo for the
+altar of S. Tommaso d' Aquino, showing that Saint surrounded by many
+figures, to whom he is reading the Holy Scriptures; and he made
+therein a perspective view of buildings, which is not otherwise than
+worthy of praise. There also lived in Venice throughout almost the
+whole course of his life the Florentine sculptor, Simon Bianco, as did
+Tullio Lombardo, an excellent master of intaglio.</p>
+
+<p>In Lombardy, likewise, there were excellent sculptors in Bartolommeo
+Clemente of Reggio and Agostino Busto; and, in intaglio, Jacopo
+Davanzo of Milan, with Gasparo and Girolamo Misceroni. In Brescia
+there was a man who was able and masterly at working in fresco, called
+Vincenzio Verchio, who acquired a very great name in his native place
+by reason of his beautiful works. The same did Girolamo Romanino, a
+fine master of design, as is clearly demonstrated by the works made by
+him in Brescia and in the neighbourhood for many miles around. And not
+inferior to these&mdash;nay, even superior&mdash;was Alessandro Moretto, who was
+very delicate in his colouring, and much the friend of diligence, as
+the works made by him demonstrate.</p>
+
+<div class="figcenter">
+<a name="img025" id="img025"></a>
+<img src="images/img025-tb.jpg" width="400" height="622" alt="Christ on the Mount of Olives." title="">
+<p class="caption">CHRIST ON THE MOUNT OF OLIVES<br>
+(<i>After the panel by</i> Marco Bassiti [Basaiti].<br>
+<i>Venice: Accademia, 69</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img025.jpg">View larger image</a></span></p>
+</div>
+
+<p>But to return to Verona, in which city there have flourished excellent
+craftsmen, even as they flourish more than ever to-day; there, in
+times past, were excellent masters in Francesco Bonsignori and
+Francesco Caroto, and afterwards Maestro Zeno of Verona, who painted
+the panel of S. Marino in Rimini, with two others, all with much
+diligence. But <span class="pagenum"><a id="Page_61" name="Page_61">[Pg 61]</a></span> the man who surpassed all others in
+making certain marvellous figures from life was Il Moro of Verona, or
+rather, as others called him, Francesco Turbido, by whose hand is a
+portrait now in the house of Monsignor de' Martini at Venice, of a
+gentleman of the house of Badovaro, painted in the character of a
+shepherd; which portrait appears absolutely alive, and can challenge
+comparison with any of the great number that have been seen in these
+parts. Battista d' Angelo, son-in-law of this Francesco, is also so
+lovely in colouring and so masterly in drawing, that he is rather
+superior than inferior to his father-in-law. But since it is not my
+intention to speak at present of the living, it must suffice me to
+have spoken in this place of some with regard to whose lives, as I
+said at the beginning of this Life, I have not been able to discover
+every particular with equal minuteness, to the end that their talents
+and merits may receive from me at least all that little which I, who
+would fain make it much, am able to give them.</p>
+
+<div class="figcenter">
+<a name="img026" id="img026"></a>
+<img src="images/img026-tb.jpg" width="400" height="465" alt="Pietà." title="">
+<p class="caption">PIETÀ<br>
+(<i>After the panel by</i> Giovanni Buonconsigli.<br>
+<i>Vincenza: Pinacoteca, 22</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img026.jpg">View larger image</a></span></p>
+</div>
+
+
+<hr style="width: 65%;">
+<h2><a name="jacopo" id="jacopo"></a><span class="pagenum"><a id="Page_63" name="Page_63">[Pg 63]</a></span> JACOPO, CALLED L'INDACO</h2>
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_jacopo" id="life_of_jacopo"></a><span class="pagenum"><a id="Page_65" name="Page_65">[Pg 65]</a></span> LIFE OF JACOPO, CALLED L'INDACO</h2>
+
+<h3>PAINTER</h3>
+
+
+<p>Jacopo, called L'Indaco, who was a disciple of Domenico del
+Ghirlandajo, and who worked in Rome with Pinturicchio, was a passing
+good master in his day; and although he did not make many works, yet
+those that he did make are worthy of commendation. Nor is there any
+need to marvel that only very few works issued from his hands, for the
+reason that, being a gay and humorous fellow and a lover of good
+cheer, he harboured but few thoughts and would never work save when he
+could not help it; and so he used to say that doing nothing else but
+labour, without taking a little pleasure in the world, was no life for
+a Christian. He lived in close intimacy with Michelagnolo, for when
+that craftsman, supremely excellent beyond all who have ever lived,
+wished to have some recreation after his studies and his continuous
+labours of body and mind, no one was more pleasing to him for the
+purpose or more suited to his humour than this man.</p>
+
+<p>Jacopo worked for many years in Rome, or, to be more precise, he lived
+many years in Rome, working very little. By his hand, in that city, is
+the first chapel on the right hand as one enters the Church of S.
+Agostino by the door of the façade; on the vaulting of which chapel
+are the Apostles receiving the Holy Spirit, and on the wall below are
+two stories of Christ&mdash;in one His taking Peter and Andrew from their
+nets, and in the other the Feast of Simon and the Magdalene, in which
+there is a ceiling of planks and beams, counterfeited very well. In
+the panel of the same chapel, which he painted in oil, is a Dead
+Christ, wrought and executed with much mastery and diligence. In the
+Trinità at Rome, likewise, there is a little panel by his hand with
+the Coronation of Our <span class="pagenum"><a id="Page_66" name="Page_66">[Pg 66]</a></span> Lady. But what need is there to say
+more about this man? What more, indeed, is there to say? It is enough
+that he loved gossiping as much as he always hated working and
+painting.</p>
+
+<p>Now seeing that, as has been said, Michelagnolo used to take pleasure
+in this man's chattering and in the jokes that he was ever making, he
+kept him almost always at his table; but one day Jacopo wearied
+him&mdash;as such fellows more often than not do come to weary their
+friends and patrons with their incessant babbling, so often ill-timed
+and senseless; babbling, I call it, for reasonable talk it cannot be
+called, since for the most part there is neither reason nor judgment
+in such people&mdash;and Michelagnolo, who, perchance, had other thoughts
+in his mind at the time and wished to get rid of him, sent him to buy
+some figs; and no sooner had Jacopo left the house than Michelagnolo
+bolted the door behind him, determined not to open to him when he came
+back. L'Indaco, then, on returning from the market-square, perceived,
+after having knocked at the door for a time in vain, that Michelagnolo
+did not intend to open to him; whereupon, flying into a rage, he took
+the figs and the leaves and spread them all over the threshold of the
+door. This done, he went his way and for many months refused to speak
+to Michelagnolo; but at last, becoming reconciled with him, he was
+more his friend than ever. Finally, having reached the age of
+sixty-eight, he died in Rome.</p>
+
+<p>Not unlike Jacopo was a younger brother of his, whose proper name was
+Francesco, although he too was afterwards called L'Indaco by way of
+surname; and he, likewise, was a painter, and more than passing good.
+He was not unlike Jacopo&mdash;I mean, in his unwillingness to work (to say
+the least), and in his love of talking&mdash;but in one respect he
+surpassed Jacopo, for he was ever speaking evil of everyone and
+decrying the works of every craftsman. This man, after having wrought
+certain things in Montepulciano both in painting and in clay, painted
+a little panel for the Audience Chamber of the Company of the Nunziata
+in Arezzo, containing an Annunciation, and a God the Father in Heaven
+surrounded by many angels in the form of children. And in the same
+city, on the first occasion when Duke Alessandro went there, he made a
+<span class="pagenum"><a id="Page_67" name="Page_67">[Pg 67]</a></span> most beautiful triumphal arch, with many figures in relief,
+at the gate of the Palazzo de' Signori; and also, in competition with
+other painters who executed a number of other works for the entry of
+the said Duke, the scenery for the representation of a play, which was
+held to be very beautiful. Afterwards, having gone to Rome at the time
+when the Emperor Charles V was expected there, he made some figures in
+clay, and a coat of arms in fresco for the Roman people on the
+Campidoglio, which was much extolled. But the best work that ever
+issued from the hands of this master, and the most highly praised, was
+a little study wrought in stucco for the Duchess Margherita of Austria
+in the Palace of the Medici at Rome&mdash;a thing so beautiful and so
+ornate that there is nothing better to be seen; nor do I believe that
+it is possible, in a certain sense, to do with silver what L'Indaco
+did in this work with stucco. From these things it may be judged that
+if this man had taken pleasure in work and had made use of his
+intelligence, he would have become excellent.</p>
+
+<p>Francesco drew passing well, but Jacopo much better, as may be seen in
+our book.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="cortona" id="cortona"></a><span class="pagenum"><a id="Page_69" name="Page_69">[Pg 69]</a></span> LUCA SIGNORELLI OF CORTONA</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_cortona" id="life_of_cortona"></a><span class="pagenum"><a id="Page_71" name="Page_71">[Pg 71]</a></span> LIFE OF LUCA SIGNORELLI OF CORTONA</h2>
+
+<h3>[<i>LUCA DA CORTONA</i>]</h3>
+
+<h3>PAINTER</h3>
+
+
+<p>Luca Signorelli, an excellent painter, of whom, according to the order
+of time, we have now to speak, was more famous throughout Italy in his
+day, and his works were held in greater price than has ever been the
+case with any other master at any time whatsoever, for the reason that
+in the works that he executed in painting he showed the true method of
+making nudes, and how they can be caused, although only with art and
+difficulty, to appear alive. He was a pupil and disciple of Piero dal
+Borgo a San Sepolcro, and greatly did he strive in his youth to
+imitate his master, and even to surpass him; and the while that he was
+working with Piero at Arezzo, living in the house of his uncle Lazzaro
+Vasari, as it has been told, he imitated the manner of the said Piero
+so well that the one could scarcely be distinguished from the other.</p>
+
+<p>The first works of Luca were in S. Lorenzo at Arezzo, where he painted
+the Chapel of S. Barbara in fresco in the year 1472; and he painted
+for the Company of S. Caterina, on cloth and in oil, the banner that
+is borne in processions, and likewise that of the Trinità, although
+this does not appear to be by the hand of Luca, but by Piero dal Borgo
+himself. In S. Agostino in the same city he painted the panel of S.
+Niccola da Tolentino, with most beautiful little scenes, executing the
+work with good drawing and invention; and in the same place, in the
+Chapel of the Sacrament, he made two angels wrought in fresco. In the
+Chapel of the Accolti in the Church of S. Francesco, for Messer
+Francesco, Doctor of Laws, he painted a panel in which he portrayed
+the said Messer Francesco with some of his relatives. In this work is
+a S. Michael weighing <span class="pagenum"><a id="Page_72" name="Page_72">[Pg 72]</a></span> souls, who is admirable; and in him
+there is seen the knowledge of Luca, both in the splendour of his
+armour and in the reflected lights, and, in short, throughout the
+whole work. In his hands he placed a pair of scales, in which are nude
+figures, very beautifully foreshortened, one going up and the other
+down; and among other ingenious things that are in this picture is a
+nude figure most skilfully transformed into a devil, with a lizard
+licking the blood from a wound in its body. Besides this, there is a
+Madonna with the Child on her lap, with S. Stephen, S. Laurence, S.
+Catherine, and two angels, of whom one is playing on a lute and the
+other on a rebec; and all these figures are draped and adorned so
+beautifully that it is a marvel. But the most miraculous part of this
+panel is the predella, which is full of Friars of the said S.
+Catherine in the form of little figures.</p>
+
+<div class="figcenter">
+<a name="img027" id="img027"></a>
+<img src="images/img027-tb.jpg" width="450" height="338" alt="Pan." title="">
+<p class="caption">LUCA SIGNORELLI: PAN<br>
+(<i>Berlin: Kaiser Friedrich Museum, 79A. Canvas</i>)<br>
+<span class="link"><a href="images/img027.jpg">View larger image</a></span></p>
+</div>
+
+<p>In Perugia, also, he made many works; among others, a panel in the
+Duomo for Messer Jacopo Vannucci of Cortona, Bishop of that city; in
+which panel are Our Lady, S. Onofrio, S. Ercolano, S. John the
+Baptist, and S. Stephen, with a most beautiful angel, who is tuning a
+lute. At Volterra, over the altar of a Company in the Church of S.
+Francesco, he painted in fresco the Circumcision of Our Lord, which is
+considered beautiful to a marvel, although the Infant, having been
+injured by damp, was restored by Sodoma and made much less beautiful
+than before. And, in truth, it would be sometimes better to leave
+works half spoilt, when they have been made by men of excellence,
+rather than to have them retouched by inferior masters. In S. Agostino
+in the same city he painted a panel in distemper, and the predella of
+little figures, with stories of the Passion of Christ; and this is
+held to be extraordinarily beautiful. At S. Maria a Monte he painted a
+Dead Christ on a panel for the monks of that place; and at Città di
+Castello a Nativity of Christ in S. Francesco, with a S. Sebastian on
+another panel in S. Domenico. In S. Margherita, a seat of the Frati
+del Zoccolo in his native city of Cortona, he painted a Dead Christ,
+one of the rarest of his works; and for the Company of the Gesù, in
+the same city, he executed three panels, of which the one that is on
+the high-altar is marvellous, showing Christ administering the
+Sacrament to the Apostles, and Judas placing the <span class="pagenum"><a id="Page_73" name="Page_73">[Pg 73]</a></span> Host into
+his wallet. In the Pieve, now called the Vescovado, in the Chapel of
+the Sacrament, he painted some life-size prophets in fresco; and round
+the tabernacle are some angels who are opening out a canopy, with S.
+Jerome and S. Thomas Aquinas at the sides. For the high-altar of the
+said church he painted a panel with a most beautiful Assumption, and
+he designed the pictures for the principal round window of the same
+church; which pictures were afterwards executed by Stagio Sassoli of
+Arezzo. In Castiglione Aretino he made a Dead Christ, with the Maries,
+over the Chapel of the Sacrament; and in S. Francesco, at Lucignano,
+he painted the folding-doors of a press, wherein there is a tree of
+coral surmounted by a cross. At Siena, in the Chapel of S. Cristofano
+in S. Agostino, he painted a panel with some saints, in the midst of
+whom is a S. Cristopher in relief.</p>
+
+<p>Having gone from Siena to Florence in order to see both the works of
+those masters who were then living and those of many already dead, he
+painted for Lorenzo de' Medici certain nude gods on a canvas, for
+which he was much commended, and a picture of Our Lady with two little
+prophets in terretta, which is now at Castello, a villa of Duke
+Cosimo's. These works, both the one and the other, he presented to the
+said Lorenzo, who would never be beaten by any man in liberality and
+magnificence. He also painted a round picture of Our Lady, which is in
+the Audience Chamber of the Captains of the Guelph party&mdash;a very
+beautiful work. At Chiusuri in the district of Siena, the principal
+seat of the Monks of Monte Oliveto, he painted eleven scenes of the
+life and acts of S. Benedict on one side of the cloister. And from
+Cortona he sent some of his works to Montepulciano; to Foiano the
+panel which is on the high-altar of the Pieve; and other works to
+other places in Valdichiana. In the Madonna, the principal church of
+Orvieto, he finished with his own hand the chapel that Fra Giovanni da
+Fiesole had formerly begun there; in which chapel he painted all the
+scenes of the end of the world with bizarre and fantastic
+invention&mdash;angels, demons, ruins, earthquakes, fires, miracles of
+Antichrist, and many other similar things besides, such as nudes,
+foreshortenings, and many beautiful figures; imagining the terror that
+there shall be on that last and awful day. By <span class="pagenum"><a id="Page_74" name="Page_74">[Pg 74]</a></span> means of this
+he encouraged all those who have lived after him, insomuch that since
+then they have found easy the difficulties of that manner; wherefore I
+do not marvel that the works of Luca were ever very highly extolled by
+Michelagnolo, nor that in certain parts of his divine Judgment, which
+he made in the chapel, he should have deigned to avail himself in some
+measure of the inventions of Luca, as he did in the angels, the
+demons, the division of the Heavens, and other things, in which
+Michelagnolo himself imitated Luca's method, as all may see. In this
+work Luca portrayed himself and many of his friends; Niccolò, Paolo,
+and Vitelozzo Vitelli, Giovan Paolo and Orazio Baglioni, and others
+whose names are not known. In the Sacristy of S. Maria at Loreto he
+painted in fresco the four Evangelists, the four Doctors, and other
+saints, all very beautiful; and for this work he was liberally
+rewarded by Pope Sixtus.</p>
+
+<p>It is said that a son of his, most beautiful in countenance and in
+person, whom he loved dearly, was killed at Cortona; and that Luca,
+heart-broken as he was, had him stripped naked, and with the greatest
+firmness of soul, without lamenting or shedding a tear, portrayed him,
+to the end that, whenever he might wish, he might be able by means of
+the work of his own hands to see that which nature had given him and
+adverse fortune had snatched away.</p>
+
+<p>Being then summoned by the said Pope Sixtus to work in the chapel of
+his Palace in competition with many other painters, he painted therein
+two scenes, which are held the best among so many; one is Moses
+declaring his testament to the Jewish people on having seen the
+Promised Land, and the other is his death.</p>
+
+<div class="figcenter">
+<a name="img028" id="img028"></a>
+<img src="images/img028-tb.jpg" width="400" height="329" alt="The Last Judgment." title="">
+<p class="caption">THE LAST JUDGMENT<br>
+(<i>Detail, after the fresco by</i> Luca Signorelli.<br>
+<i>Orvieto: Duomo</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img028.jpg">View larger image</a></span></p>
+</div>
+
+<p>Finally, having executed works for almost every Prince in Italy, and
+being now old, he returned to Cortona, where, in those last years of
+his life, he worked more for pleasure than for any other reason, as
+one who, being used to labour, neither could nor would stay idle. In
+this his old age, then, he painted a panel for the Nuns of S.
+Margherita at Arezzo, and one for the Company of S. Girolamo, which
+was paid for in part by Messer Niccolò Gamurrini, Doctor of Laws and
+Auditor of the Ruota,<a id="FNanchor9" name="FNanchor9"></a><a href="#Footnote9" title="Go to footnote 9" class="fnanchor">[9]</a> <span class="pagenum"><a id="Page_75" name="Page_75">[Pg 75]</a></span> who is portrayed from life in
+that panel, kneeling before the Madonna, to whom he is being presented
+by a S. Nicholas who is in the same panel; there are also S. Donatus
+and S. Stephen, and lower down a nude S. Jerome, and a David who is
+singing to a psaltery; and also two prophets, who, as it appears from
+the scrolls that they have in their hands, are speaking about the
+Conception. This work was brought from Cortona to Arezzo on the
+shoulders of the men of that Company; and Luca, old as he was,
+insisted on coming to set it in place, and partly also in order to
+revisit his friends and relatives. And since he lodged in the house of
+the Vasari, in which I then was, a little boy of eight years old, I
+remember that the good old man, who was most gracious and courteous,
+having heard from the master who was teaching me my first letters,
+that I gave my attention to nothing in lesson-time save to drawing
+figures, I remember, I say, that he turned to my father Antonio and
+said to him: "Antonio, if you wish little Giorgio not to become
+backward, by all means let him learn to draw, for, even were he to
+devote himself to letters, design cannot be otherwise than helpful,
+honourable, and advantageous to him, as it is to every gentleman."
+Then, turning to me, who was standing in front of him, he said: "Mind
+your lessons, little kinsman." He said many other things about me,
+which I withhold, for the reason that I know that I have failed by a
+great measure to justify the opinion which the good old man had of me.
+And since he heard, as was true, that the blood used to flow from my
+nose at that age in such quantities that this left me sometimes half
+dead, with infinite lovingness he bound a jasper round my neck with
+his own hand; and this memory of Luca will stay for ever fixed in my
+mind. The said panel set in place, he returned to Cortona, accompanied
+for a great part of the way by many citizens, friends, and relatives,
+as was due to the excellence of Luca, who always lived rather as a
+noble and a man of rank than as a painter.</p>
+
+<p>About the same time a palace had been built for Cardinal Silvio
+Passerini of Cortona, half a mile beyond the city, by Benedetto
+Caporali, a painter of Perugia, who, delighting in architecture, had
+written a commentary on Vitruvius a short time before; and the said
+Cardinal determined to have almost the whole of it painted. Wherefore
+<span class="pagenum"><a id="Page_76" name="Page_76">[Pg 76]</a></span> Benedetto, putting his hand to this with the aid of Maso
+Papacello of Cortona (who was his disciple and had also learnt not a
+little from Giulio Romano, as will be told), of Tommaso, and of other
+disciples and lads, did not cease until he had painted it almost all
+over in fresco. But the Cardinal wishing to have some painting by the
+hand of Luca as well, he, old as he was, and hindered by palsy,
+painted in fresco, on the altar-wall of the chapel of that palace, the
+scene of S. John the Baptist baptizing the Saviour; but he was not
+able to finish it completely, for while still working at it he died,
+having reached the age of eighty-two.</p>
+
+<p>Luca was a man of most excellent character, true and loving with his
+friends, sweet and amiable in his dealings with every man, and, above
+all, courteous to all who had need of him, and kindly in teaching his
+disciples. He lived splendidly, and he took delight in clothing
+himself well. And for these good qualities he was ever held in the
+highest veneration both in his own country and abroad.</p>
+
+<p>And so, with the end of this master's life, which was in 1521, we will
+bring to an end the Second Part of these Lives; concluding with Luca,
+as the man who, with his profound mastery of design, particularly in
+nudes, and with his grace in invention and in the composition of
+scenes, opened to the majority of craftsmen the way to the final
+perfection of art, to which those men who followed were afterwards
+enabled to add the crown, of whom we are henceforward to speak.</p>
+
+
+<p class="center"><span class="pagenum"><a id="Page_77" name="Page_77">[Pg 77]</a></span> THE THIRD PART OF THE LIVES OF THE SCULPTORS, PAINTERS,
+     AND ARCHITECTS, WHO HAVE LIVED FROM CIMABUE TO OUR OWN DAY.
+     WRITTEN BY MESSER GIORGIO VASARI, PAINTER AND ARCHITECT OF AREZZO</p>
+
+<hr style="width: 65%;">
+<h2><a name="preface_2_part" id="preface_2_part"></a><span class="pagenum"><a id="Page_79" name="Page_79">[Pg 79]</a></span> PREFACE TO THE THIRD PART</h2>
+
+
+<p>Truly great was the advancement conferred on the arts of architecture,
+painting, and sculpture by those excellent masters of whom we have
+written hitherto, in the Second Part of these Lives, for to the
+achievements of the early masters they added rule, order, proportion,
+draughtsmanship, and manner; not, indeed, in complete perfection, but
+with so near an approach to the truth that the masters of the third
+age, of whom we are henceforward to speak, were enabled, by means of
+their light, to aspire still higher and attain to that supreme
+perfection which we see in the most highly prized and most celebrated
+of our modern works. But to the end that the nature of the improvement
+brought about by the aforesaid craftsmen may be even more clearly
+understood, it will certainly not be out of place to explain in a few
+words the five additions that I have named, and to give a succinct
+account of the origin of that true excellence which, having surpassed
+the age of the ancients, makes the modern so glorious.</p>
+
+<p>Rule, then, in architecture, was the process of taking measurements
+from antiquities and studying the ground-plans of ancient edifices for
+the construction of modern buildings. Order was the separating of one
+style from another, so that each body should receive its proper
+members, with no more interchanging between Doric, Ionic, Corinthian,
+and Tuscan. Proportion was the universal law applying both to
+architecture and to sculpture, that all bodies should be made correct
+and true, with the members in proper harmony; and so, also, in
+painting. Draughtsmanship was the imitation of the most beautiful
+parts of nature in all figures, whether in sculpture or in painting;
+and for this it is necessary to have a hand and a brain able to
+reproduce with absolute accuracy <span class="pagenum"><a id="Page_80" name="Page_80">[Pg 80]</a></span> and precision, on a level
+surface&mdash;whether by drawing on paper, or on panel, or on some other
+level surface&mdash;everything that the eye sees; and the same is true of
+relief in sculpture. Manner then attained to the greatest beauty from
+the practice which arose of constantly copying the most beautiful
+objects, and joining together these most beautiful things, hands,
+heads, bodies, and legs, so as to make a figure of the greatest
+possible beauty. This practice was carried out in every work for all
+figures, and for that reason it is called the beautiful manner.</p>
+
+<p>These things had not been done by Giotto or by the other early
+craftsmen, although they had discovered the rudiments of all these
+difficulties, and had touched them on the surface; as in their
+drawing, which was sounder and more true to nature than it had been
+before, and likewise in harmony of colouring and in the grouping of
+figures in scenes, and in many other respects of which enough has been
+said. Now although the masters of the second age improved our arts
+greatly with regard to all the qualities mentioned above, yet these
+were not made by them so perfect as to succeed in attaining to
+complete perfection, for there was wanting in their rule a certain
+freedom which, without being of the rule, might be directed by the
+rule and might be able to exist without causing confusion or spoiling
+the order; which order had need of an invention abundant in every
+respect, and of a certain beauty maintained in every least detail, so
+as to reveal all that order with more adornment. In proportion there
+was wanting a certain correctness of judgment, by means of which their
+figures, without having been measured, might have, in due relation to
+their dimensions, a grace exceeding measurement. In their drawing
+there was not the perfection of finish, because, although they made an
+arm round and a leg straight, the muscles in these were not revealed
+with that sweet and facile grace which hovers midway between the seen
+and the unseen, as is the case with the flesh of living figures; nay,
+they were crude and excoriated, which made them displeasing to the eye
+and gave hardness to the manner. This last was wanting in the delicacy
+that comes from making all figures light and graceful, particularly
+those of women and children, with the limbs true to nature, as in the
+case of men, but veiled with a plumpness and fleshiness <span class="pagenum"><a id="Page_81" name="Page_81">[Pg 81]</a></span> that
+should not be awkward, as they are in nature, but refined by
+draughtsmanship and judgment. They also lacked our abundance of
+beautiful costumes, our great number and variety of bizarre fancies,
+loveliness of colouring, wide knowledge of buildings, and distance and
+variety in landscapes. And although many of them, such as Andrea
+Verrocchio and Antonio del Pollaiuolo, and many others more modern,
+began to seek to make their figures with more study, so as to reveal
+in them better draughtsmanship, with a degree of imitation more
+correct and truer to nature, nevertheless the whole was not yet there,
+even though they had one very certain assurance&mdash;namely, that they
+were advancing towards the good, and their figures were thus approved
+according to the standard of the works of the ancients, as was seen
+when Andrea Verrocchio restored in marble the legs and arms of the
+Marsyas in the house of the Medici in Florence. But they lacked a
+certain finish and finality of perfection in the feet, hands, hair,
+and beards, although the limbs as a whole are in accordance with the
+antique and have a certain correct harmony in the proportions. Now if
+they had had that minuteness of finish which is the perfection and
+bloom of art, they would also have had a resolute boldness in their
+works; and from this there would have followed delicacy, refinement,
+and supreme grace, which are the qualities produced by the perfection
+of art in beautiful figures, whether in relief or in painting; but
+these qualities they did not have, although they give proof of
+diligent striving. That finish, and that certain something that they
+lacked, they could not achieve so readily, seeing that study, when it
+is used in that way to obtain finish, gives dryness to the manner.</p>
+
+<p>After them, indeed, their successors were enabled to attain to it
+through seeing excavated out of the earth certain antiquities cited by
+Pliny as amongst the most famous, such as the Laocoon, the Hercules,
+the Great Torso of the Belvedere, and likewise the Venus, the
+Cleopatra, the Apollo, and an endless number of others, which, both
+with their sweetness and their severity, with their fleshy roundness
+copied from the greatest beauties of nature, and with certain
+attitudes which involve no distortion of the whole figure but only a
+movement of certain parts, and <span class="pagenum"><a id="Page_82" name="Page_82">[Pg 82]</a></span> are revealed with a most
+perfect grace, brought about the disappearance of a certain dryness,
+hardness, and sharpness of manner, which had been left to our art by
+the excessive study of Piero della Francesca, Lazzaro Vasari, Alesso
+Baldovinetti, Andrea dal Castagno, Pesello, Ercole Ferrarese, Giovanni
+Bellini, Cosimo Rosselli, the Abbot of S. Clemente, Domenico del
+Ghirlandajo, Sandro Botticelli, Andrea Mantegna, Filippo, and Luca
+Signorelli. These masters sought with great efforts to do the
+impossible in art by means of labour, particularly in foreshortenings
+and in things unpleasant to the eye, which were as painful to see as
+they were difficult for them to execute. And although their works were
+for the most part well drawn and free from errors, yet there was
+wanting a certain resolute spirit which was never seen in them, and
+that sweet harmony of colouring which the Bolognese Francia and Pietro
+Perugino first began to show in their works; at the sight of which
+people ran like madmen to this new and more lifelike beauty, for it
+seemed to them quite certain that nothing better could ever be done.
+But their error was afterwards clearly proved by the works of Leonardo
+da Vinci, who, giving a beginning to that third manner which we
+propose to call the modern&mdash;besides the force and boldness of his
+drawing, and the extreme subtlety wherewith he counterfeited all the
+minutenesses of nature exactly as they are&mdash;with good rule, better
+order, right proportion, perfect drawing, and divine grace, abounding
+in resources and having a most profound knowledge of art, may be truly
+said to have endowed his figures with motion and breath.</p>
+
+<p>There followed after him, although at some distance, Giorgione da
+Castelfranco, who obtained a beautiful gradation of colour in his
+pictures, and gave a sublime movement to his works by means of a
+certain darkness of shadow, very well conceived; and not inferior to
+him in giving force, relief, sweetness, and grace to his pictures,
+with his colouring, was Fra Bartolommeo di San Marco. But more than
+all did the most gracious Raffaello da Urbino, who, studying the
+labours of the old masters and those of the modern, took the best from
+them, and, having gathered it together, enriched the art of painting
+with that complete perfection which was shown in ancient times by the
+figures of Apelles and Zeuxis; <span class="pagenum"><a id="Page_83" name="Page_83">[Pg 83]</a></span> nay, even more, if we may
+make bold to say it, as might be proved if we could compare their
+works with his. Wherefore nature was left vanquished by his colours;
+and his invention was facile and peculiar to himself, as may be
+perceived by all who see his painted stories, which are as vivid as
+writings, for in them he showed us places and buildings true to
+reality, and the features and costumes both of our own people and of
+strangers, according to his pleasure; not to mention his gift of
+imparting grace to the heads of young men, old men, and women,
+reserving modesty for the modest, wantonness for the wanton, and for
+children now mischief in their eyes, now playfulness in their
+attitudes; and the folds of his draperies, also, are neither too
+simple nor too intricate, but of such a kind that they appear real.</p>
+
+<p>In the same manner, but sweeter in colouring and not so bold, there
+followed Andrea del Sarto, who may be called a rare painter, for his
+works are free from errors. Nor is it possible to describe the
+charming vivacity seen in the works of Antonio da Correggio, who
+painted hair in detail, not in the precise manner used by the masters
+before him, which was constrained, sharp, and dry, but soft and
+feathery, with each single hair visible, such was his facility in
+making them; and they seemed like gold and more beautiful than real
+hair, which is surpassed by that which he painted.</p>
+
+<p>The same did Francesco Mazzuoli of Parma, who excelled him in many
+respects in grace, adornment, and beauty of manner, as may be seen in
+many of his pictures, which smile on whoever beholds them; and even as
+there is a perfect illusion of sight in the eyes, so there is
+perceived the beating of the pulse, according as it best pleased his
+brush. But whosoever shall consider the mural paintings of Polidoro
+and Maturino, will see figures in attitudes that seem beyond the
+bounds of possibility, and he will wonder with amazement how it can be
+possible, not to describe with the tongue, which is easy, but to
+express with the brush the tremendous conceptions which they put into
+execution with such mastery and dexterity, in representing the deeds
+of the Romans exactly as they were.</p>
+
+<p>And how many there are who, having given life to their figures with
+<span class="pagenum"><a id="Page_84" name="Page_84">[Pg 84]</a></span> their colours, are now dead, such as Il Rosso, Fra
+Sebastiano, Giulio Romano, and Perino del Vaga! For of the living, who
+are known to all through their own efforts, there is no need to speak
+here. But what most concerns the whole world of art is that they have
+now brought it to such perfection, and made it so easy for him who
+possesses draughtsmanship, invention, and colouring, that, whereas
+those early masters took six years to paint one panel, our modern
+masters can paint six in one year, as I can testify with the greatest
+confidence both from seeing and from doing; and our pictures are
+clearly much more highly finished and perfect than those executed in
+former times by masters of account.</p>
+
+<p>But he who bears the palm from both the living and the dead,
+transcending and eclipsing all others, is the divine Michelagnolo
+Buonarroti, who holds the sovereignty not merely of one of these arts,
+but of all three together. This master surpasses and excels not only
+all those moderns who have almost vanquished nature, but even those
+most famous ancients who without a doubt did so gloriously surpass
+her; and in his own self he triumphs over moderns, ancients, and
+nature, who could scarcely conceive anything so strange and so
+difficult that he would not be able, by the force of his most divine
+intellect and by means of his industry, draughtsmanship, art,
+judgment, and grace, to excel it by a great measure; and that not only
+in painting and in the use of colour, under which title are comprised
+all forms, and all bodies upright or not upright, palpable or
+impalpable, visible or invisible, but also in the highest perfection
+of bodies in the round, with the point of his chisel. And from a plant
+so beautiful and so fruitful, through his labours, there have already
+spread branches so many and so noble, that, besides having filled the
+world in such unwonted profusion with the most luscious fruits, they
+have also given the final form to these three most noble arts. And so
+great and so marvellous is his perfection, that it may be safely and
+surely said that his statues are in all their parts much more
+beautiful than the ancient; for if we compare the heads, hands, arms,
+and feet shaped by the one with those of the others, we see in his a
+greater depth and solidity, a grace more completely graceful, and a
+much more absolute perfection, accomplished with a manner so facile in
+the overcoming of <span class="pagenum"><a id="Page_85" name="Page_85">[Pg 85]</a></span> difficulties, that it is not possible ever
+to see anything better. And the same may be believed of his pictures,
+which; if we chanced to have some by the most famous Greeks and
+Romans, so that we might compare them face to face, would prove to be
+as much higher in value and more noble as his sculptures are clearly
+superior to all those of the ancients.</p>
+
+<p>But if we admire so greatly those most famous masters who, spurred by
+such extraordinary rewards and by such good-fortune, gave life to
+their works, how much more should we not celebrate and exalt to the
+heavens those rare intellects who, not only without reward, but in
+miserable poverty, bring forth fruits so precious? We must believe and
+declare, then, that if, in this our age, there were a due meed of
+remuneration, there would be without a doubt works greater and much
+better than were ever wrought by the ancients. But the fact that they
+have to grapple more with famine than with fame, keeps our hapless
+intellects submerged, and, to the shame and disgrace of those who
+could raise them up but give no thought to it, prevents them from
+becoming known.</p>
+
+<p>And let this be enough to have said on this subject; for it is now
+time to return to the Lives, and to treat in detail of all those who
+have executed famous works in this third manner, the creator of which
+was Leonardo da Vinci, with whom we will now begin.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="davinci" id="davinci"></a><span class="pagenum"><a id="Page_87" name="Page_87">[Pg 87]</a></span> LEONARDO DA VINCI</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_davinci" id="life_of_davinci"></a><span class="pagenum"><a id="Page_89" name="Page_89">[Pg 89]</a></span> LIFE OF LEONARDO DA VINCI<a id="FNanchor10" name="FNanchor10"></a><a href="#Footnote10" title="Go to footnote 10" class="fnanchor">[10]</a></h2>
+
+<h3>PAINTER AND SCULPTOR OF FLORENCE</h3>
+
+
+<p>The greatest gifts are often seen, in the course of nature, rained by
+celestial influences on human creatures; and sometimes, in
+supernatural fashion, beauty, grace, and talent are united beyond
+measure in one single person, in a manner that to whatever such an one
+turns his attention, his every action is so divine, that, surpassing
+all other men, it makes itself clearly known as a thing bestowed by
+God (as it is), and not acquired by human art. This was seen by all
+mankind in Leonardo da Vinci, in whom, besides a beauty of body never
+sufficiently extolled, there was an infinite grace in all his actions;
+and so great was his genius, and such its growth, that to whatever
+difficulties he turned his mind, he solved them with ease. In him was
+great bodily strength, joined to dexterity, with a spirit and courage
+ever royal and magnanimous; and the fame of his name so increased,
+that not only in his lifetime was he held in esteem, but his
+reputation became even greater among posterity after his death.</p>
+
+<p>Truly marvellous and celestial was Leonardo, the son of Ser Piero da
+Vinci; and in learning and in the rudiments of letters he would have
+made great proficience, if he had not been so variable and unstable,
+for he set himself to learn many things, and then, after having begun
+them, abandoned them. Thus, in arithmetic, during the few months that
+he studied it, he made so much progress, that, by continually
+suggesting <span class="pagenum"><a id="Page_90" name="Page_90">[Pg 90]</a></span> doubts and difficulties to the master who was
+teaching him, he would very often bewilder him. He gave some little
+attention to music, and quickly resolved to learn to play the lyre, as
+one who had by nature a spirit most lofty and full of refinement:
+wherefore he sang divinely to that instrument, improvising upon it.
+Nevertheless, although he occupied himself with such a variety of
+things, he never ceased drawing and working in relief, pursuits which
+suited his fancy more than any other. Ser Piero, having observed this,
+and having considered the loftiness of his intellect, one day took
+some of his drawings and carried them to Andrea del Verrocchio, who
+was much his friend, and besought him straitly to tell him whether
+Leonardo, by devoting himself to drawing, would make any proficience.
+Andrea was astonished to see the extraordinary beginnings of Leonardo,
+and urged Ser Piero that he should make him study it; wherefore he
+arranged with Leonardo that he should enter the workshop of Andrea,
+which Leonardo did with the greatest willingness in the world. And he
+practised not one branch of art only, but all those in which drawing
+played a part; and having an intellect so divine and marvellous that
+he was also an excellent geometrician, he not only worked in
+sculpture, making in his youth, in clay, some heads of women that are
+smiling, of which plaster casts are still taken, and likewise some
+heads of boys which appeared to have issued from the hand of a master;
+but in architecture, also, he made many drawings both of ground-plans
+and of other designs of buildings; and he was the first, although but
+a youth, who suggested the plan of reducing the river Arno to a
+navigable canal from Pisa to Florence. He made designs of flour-mills,
+fulling-mills, and engines, which might be driven by the force of
+water: and since he wished that his profession should be painting, he
+studied much in drawing after nature, and sometimes in making models
+of figures in clay, over which he would lay soft pieces of cloth
+dipped in clay, and then set himself patiently to draw them on a
+certain kind of very fine Rheims cloth, or prepared linen: and he
+executed them in black and white with the point of his brush, so that
+it was a marvel, as some of them by his hand, which I have in our book
+of drawings, still bear witness; besides which, he drew on paper with
+such diligence and so well, that there is <span class="pagenum"><a id="Page_91" name="Page_91">[Pg 91]</a></span> no one who has
+ever equalled him in perfection of finish; and I have one, a head
+drawn with the style in chiaroscuro, which is divine.</p>
+
+<p>And there was infused in that brain such grace from God, and a power
+of expression in such sublime accord with the intellect and memory
+that served it, and he knew so well how to express his conceptions by
+draughtsmanship, that he vanquished with his discourse, and confuted
+with his reasoning, every valiant wit. And he was continually making
+models and designs to show men how to remove mountains with ease, and
+how to bore them in order to pass from one level to another; and by
+means of levers, windlasses, and screws, he showed the way to raise
+and draw great weights, together with methods for emptying harbours,
+and pumps for removing water from low places, things which his brain
+never ceased from devising; and of these ideas and labours many
+drawings may be seen, scattered abroad among our craftsmen; and I
+myself have seen not a few. He even went so far as to waste his time
+in drawing knots of cords, made according to an order, that from one
+end all the rest might follow till the other, so as to fill a round;
+and one of these is to be seen in stamp, most difficult and beautiful,
+and in the middle of it are these words, "Leonardus Vinci Accademia."
+And among these models and designs, there was one by which he often
+demonstrated to many ingenious citizens, who were then governing
+Florence, how he proposed to raise the Temple of S. Giovanni in
+Florence, and place steps under it, without damaging the building; and
+with such strong reasons did he urge this, that it appeared possible,
+although each man, after he had departed, would recognize for himself
+the impossibility of so vast an undertaking.</p>
+
+<p>He was so pleasing in conversation, that he attracted to himself the
+hearts of men. And although he possessed, one might say, nothing, and
+worked little, he always kept servants and horses, in which latter he
+took much delight, and particularly in all other animals, which he
+managed with the greatest love and patience; and this he showed when
+often passing by the places where birds were sold, for, taking them
+with his own hand out of their cages, and having paid to those who
+sold them the price that was asked, he let them fly away into the air,
+restoring to <span class="pagenum"><a id="Page_92" name="Page_92">[Pg 92]</a></span> them their lost liberty. For which reason
+nature was pleased so to favour him, that, wherever he turned his
+thought, brain, and mind, he displayed such divine power in his works,
+that, in giving them their perfection, no one was ever his peer in
+readiness, vivacity, excellence, beauty, and grace.</p>
+
+<p>It is clear that Leonardo, through his comprehension of art, began
+many things and never finished one of them, since it seemed to him
+that the hand was not able to attain to the perfection of art in
+carrying out the things which he imagined; for the reason that he
+conceived in idea difficulties so subtle and so marvellous, that they
+could never be expressed by the hands, be they ever so excellent. And
+so many were his caprices, that, philosophizing of natural things, he
+set himself to seek out the properties of herbs, going on even to
+observe the motions of the heavens, the path of the moon, and the
+courses of the sun.</p>
+
+<p>He was placed, then, as has been said, in his boyhood, at the instance
+of Ser Piero, to learn art with Andrea del Verrocchio, who was making
+a panel-picture of S. John baptizing Christ, when Leonardo painted an
+angel who was holding some garments; and although he was but a lad,
+Leonardo executed it in such a manner that his angel was much better
+than the figures of Andrea; which was the reason that Andrea would
+never again touch colour, in disdain that a child should know more
+than he.</p>
+
+<div class="figcenter">
+<a name="img029" id="img029"></a>
+<img src="images/img029-tb.jpg" width="400" height="473" alt="The Baptism in Jordan." title="">
+<p class="caption">ANDREA VERROCCHIO: THE BAPTISM IN JORDAN<br>
+(<i>Florence: Accademia, 71. Panel</i>)<br>
+<span class="link"><a href="images/img029.jpg">View larger image</a></span></p>
+</div>
+
+<p>He was commissioned to make a cartoon for a door-hanging that was to
+be executed in Flanders, woven in gold and silk, to be sent to the
+King of Portugal, of Adam and Eve sinning in the Earthly Paradise;
+wherein Leonardo drew with the brush in chiaroscuro, with the lights
+in lead-white, a meadow of infinite kinds of herbage, with some
+animals, of which, in truth, it may be said that for diligence and
+truth to nature divine wit could not make it so perfect. In it is the
+fig-tree, together with the foreshortening of the leaves and the
+varying aspects of the branches, wrought with such lovingness that the
+brain reels at the mere thought how a man could have such patience.
+There is also a palm-tree which has the radiating crown of the palm,
+executed with such great and marvellous art that nothing save the
+patience and intellect of Leonardo could avail to do it. This work was
+carried no farther; wherefore the cartoon is now at Florence, in the
+blessed house of the Magnificent <span class="pagenum"><a id="Page_93" name="Page_93">[Pg 93]</a></span> Ottaviano de' Medici,
+presented to him not long ago by the uncle of Leonardo.</p>
+
+<p>It is said that Ser Piero da Vinci, being at his villa, was besought
+as a favour, by a peasant of his, who had made a buckler with his own
+hands out of a fig-tree that he had cut down on the farm, to have it
+painted for him in Florence, which he did very willingly, since the
+countryman was very skilful at catching birds and fishing, and Ser
+Piero made much use of him in these pursuits. Thereupon, having had it
+taken to Florence, without saying a word to Leonardo as to whose it
+was, he asked him to paint something upon it. Leonardo, having one day
+taken this buckler in his hands, and seeing it twisted, badly made,
+and clumsy, straightened it by the fire, and, having given it to a
+turner, from the rude and clumsy thing that it was, caused it to be
+made smooth and even. And afterwards, having given it a coat of gesso,
+and having prepared it in his own way, he began to think what he could
+paint upon it, that might be able to terrify all who should come upon
+it, producing the same effect as once did the head of Medusa. For this
+purpose, then, Leonardo carried to a room of his own into which no one
+entered save himself alone, lizards great and small, crickets,
+serpents, butterflies, grasshoppers, bats, and other strange kinds of
+suchlike animals, out of the number of which, variously put together,
+he formed a great ugly creature, most horrible and terrifying, which
+emitted a poisonous breath and turned the air to flame; and he made it
+coming out of a dark and jagged rock, belching forth venom from its
+open throat, fire from its eyes, and smoke from its nostrils, in so
+strange a fashion that it appeared altogether a monstrous and horrible
+thing; and so long did he labour over making it, that the stench of
+the dead animals in that room was past bearing, but Leonardo did not
+notice it, so great was the love that he bore towards art. The work
+being finished, although it was no longer asked for either by the
+countryman or by his father, Leonardo told the latter that he might
+send for the buckler at his convenience, since, for his part, it was
+finished. Ser Piero having therefore gone one morning to the room for
+the buckler, and having knocked at the door, Leonardo opened to him,
+telling him to wait a little; and, having gone back into the room, he
+adjusted the <span class="pagenum"><a id="Page_94" name="Page_94">[Pg 94]</a></span> buckler in a good light on the easel, and put
+to the window, in order to make a soft light, and then he bade him
+come in to see it. Ser Piero, at the first glance, taken by surprise,
+gave a sudden start, not thinking that that was the buckler, nor
+merely painted the form that he saw upon it, and, falling back a step,
+Leonardo checked him, saying, "This work serves the end for which it
+was made; take it, then, and carry it away, since this is the effect
+that it was meant to produce." This thing appeared to Ser Piero
+nothing short of a miracle, and he praised very greatly the ingenious
+idea of Leonardo; and then, having privately bought from a pedlar
+another buckler, painted with a heart transfixed by an arrow, he
+presented it to the countryman, who remained obliged to him for it as
+long as he lived. Afterwards, Ser Piero sold the buckler of Leonardo
+secretly to some merchants in Florence, for a hundred ducats; and in a
+short time it came into the hands of the Duke of Milan, having been
+sold to him by the said merchants for three hundred ducats.</p>
+
+<p>Leonardo then made a picture of Our Lady, a most excellent work, which
+was in the possession of Pope Clement VII; and, among other things
+painted therein, he counterfeited a glass vase full of water,
+containing some flowers, in which, besides its marvellous naturalness,
+he had imitated the dew-drops on the flowers, so that it seemed more
+real than the reality. For Antonio Segni, who was very much his
+friend, he made, on a sheet of paper, a Neptune executed with such
+careful draughtsmanship that it seemed absolutely alive. In it one saw
+the ocean troubled, and Neptune's car drawn by sea-horses, with
+fantastic creatures, marine monsters and winds, and some very
+beautiful heads of sea-gods. This drawing was presented by Fabio, the
+son of Antonio, to Messer Giovanni Gaddi, with this epigram:</p>
+
+<p class="poem10">
+  Pinxit Virgilius Neptunum, pinxit Homerus,<br>
+<span class="add1em">Dum maris undisoni per vada flectit equos.</span><br>
+  Mente quidem vates illum conspexit uterque,<br>
+<span class="add1em">Vincius ast oculis; jureque vincit eos.</span></p>
+
+<div class="figcenter">
+<a name="img030" id="img030"></a>
+<img src="images/img030-tb.jpg" width="400" height="389" alt="The Adoration of the Magi." title="">
+<p class="caption">THE ADORATION OF THE MAGI<br>
+(<i>After the panel by</i> Leonardo da Vinci.<br>
+<i>Florence: Uffizi, 1252</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img030.jpg">View larger image</a></span></p>
+</div>
+
+<p>The fancy came to him to paint a picture in oils of the head of a
+Medusa, with the head attired with a coil of snakes, the most strange
+<span class="pagenum"><a id="Page_95" name="Page_95">[Pg 95]</a></span> and extravagant invention that could ever be imagined; but
+since it was a work that took time, it remained unfinished, as
+happened with almost all his things. It is among the rare works of art
+in the Palace of Duke Cosimo, together with the head of an angel, who
+is raising one arm in the air, which, coming forward, is foreshortened
+from the shoulder to the elbow, and with the other he raises the hand
+to the breast.</p>
+
+<p>It is an extraordinary thing how that genius, in his desire to give
+the highest relief to the works that he made, went so far with dark
+shadows, in order to find the darkest possible grounds, that he sought
+for blacks which might make deeper shadows and be darker than other
+blacks, that by their means he might make his lights the brighter; and
+in the end this method turned out so dark, that, no light remaining
+there, his pictures had rather the character of things made to
+represent an effect of night, than the clear quality of daylight;
+which all came from seeking to give greater relief, and to achieve the
+final perfection of art.</p>
+
+<p>He was so delighted when he saw certain bizarre heads of men, with the
+beard or hair growing naturally, that he would follow one that pleased
+him a whole day, and so treasured him up in idea, that afterwards, on
+arriving home, he drew him as if he had had him in his presence. Of
+this sort there are many heads to be seen, both of women and of men,
+and I have several of them, drawn by his hand with the pen, in our
+book of drawings, which I have mentioned so many times; such was that
+of Amerigo Vespucci, which is a very beautiful head of an old man
+drawn with charcoal, and likewise that of Scaramuccia, Captain of the
+Gypsies, which afterwards came into the hands of M. Donato Valdambrini
+of Arezzo, Canon of S. Lorenzo, left to him by Giambullari.</p>
+
+<p>He began a panel-picture of the Adoration of the Magi, containing many
+beautiful things, particularly the heads, which was in the house of
+Amerigo Benci, opposite the Loggia de' Peruzzi; and this, also,
+remained unfinished, like his other works.</p>
+
+<p>It came to pass that Giovan Galeazzo, Duke of Milan, being dead, and
+Lodovico Sforza raised to the same rank, in the year 1494, Leonardo
+was summoned to Milan in great repute to the Duke, who took much
+delight in the sound of the lyre, to the end that he might play it:
+and <span class="pagenum"><a id="Page_96" name="Page_96">[Pg 96]</a></span> Leonardo took with him that instrument which he had made
+with his own hands, in great part of silver, in the form of a horse's
+skull&mdash;a thing bizarre and new&mdash;in order that the harmony might be of
+greater volume and more sonorous in tone; with which he surpassed all
+the musicians who had come together there to play. Besides this, he
+was the best improviser in verse of his day. The Duke, hearing the
+marvellous discourse of Leonardo, became so enamoured of his genius,
+that it was something incredible: and he prevailed upon him by
+entreaties to paint an altar-panel containing a Nativity, which was
+sent by the Duke to the Emperor.</p>
+
+<p>He also painted in Milan, for the Friars of S. Dominic, at S. Maria
+delle Grazie, a Last Supper, a most beautiful and marvellous thing;
+and to the heads of the Apostles he gave such majesty and beauty, that
+he left the head of Christ unfinished, not believing that he was able
+to give it that divine air which is essential to the image of Christ.
+This work, remaining thus all but finished, has ever been held by the
+Milanese in the greatest veneration, and also by strangers as well;
+for Leonardo imagined and succeeded in expressing that anxiety which
+had seized the Apostles in wishing to know who should betray their
+Master. For which reason in all their faces are seen love, fear, and
+wrath, or rather, sorrow, at not being able to understand the meaning
+of Christ; which thing excites no less marvel than the sight, in
+contrast to it, of obstinacy, hatred, and treachery in Judas; not to
+mention that every least part of the work displays an incredible
+diligence, seeing that even in the tablecloth the texture of the stuff
+is counterfeited in such a manner that linen itself could not seem
+more real.</p>
+
+<div class="figcenter">
+<a name="img031" id="img031"></a>
+<img src="images/img031-tb.jpg" width="500" height="248" alt="The Last Supper." title="">
+<p class="caption">THE LAST SUPPER<br>
+(<i>After the oil fresco by</i> Leonardo da Vinci.<br>
+<i>Milan: S. Maria delle Grazie</i>)<br>
+<i>M.S.</i><br>
+<span class="link"><a href="images/img031.jpg">View larger image</a></span></p>
+</div>
+
+<p>It is said that the Prior of that place kept pressing Leonardo, in a
+most importunate manner, to finish the work; for it seemed strange to
+him to see Leonardo sometimes stand half a day at a time, lost in
+contemplation, and he would have liked him to go on like the labourers
+hoeing in his garden, without ever stopping his brush. And not content
+with this, he complained of it to the Duke, and that so warmly, that
+he was constrained to send for Leonardo and delicately urged him to
+work, contriving nevertheless to show him that he was doing all this
+because <span class="pagenum"><a id="Page_97" name="Page_97">[Pg 97]</a></span> of the importunity of the Prior. Leonardo, knowing
+that the intellect of that Prince was acute and discerning, was
+pleased to discourse at large with the Duke on the subject, a thing
+which he had never done with the Prior: and he reasoned much with him
+about art, and made him understand that men of lofty genius sometimes
+accomplish the most when they work the least, seeking out inventions
+with the mind, and forming those perfect ideas which the hands
+afterwards express and reproduce from the images already conceived in
+the brain. And he added that two heads were still wanting for him to
+paint; that of Christ, which he did not wish to seek on earth; and he
+could not think that it was possible to conceive in the imagination
+that beauty and heavenly grace which should be the mark of God
+incarnate. Next, there was wanting that of Judas, which was also
+troubling him, not thinking himself capable of imagining features that
+should represent the countenance of him who, after so many benefits
+received, had a mind so cruel as to resolve to betray his Lord, the
+Creator of the world. However, he would seek out a model for the
+latter; but if in the end he could not find a better, he should not
+want that of the importunate and tactless Prior. This thing moved the
+Duke wondrously to laughter, and he said that Leonardo had a thousand
+reasons on his side. And so the poor Prior, in confusion, confined
+himself to urging on the work in the garden, and left Leonardo in
+peace, who finished only the head of Judas, which seems the very
+embodiment of treachery and inhumanity; but that of Christ, as has
+been said, remained unfinished. The nobility of this picture, both
+because of its design, and from its having been wrought with an
+incomparable diligence, awoke a desire in the King of France to
+transport it into his kingdom; wherefore he tried by all possible
+means to discover whether there were architects who, with cross-stays
+of wood and iron, might have been able to make it so secure that it
+might be transported safely; without considering any expense that
+might have been involved thereby, so much did he desire it. But the
+fact of its being painted on the wall robbed his Majesty of his
+desire; and the picture remained with the Milanese. In the same
+refectory, while he was working at the Last Supper, on the end wall
+where is a Passion in the old manner, Leonardo portrayed the <span class="pagenum"><a id="Page_98" name="Page_98">[Pg 98]</a></span>
+said Lodovico, with Massimiliano, his eldest son; and, on the other
+side, the Duchess Beatrice, with Francesco, their other son, both of
+whom afterwards became Dukes of Milan; and all are portrayed divinely
+well.</p>
+
+<p>While he was engaged on this work, he proposed to the Duke to make a
+horse in bronze, of a marvellous greatness, in order to place upon it,
+as a memorial, the image of the Duke. And on so vast a scale did he
+begin it and continue it, that it could never be completed. And there
+are those who have been of the opinion (so various and so often malign
+out of envy are the judgments of men) that he began it with no
+intention of finishing it, because, being of so great a size, an
+incredible difficulty was encountered in seeking to cast it in one
+piece; and it might also be believed that, from the result, many may
+have formed such a judgment, since many of his works have remained
+unfinished. But, in truth, one can believe that his vast and most
+excellent mind was hampered through being too full of desire, and that
+his wish ever to seek out excellence upon excellence, and perfection
+upon perfection, was the reason of it. "Tal che l' opera fosse
+ritardata dal desio," as our Petrarca has said. And, indeed, those who
+saw the great model that Leonardo made in clay vow that they have
+never seen a more beautiful thing, or a more superb; and it was
+preserved until the French came to Milan with King Louis of France,
+and broke it all to pieces. Lost, also, is a little model of it in
+wax, which was held to be perfect, together with a book on the anatomy
+of the horse made by him by way of study.</p>
+
+<div class="figcenter">
+<a name="img032" id="img032"></a>
+<img src="images/img032-tb.jpg" width="400" height="553" alt="The Madonna and Child with S. Anne." title="">
+<p class="caption">THE MADONNA AND CHILD WITH S. ANNE<br>
+(<i>After the cartoon by</i> Leonardo da Vinci.<br>
+<i>London: Burlington House</i>)<br>
+<i>Vasari Society</i><br>
+<span class="link"><a href="images/img032.jpg">View larger image</a></span></p>
+</div>
+
+<p>He then applied himself, but with greater care, to the anatomy of man,
+assisted by and in turn assisting, in this research, Messer Marc'
+Antonio della Torre, an excellent philosopher, who was then lecturing
+at Pavia, and who wrote of this matter; and he was one of the first
+(as I have heard tell) that began to illustrate the problems of
+medicine with the doctrine of Galen, and to throw true light on
+anatomy, which up to that time had been wrapped in the thick and gross
+darkness of ignorance. And in this he found marvellous aid in the
+brain, work, and hand of Leonardo, who made a book drawn in red chalk,
+and annotated with the pen, of the bodies that he dissected with his
+own hand, and drew with the greatest diligence; wherein he showed all
+the frame of the <span class="pagenum"><a id="Page_99" name="Page_99">[Pg 99]</a></span> bones; and then added to them, in order,
+all the nerves, and covered them with muscles; the first attached to
+the bone, the second that hold the body firm, and the third that move
+it; and beside them, part by part, he wrote in letters of an
+ill-shaped character, which he made with the left hand, backwards; and
+whoever is not practised in reading them cannot understand them, since
+they are not to be read save with a mirror. Of these papers on the
+anatomy of man, a great part is in the hands of Messer Francesco da
+Melzo, a gentleman of Milan, who in the time of Leonardo was a very
+beautiful boy, and much beloved by him, and now is a no less beautiful
+and gentle old man; and he holds them dear, and keeps such papers
+together as if they were relics, in company with the portrait of
+Leonardo of happy memory; and to all who read these writings, it seems
+impossible that that divine spirit should have discoursed so well of
+art, and of the muscles, nerves, and veins, and with such diligence of
+everything. So, also, there are in the hands of &mdash;&mdash;,<a id="FNanchor11" name="FNanchor11"></a><a href="#Footnote11" title="Go to footnote 11" class="fnanchor">[11]</a> a painter of
+Milan, certain writings of Leonardo, likewise in characters written
+with the left hand, backwards, which treat of painting, and of the
+methods of drawing and colouring. This man, not long ago, came to
+Florence to see me, wishing to print this work, and he took it to
+Rome, in order to put it into effect; but I do not know what may
+afterwards have become of it.</p>
+
+<p>And to return to the works of Leonardo; there came to Milan, in his
+time, the King of France, wherefore Leonardo being asked to devise
+some bizarre thing, made a lion which walked several steps and then
+opened its breast, and showed it full of lilies.</p>
+
+<p>In Milan he took for his assistant the Milanese Salai, who was most
+comely in grace and beauty, having fine locks, curling in ringlets, in
+which Leonardo greatly delighted; and he taught him many things of
+art; and certain works in Milan, which are said to be by Salai, were
+retouched by Leonardo.</p>
+
+<p>He returned to Florence, where he found that the Servite Friars had
+entrusted to Filippino the painting of the panel for the high-altar of
+the Nunziata; whereupon Leonardo said that he would willingly have
+<span class="pagenum"><a id="Page_100" name="Page_100">[Pg 100]</a></span> done such a work. Filippino, having heard this, like the
+amiable fellow that he was, retired from the undertaking; and the
+friars, to the end that Leonardo might paint it, took him into their
+house, meeting the expenses both of himself and of all his household;
+and thus he kept them in expectation for a long time, but never began
+anything. In the end, he made a cartoon containing a Madonna and a S.
+Anne, with a Christ, which not only caused all the craftsmen to
+marvel, but, when it was finished, men and women, young and old,
+continued for two days to flock for a sight of it to the room where it
+was, as if to a solemn festival, in order to gaze at the marvels of
+Leonardo, which caused all those people to be amazed; for in the face
+of that Madonna was seen whatever of the simple and the beautiful can
+by simplicity and beauty confer grace on a picture of the Mother of
+Christ, since he wished to show that modesty and that humility which
+are looked for in an image of the Virgin, supremely content with
+gladness at seeing the beauty of her Son, whom she was holding with
+tenderness in her lap, while with most chastened gaze she was looking
+down at S. John, as a little boy, who was playing with a lamb; not
+without a smile from S. Anne, who, overflowing with joy, was beholding
+her earthly progeny become divine&mdash;ideas truly worthy of the brain and
+genius of Leonardo. This cartoon, as will be told below, afterwards
+went to France. He made a portrait of Ginevra d' Amerigo Benci, a very
+beautiful work; and abandoned the work for the friars, who restored it
+to Filippino; but he, also, failed to finish it, having been overtaken
+by death.</p>
+
+<p>Leonardo undertook to execute, for Francesco del Giocondo, the
+portrait of Monna Lisa, his wife; and after toiling over it for four
+years, he left it unfinished; and the work is now in the collection of
+King Francis of France, at Fontainebleau. In this head, whoever wished
+to see how closely art could imitate nature, was able to comprehend it
+with ease; for in it were counterfeited all the minutenesses that with
+subtlety are able to be painted, seeing that the eyes had that lustre
+and watery sheen which are always seen in life, and around them were
+all those rosy and pearly tints, as well as the lashes, which cannot
+be represented without the greatest subtlety. The eyebrows, through
+his having shown <span class="pagenum"><a id="Page_101" name="Page_101">[Pg 101]</a></span> the manner in which the hairs spring from
+the flesh, here more close and here more scanty, and curve according
+to the pores of the skin, could not be more natural. The nose, with
+its beautiful nostrils, rosy and tender, appeared to be alive. The
+mouth, with its opening, and with its ends united by the red of the
+lips to the flesh-tints of the face, seemed, in truth, to be not
+colours but flesh. In the pit of the throat, if one gazed upon it
+intently, could be seen the beating of the pulse. And, indeed, it may
+be said that it was painted in such a manner as to make every valiant
+craftsman, be he who he may, tremble and lose heart. He made use,
+also, of this device: Monna Lisa being very beautiful, he always
+employed, while he was painting her portrait, persons to play or sing,
+and jesters, who might make her remain merry, in order to take away
+that melancholy which painters are often wont to give to the portraits
+that they paint. And in this work of Leonardo's there was a smile so
+pleasing, that it was a thing more divine than human to behold; and it
+was held to be something marvellous, since the reality was not more
+alive.</p>
+
+<p>By reason, then, of the excellence of the works of this most divine
+craftsman, his fame had so increased that all persons who took delight
+in art&mdash;nay, the whole city of Florence&mdash;desired that he should leave
+them some memorial, and it was being proposed everywhere that he
+should be commissioned to execute some great and notable work, whereby
+the commonwealth might be honoured and adorned by the great genius,
+grace and judgment that were seen in the works of Leonardo. And it was
+decided between the Gonfalonier and the chief citizens, the Great
+Council Chamber having been newly built&mdash;the architecture of which had
+been contrived with the judgment and counsel of Giuliano da San Gallo,
+Simone Pollaiuolo, called Il Cronaca, Michelagnolo Buonarroti, and
+Baccio d' Agnolo, as will be related with more detail in the proper
+places&mdash;and having been finished in great haste, it was ordained by
+public decree that Leonardo should be given some beautiful work to
+paint; and so the said hall was allotted to him by Piero Soderini,
+then Gonfalonier of Justice. Whereupon Leonardo, determining to
+execute this work, began a cartoon in the Sala del Papa, an apartment
+in S. Maria Novella, representing the story of Niccolò Piccinino,
+Captain of Duke <span class="pagenum"><a id="Page_102" name="Page_102">[Pg 102]</a></span> Filippo of Milan; wherein he designed a
+group of horsemen who were fighting for a standard, a work that was
+held to be very excellent and of great mastery, by reason of the
+marvellous ideas that he had in composing that battle; seeing that in
+it rage, fury, and revenge are perceived as much in the men as in the
+horses, among which two with the fore-legs interlocked are fighting no
+less fiercely with their teeth than those who are riding them do in
+fighting for that standard, which has been grasped by a soldier, who
+seeks by the strength of his shoulders, as he spurs his horse to
+flight, having turned his body backwards and seized the staff of the
+standard, to wrest it by force from the hands of four others, of whom
+two are defending it, each with one hand, and, raising their swords in
+the other, are trying to sever the staff; while an old soldier in a
+red cap, crying out, grips the staff with one hand, and, raising a
+scimitar with the other, furiously aims a blow in order to cut off
+both the hands of those who, gnashing their teeth in the struggle, are
+striving in attitudes of the utmost fierceness to defend their banner;
+besides which, on the ground, between the legs of the horses, there
+are two figures in foreshortening that are fighting together, and the
+one on the ground has over him a soldier who has raised his arm as
+high as possible, that thus with greater force he may plunge a dagger
+into his throat, in order to end his life; while the other, struggling
+with his legs and arms, is doing what he can to escape death.</p>
+
+<p>It is not possible to describe the invention that Leonardo showed in
+the garments of the soldiers, all varied by him in different ways, and
+likewise in the helmet-crests and other ornaments; not to mention the
+incredible mastery that he displayed in the forms and lineaments of
+the horses, which Leonardo, with their fiery spirit, muscles, and
+shapely beauty, drew better than any other master. It is said that, in
+order to draw that cartoon, he made a most ingenious stage, which was
+raised by contracting it and lowered by expanding. And conceiving the
+wish to colour on the wall in oils, he made a composition of so gross
+an admixture, to act as a binder on the wall, that, going on to paint
+in the said hall, it began to peel off in such a manner that in a
+short time he abandoned it, seeing it spoiling.</p>
+
+<div class="figcenter">
+<a name="img033" id="img033"></a>
+<img src="images/img033-tb.jpg" width="400" height="594" alt="Monna Lisa." title="">
+<p class="caption">LEONARDO DA VINCI: MONNA LISA<br>
+(<i>Formerly Paris: The Louvre, 1601. Canvas on Panel</i>)<br>
+<span class="link"><a href="images/img033.jpg">View larger image</a></span></p>
+</div>
+
+<p><span class="pagenum"><a id="Page_103" name="Page_103">[Pg 103]</a></span> Leonardo had very great spirit, and in his every action was
+most generous. It is said that, going to the bank for the allowance
+that he used to draw every month from Piero Soderini, the cashier
+wanted to give him certain paper-packets of pence; but he would not
+take them, saying in answer, "I am no penny-painter." Having been
+blamed for cheating Piero Soderini, there began to be murmurings
+against him; wherefore Leonardo so wrought upon his friends, that he
+got the money together and took it to Piero to repay him; but he would
+not accept it.</p>
+
+<p>He went to Rome with Duke Giuliano de' Medici, at the election of Pope
+Leo, who spent much of his time on philosophical studies, and
+particularly on alchemy; where, forming a paste of a certain kind of
+wax, as he walked he shaped animals very thin and full of wind, and,
+by blowing into them, made them fly through the air, but when the wind
+ceased they fell to the ground. On the back of a most bizarre lizard,
+found by the vine-dresser of the Belvedere, he fixed, with a mixture
+of quicksilver, wings composed of scales stripped from other lizards,
+which, as it walked, quivered with the motion; and having given it
+eyes, horns, and beard, taming it, and keeping it in a box, he made
+all his friends, to whom he showed it, fly for fear. He used often to
+have the guts of a wether completely freed of their fat and cleaned,
+and thus made so fine that they could have been held in the palm of
+the hand; and having placed a pair of blacksmith's bellows in another
+room, he fixed to them one end of these, and, blowing into them,
+filled the room, which was very large, so that whoever was in it was
+obliged to retreat into a corner; showing how, transparent and full of
+wind, from taking up little space at the beginning they had come to
+occupy much, and likening them to virtue. He made an infinite number
+of such follies, and gave his attention to mirrors; and he tried the
+strangest methods in seeking out oils for painting, and varnish for
+preserving works when painted.</p>
+
+<p>He made at this time, for Messer Baldassarre Turini da Pescia, who was
+Datary to Pope Leo, a little picture of the Madonna with the Child in
+her arms, with infinite diligence and art; but whether through the
+fault of whoever primed the panel with gesso, or because of his
+innumerable and capricious mixtures of grounds and colours, it is now
+much <span class="pagenum"><a id="Page_104" name="Page_104">[Pg 104]</a></span> spoilt. And in another small picture he made a portrait
+of a little boy, which is beautiful and graceful to a marvel; and both
+of them are now at Pescia, in the hands of Messer Giuliano Turini. It
+is related that, a work having been allotted to him by the Pope, he
+straightway began to distil oils and herbs, in order to make the
+varnish; at which Pope Leo said: "Alas! this man will never do
+anything, for he begins by thinking of the end of the work, before the
+beginning."</p>
+
+<p>There was very great disdain between Michelagnolo Buonarroti and him,
+on account of which Michelagnolo departed from Florence, with the
+excuse of Duke Giuliano, having been summoned by the Pope to the
+competition for the façade of S. Lorenzo. Leonardo, understanding
+this, departed and went into France, where the King, having had works
+by his hand, bore him great affection; and he desired that he should
+colour the cartoon of S. Anne, but Leonardo, according to his custom,
+put him off for a long time with words.</p>
+
+<p>Finally, having grown old, he remained ill many months, and, feeling
+himself near to death, asked to have himself diligently informed of
+the teaching of the Catholic faith, and of the good way and holy
+Christian religion; and then, with many moans, he confessed and was
+penitent; and although he could not raise himself well on his feet,
+supporting himself on the arms of his friends and servants, he was
+pleased to take devoutly the most holy Sacrament, out of his bed. The
+King, who was wont often and lovingly to visit him, then came into the
+room; wherefore he, out of reverence, having raised himself to sit
+upon the bed, giving him an account of his sickness and the
+circumstances of it, showed withal how much he had offended God and
+mankind in not having worked at his art as he should have done.
+Thereupon he was seized by a paroxysm, the messenger of death; for
+which reason the King having risen and having taken his head, in order
+to assist him and show him favour, to the end that he might alleviate
+his pain, his spirit, which was divine, knowing that it could not have
+any greater honour, expired in the arms of the King, in the
+seventy-fifth year of his age.</p>
+
+<div class="figcenter">
+<a name="img034" id="img034"></a>
+<img src="images/img034-tb.jpg" width="400" height="508" alt="Fragment from The Battle of the Standard." title="">
+<p class="caption">FRAGMENT FROM "THE BATTLE OF THE STANDARD"<br>
+(<i>After the cartoon attributed to</i> Leonardo da Vinci.<br>
+<i>Oxford: Ashmolean Museum</i>)<br>
+<i>Reproduced by permission of the Visitors of the Ashmolean Museum</i><br>
+<span class="link"><a href="images/img034.jpg">View larger image</a></span></p>
+</div>
+
+<p>The loss of Leonardo grieved beyond measure all those who had known
+him, since there was never any one who did so much honour to painting.
+With the splendour of his aspect, which was very beautiful,
+<span class="pagenum"><a id="Page_105" name="Page_105">[Pg 105]</a></span> he made serene every broken spirit: and with his words
+he turned to yea, or nay, every obdurate intention. By his physical
+force he could restrain any outburst of rage: and with his right hand
+he twisted the iron ring of a door-bell, or a horse-shoe, as if it
+were lead. With his liberality he would assemble together and support
+his every friend, poor or rich, if only he had intellect and worth. He
+adorned and honoured, in every action, no matter what mean and bare
+dwelling; wherefore, in truth, Florence received a very great gift in
+the birth of Leonardo, and an incalculable loss in his death. In the
+art of painting, he added to the manner of colouring in oils a certain
+obscurity, whereby the moderns have given great force and relief to
+their figures. And in statuary, he proved his worth in the three
+figures of bronze that are over the door of S. Giovanni, on the side
+towards the north, executed by Giovan Francesco Rustici, but contrived
+with the advice of Leonardo; which are the most beautiful pieces of
+casting, the best designed, and the most perfect that have as yet been
+seen in modern days. By Leonardo we have the anatomy of the horse, and
+that of man even more complete. And so, on account of all his
+qualities, so many and so divine, although he worked much more by
+words than by deeds, his name and fame can never be extinguished;
+wherefore it was thus said in his praise by Messer Giovan Battista
+Strozzi:</p>
+
+<p class="poem10">
+  Vince costui pur solo<br>
+  Tutti altri; e vince Fidia e vince Apelle<br>
+  E tutto il lor vittorioso stuolo.</p>
+
+<div class="figcenter">
+<a name="img035" id="img035"></a>
+<img src="images/img035-tb.jpg" width="400" height="468" alt="Man and Woman praying." title="">
+<p class="caption">MAN AND WOMAN PRAYING<br>
+(<i>After the panel by</i> Giovan Antonio Boltraffio.<br>
+<i>Milan: Brera, 281</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img035.jpg">View larger image</a></span></p>
+</div>
+
+<p>A disciple of Leonardo was Giovan Antonio Boltraffio of Milan, a
+person of great skill and understanding, who, in the year 1500,
+painted with much diligence, for the Church of the Misericordia,
+without Bologna, a panel in oils containing Our Lady with the Child in
+her arms, S. John the Baptist, S. Sebastian naked, and the patron who
+caused it to be executed, portrayed from the life, on his knees&mdash;a
+truly beautiful work, on which he wrote his name, calling himself a
+disciple of Leonardo. He has made other works, both at Milan and
+elsewhere; but it must be enough here to have named this, which is the
+best. Another (of his disciples) was Marco Oggioni, who painted, in S.
+Maria della Pace, the Passing of Our Lady and the Marriage of Cana in
+Galilee.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="castelfranco" id="castelfranco"></a><span class="pagenum"><a id="Page_107" name="Page_107">[Pg 107]</a></span> GIORGIONE DA CASTELFRANCO</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_castelfranco" id="life_of_castelfranco"></a><span class="pagenum"><a id="Page_109" name="Page_109">[Pg 109]</a></span> LIFE OF GIORGIONE DA CASTELFRANCO</h2>
+
+<h3>PAINTER OF VENICE</h3>
+
+
+<p>At the same time when Florence was acquiring such fame by reason of
+the works of Leonardo, no little adornment was conferred on Venice by
+the talent and excellence of one of her citizens, who surpassed by a
+great measure not only the Bellini, whom the Venetians held in such
+esteem, but also every other master who had painted up to that time in
+that city. This was Giorgio, who was born at Castelfranco in the
+territory of Treviso, in the year 1478, when the Doge was Giovanni
+Mozzenigo, brother of Doge Piero. In time, from the nature of his
+person and from the greatness of his mind, Giorgio came to be called
+Giorgione; and although he was born from very humble stock,
+nevertheless he was not otherwise than gentle and of good breeding
+throughout his whole life. He was brought up in Venice, and took
+unceasing delight in the joys of love; and the sound of the lute gave
+him marvellous pleasure, so that in his day he played and sang so
+divinely that he was often employed for that purpose at various
+musical assemblies and gatherings of noble persons. He studied
+drawing, and found it greatly to his taste; and in this nature
+favoured him so highly, that he, having become enamoured of her
+beauties, would never represent anything in his works without copying
+it from life; and so much was he her slave, imitating her
+continuously, that he acquired the name not only of having surpassed
+Giovanni and Gentile Bellini, but also of being the rival of the
+masters who were working in Tuscany and who were the creators of the
+modern manner. Giorgione had seen some things by the hand of Leonardo
+with a beautiful gradation of colours, and with extraordinary relief,
+effected, as has been related, by means of dark shadows; and this
+manner pleased him so much <span class="pagenum"><a id="Page_110" name="Page_110">[Pg 110]</a></span> that he was for ever studying it
+as long as he lived, and in oil-painting he imitated it greatly.
+Taking pleasure in the delights of good work, he was ever selecting,
+for putting into his pictures, the greatest beauty and the greatest
+variety that he could find. And nature gave him a spirit so benign,
+and with this, both in oil-painting and in fresco, he made certain
+living forms and other things so soft, so well harmonized, and so well
+blended in the shadows, that many of the excellent masters of his time
+were forced to confess that he had been born to infuse spirit into
+figures and to counterfeit the freshness of living flesh better than
+any other painter, not only in Venice, but throughout the whole world.</p>
+
+<div class="figcenter">
+<a name="img036" id="img036"></a>
+<img src="images/img036-tb.jpg" width="400" height="445" alt="Figures in a Landscape." title="">
+<p class="caption">GIORGIONE DA CASTELFRANCO: FIGURES IN A LANDSCAPE<br>
+(<i>Venice: Prince Giovanelli. Canvas</i>)<br>
+<span class="link"><a href="images/img036.jpg">View larger image</a></span></p>
+</div>
+
+<p>In his youth he executed in Venice many pictures of Our Lady and other
+portraits from nature, which are very lifelike and beautiful; of which
+we still have proof in three most beautiful heads in oils by his hand,
+which are in the study of the Very Reverend Grimani, Patriarch of
+Aquileia. One represents David&mdash;and it is reported to be his own
+portrait&mdash;with long locks reaching to the shoulders, as was the custom
+of those times; it is so vivacious and so fresh in colouring that it
+seems to be living flesh, and there is armour on the breast, as there
+is on the arm with which he is holding the severed head of Goliath.
+The second is a much larger head, portrayed from nature; one hand is
+holding the red cap of a commander, and there is a cape of fur, below
+which is one of the old-fashioned doublets. This is believed to
+represent some military leader. The third is that of a boy, as
+beautiful as could be, with fleecy hair. These works demonstrate the
+excellence of Giorgione, and no less the affection which that great
+Patriarch has ever borne to his genius, holding them very dear, and
+that rightly. In Florence, in the house of the sons of Giovanni
+Borgherini, there is a portrait by his hand of the said Giovanni,
+taken when he was a young man in Venice, and in the same picture is
+the master who was teaching him; and there are no two heads to be seen
+with better touches in the flesh-colours or with more beautiful tints
+in the shadows. In the house of Anton de' Nobili there is another head
+of a captain in armour, very lively and spirited, which is said to be
+one of the captains whom Consalvo Ferrante took with him to Venice
+when he visited Doge Agostino Barberigo; at which time, it <span class="pagenum"><a id="Page_111" name="Page_111">[Pg 111]</a></span>
+is related, Giorgione made a portrait of the great Consalvo in armour,
+which was a very rare work, insomuch that there was no more beautiful
+painting than this to be seen, and Consalvo took it away with him.
+Giorgione made many other portraits which are scattered throughout
+many parts of Italy; all very beautiful, as may be believed from that
+of Leonardo Loredano, painted by Giorgione when Leonardo was Doge,
+which I saw exhibited on one Ascension day, when I seemed to see that
+most illustrious Prince alive. There is also one at Faenza, in the
+house of Giovanni da Castel Bolognese, an excellent engraver of cameos
+and crystals; which work, executed for his father-in-law, is truly
+divine, since there is such a harmony in the gradation of the colours
+that it appears to be rather in relief than painted.</p>
+
+<p>Giorgione took much delight in painting in fresco, and one among many
+works that he executed was the whole of a façade of the Ca Soranzo on
+the Piazza di S. Polo; wherein, besides many pictures and scenes and
+other things of fancy, there may be seen a picture painted in oils on
+the plaster, a work which has withstood rain, sun, and wind, and has
+remained fresh up to our own day. There is also a Spring, which
+appears to me to be one of the most beautiful works that he painted in
+fresco, and it is a great pity that time has consumed it so cruelly.
+For my part, I know nothing that injures works in fresco more than the
+sirocco, and particularly near the sea, where it always brings a salt
+moisture with it.</p>
+
+<p>There broke out at Venice, in the year 1504, in the Fondaco de'
+Tedeschi by the Ponte del Rialto, a most terrible fire, which consumed
+the whole building and all the merchandise, to the very great loss of
+the merchants; wherefore the Signoria of Venice ordained that it
+should be rebuilt anew, and it was speedily finished with more
+accommodation in the way of living-rooms, and with greater
+magnificence, adornment, and beauty. Thereupon, the fame of Giorgione
+having grown great, it was ordained after deliberation by those who
+had charge of the matter, that Giorgione should paint it in fresco
+with colours according to his own fancy, provided only that he gave
+proof of his genius and executed an excellent work, since it would be
+in the most beautiful place and most conspicuous site in the city. And
+so Giorgione put his hand to the work, <span class="pagenum"><a id="Page_112" name="Page_112">[Pg 112]</a></span> but thought of
+nothing save of making figures according to his own fancy, in order to
+display his art, so that, in truth, there are no scenes to be found
+there with any order, or representing the deeds of any distinguished
+person, either ancient or modern; and I, for my part, have never
+understood them, nor have I found, for all the inquiries that I have
+made, anyone who understands them, for in one place there is a woman,
+in another a man, in diverse attitudes, while one has the head of a
+lion near him, and another an angel in the guise of a Cupid, nor can
+one tell what it may all mean. There is, indeed, over the principal
+door, which opens into the Merceria, a woman seated who has at her
+feet the severed head of a giant, almost in the form of a Judith; she
+is raising the head with her sword, and speaking with a German, who is
+below her; but I have not been able to determine for what he intended
+her to stand, unless, indeed, he may have meant her to represent
+Germany. However, it may be seen that his figures are well grouped,
+and that he was ever making progress; and there are in it heads and
+parts of figures very well painted, and most vivacious in colouring.
+In all that he did there he aimed at being faithful to nature, without
+any imitation of another's manner; and the work is celebrated and
+famous in Venice, no less for what he painted therein than through its
+convenience for commerce and its utility to the commonwealth.</p>
+
+<p>He executed a picture of Christ bearing the Cross, with a Jew dragging
+him along, which in time was placed in the Church of S. Rocco, and
+which now, through the veneration that many feel for it, works
+miracles, as all may see. He worked in various places, such as
+Castelfranco, and throughout the territory of Treviso, and he made
+many portraits for Italian Princes; and many of his works were sent
+out of Italy, as things truly worthy to bear testimony that if Tuscany
+had a superabundance of craftsmen in every age, the region beyond,
+near the mountains, was not always abandoned and forgotten by Heaven.</p>
+
+<div class="figcenter">
+<a name="img037" id="img037"></a>
+<img src="images/img037-tb.jpg" width="400" height="509" alt="Portrait of a Young Man." title="">
+<p class="caption">PORTRAIT OF A YOUNG MAN<br>
+(<i>After the painting by</i> Giorgione da Castelfranco.<br>
+<i>Berlin: Kaiser Friedrich Museum, 12A</i>)<br>
+<i>Bruckmann</i><br>
+<span class="link"><a href="images/img037.jpg">View larger image</a></span></p>
+</div>
+
+<p>It is related that Giorgione, at the time when Andrea Verrocchio was
+making his bronze horse, fell into an argument with certain sculptors,
+who maintained, since sculpture showed various attitudes and aspects
+in one single figure to one walking round it, that for this reason it
+surpassed <span class="pagenum"><a id="Page_113" name="Page_113">[Pg 113]</a></span> painting, which only showed one side of a
+figure. Giorgione was of the opinion that there could be shown in a
+painted scene, without any necessity for walking round, at one single
+glance, all the various aspects that a man can present in many
+gestures&mdash;a thing which sculpture cannot do without a change of
+position and point of view, so that in her case the points of view are
+many, and not one. Moreover, he proposed to show in one single painted
+figure the front, the back, and the profile on either side, a
+challenge which brought them to their senses; and he did it in the
+following way. He painted a naked man with his back turned, at whose
+feet was a most limpid pool of water, wherein he painted the
+reflection of the man's front. At one side was a burnished cuirass
+that he had taken off, which showed his left profile, since everything
+could be seen on the polished surface of the piece of armour; and on
+the other side was a mirror, which reflected the other profile of the
+naked figure; which was a thing of most beautiful and bizarre fancy,
+whereby he sought to prove that painting does in fact, with more
+excellence, labour, and effect, achieve more at one single view of a
+living figure than does sculpture. And this work was greatly extolled
+and admired, as something ingenious and beautiful.</p>
+
+<div class="figcenter">
+<a name="img038" id="img038"></a>
+<img src="images/img038-tb.jpg" width="300" height="655" alt="Judith." title="">
+<p class="caption">JUDITH<br>
+(<i>After the painting by</i> Giorgione da Castelfranco.<br>
+<i>S. Petersburg: Hermitage, 112</i>)<br>
+<i>M.S.</i><br>
+<span class="link"><a href="images/img038.jpg">View larger image</a></span></p>
+</div>
+
+<p>He also made a portrait from life of Caterina, Queen of Cyprus, which
+I once saw in the hands of the illustrious Messer Giovanni Cornaro.
+There is in our book a head coloured in oils, the portrait of a German
+of the Fugger family, who was at that time one of the chief merchants
+in the Fondaco de' Tedeschi, which is an admirable work; together with
+other sketches and drawings made by him with the pen.</p>
+
+<p>While Giorgione was employed in doing honour both to himself and to
+his country, and frequenting many houses in order to entertain his
+various friends with his music, he became enamoured of a lady, and
+they took much joy, one with another, in their love. Now it happened
+that in the year 1511 she became infected with plague, without,
+however, knowing anything about it; and Giorgione, visiting her as
+usual, caught the plague in such a manner, that in a short time, at
+the age of thirty-four, he passed away to the other life, not without
+infinite grief on the part of his many friends, who loved him for his
+virtues, and great hurt <span class="pagenum"><a id="Page_114" name="Page_114">[Pg 114]</a></span> to the world, which thus lost him.
+However, they could bear up against this hurt and loss, in that he
+left behind him two excellent disciples in Sebastiano, the Venetian,
+who afterwards became Friar of the Piombo<a id="FNanchor12" name="FNanchor12"></a><a href="#Footnote12" title="Go to footnote 12" class="fnanchor">[12]</a> at Rome, and Tiziano da
+Cadore, who not only equalled him, but surpassed him greatly; of both
+of whom we will speak at the proper time, describing fully the honour
+and benefit that they have conferred on art.</p>
+
+<div class="figcenter">
+<a name="img039" id="img039"></a>
+<img src="images/img039-tb.jpg" width="400" height="480" alt="Caterina, Queen of Cyprus." title="">
+<p class="caption">CATERINA, QUEEN OF CYPRUS<br>
+(<i>After the painting by</i> Giorgione da Castelfranco (?).<br>
+<i>Milan: Crespi Collection</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img039.jpg">View larger image</a></span></p>
+</div>
+
+
+<hr style="width: 65%;">
+<h2><a name="correggio" id="correggio"></a><span class="pagenum"><a id="Page_115" name="Page_115">[Pg 115]</a></span> ANTONIO DA CORREGGIO</h2>
+
+<hr style="width: 65%;">
+<h2><a name="life_of_correggio" id="life_of_correggio"></a><span class="pagenum"><a id="Page_117" name="Page_117">[Pg 117]</a></span> LIFE OF ANTONIO DA CORREGGIO</h2>
+
+<h3>PAINTER</h3>
+
+
+<p>I do not wish to leave that country wherein our great mother Nature,
+in order not to be thought partial, gave to the world extraordinary
+men of that sort with which she had already for many and many a year
+adorned Tuscany; among whom was one endowed with an excellent and very
+beautiful genius, by name Antonio da Correggio, a most rare painter,
+who acquired the modern manner so perfectly, that in a few years, what
+with his natural gifts and his practice in art, he became a most
+excellent and marvellous craftsman. He was very timid by nature, and
+with great discomfort to himself he was continually labouring at the
+exercise of his art, for the sake of his family, which weighed upon
+him; and although it was a natural goodness that impelled him,
+nevertheless he afflicted himself more than was right in bearing the
+burden of those sufferings which are wont to crush mankind. He was
+very melancholy in his practice of art, a slave to her labours, and an
+unwearying investigator of all the difficulties of her realm; to which
+witness is borne by a vast multitude of figures in the Duomo of Parma,
+executed in fresco and well finished, which are to be found in the
+great tribune of the said church, and are seen foreshortened from
+below with an effect of marvellous grandeur.</p>
+
+<p>Antonio was the first who began to work in the modern manner in
+Lombardy; wherefore it is thought that if he, with his genius, had
+gone forth from Lombardy and lived in Rome, he would have wrought
+miracles, and would have brought the sweat to the brow of many who
+were held to be great men in his time. For, his works being such as
+they are without his having seen any of the ancient or the best of the
+modern, it <span class="pagenum"><a id="Page_118" name="Page_118">[Pg 118]</a></span> necessarily follows that, if he had seen them, he
+would have vastly improved his own, and, advancing from good to
+better, would have reached the highest rank. It may, at least, be held
+for certain that no one ever handled colours better than he, and that
+no craftsman ever painted with greater delicacy or with more relief,
+such was the softness of his flesh-painting, and such the grace with
+which he finished his works.</p>
+
+<div class="figcenter">
+<a name="img040" id="img040"></a>
+<img src="images/img040-tb.jpg" width="400" height="599" alt="Antiope." title="">
+<p class="caption">ANTONIO DA CORREGGIO: ANTIOPE<br>
+(<i>Paris: Louvre, 1118. Canvas</i>)<br>
+<span class="link"><a href="images/img040.jpg">View larger image</a></span></p>
+</div>
+
+<p>In the same place, also, he painted two large pictures executed in
+oils, in one of which, among other figures, there may be seen a Dead
+Christ, which was highly extolled. And in S. Giovanni, in the same
+city, he painted a tribune in fresco, wherein he represented Our Lady
+ascending into Heaven amidst a multitude of angels, with other saints
+around; as to which, it seems impossible that he should have been
+able, I do not say to express it with his hand, but even to conceive
+it in his imagination, so beautiful are the curves of the draperies
+and the expressions that he gave to those figures. Of these there are
+some drawings in our book, done in red chalk by his hand, with some
+very beautiful borders of little boys, and other borders drawn in that
+work by way of ornament, with various fanciful scenes of sacrifices in
+the ancient manner. And in truth, if Antonio had not brought his works
+to that perfection which is seen in them, his drawings (although they
+show excellence of manner, and the charm and practised touch of a
+master) would not have gained for him among craftsmen the name that he
+has won with his wonderful paintings. This art is so difficult, and
+has so many branches, that very often a craftsman is not able to
+practise them all to perfection; for there have been many who have
+drawn divinely well, but have shown some imperfection in colouring,
+and others have been marvellous in colouring, but have not drawn half
+so well. All this depends on choice, and on the practice bestowed, in
+youth, in one case on drawing, in another on colour. But since all is
+learnt in order to carry works to the height of perfection, which is
+to put good colouring, together with draughtsmanship, into everything
+that is executed, for this reason Correggio deserves great praise,
+having attained to the height of perfection in the works that he
+coloured either in oils or in fresco; as he did in the Church of the
+Frati de' Zoccoli di S. Francesco, in the same city, <span class="pagenum"><a id="Page_119" name="Page_119">[Pg 119]</a></span> where
+he painted an Annunciation in fresco so well, that, when it became
+necessary to pull it down in making some changes in that building,
+those friars caused the wall round it to be bound with timber
+strengthened with iron, and, cutting it away little by little, they
+saved it; and it was built by them into a more secure place in the
+same convent.</p>
+
+<p>He painted, also, over one of the gates of that city, a Madonna who
+has the Child in her arms; and it is an astounding thing to see the
+lovely colouring of this work in fresco, through which he has won from
+passing strangers, who have seen nothing else of his, infinite praise
+and honour. For S. Antonio, likewise in that city, he painted a panel
+wherein is a Madonna, with S. Mary Magdalene; and near them is a boy
+in the guise of a little angel, holding a book in his hand, who is
+smiling, with a smile that seems so natural that he moves whoever
+beholds him to smile also, nor can any person, be his nature ever so
+melancholy, see him without being cheered. There is also a S. Jerome;
+and the whole work is coloured in a manner so wonderful and so
+astounding, that painters revere it for the marvel of its colouring,
+and it is scarcely possible to paint better.</p>
+
+<p>In like manner, he executed square pictures and other paintings for
+many lords throughout Lombardy; and, among other works, two pictures
+in Mantua for Duke Federigo II, to be sent to the Emperor, a gift
+truly worthy of such a Prince. Giulio Romano, seeing these works, said
+that he had never seen any colouring that attained to such perfection.
+One was a naked Leda, and the other a Venus; both so soft in
+colouring, with the shadows of the flesh so well wrought, that they
+appeared to be not colours, but flesh. In one there was a marvellous
+landscape, nor was there ever a Lombard who painted such things better
+than he; and, besides this, hair so lovely in colour, and executed in
+detail with such exquisite finish, that it is not possible to see
+anything better. There were also certain Loves, executed with
+beautiful art, who were making trial of their arrows, some of gold and
+some of lead, on a stone; and what lent most grace to the Venus was a
+clear and limpid stream, which ran among some stones and bathed her
+feet, but scarcely concealed any part of them, so that the sight of
+their delicate whiteness was a <span class="pagenum"><a id="Page_120" name="Page_120">[Pg 120]</a></span> moving thing for the eye to
+behold. For which reason Antonio most certainly deserved all praise
+and honour during his lifetime, and the greatest glory from the lips
+and pens of men after his death.</p>
+
+<p>In Modena, also, he painted a panel-picture of Our Lady, which is held
+in esteem by all painters, as the best picture in that city. In
+Bologna, likewise, in the house of the Ercolani, gentlemen of that
+city, there is a work by his hand, a Christ appearing to Mary
+Magdalene in the Garden, which is very beautiful. In Reggio there was
+a rare and most beautiful picture; and not long since, Messer Luciano
+Pallavigino, who takes much delight in noble paintings, passing
+through the city and seeing it, gave no thought to the cost, and, as
+if he had bought a jewel, sent it to his house in Genoa. At Reggio,
+likewise, is a panel containing a Nativity of Christ, wherein the
+splendour radiating from Him throws its light on the shepherds and all
+around on the figures that are contemplating Him; and among the many
+conceptions shown in that subject, there is a woman who, wishing to
+gaze intently at Christ, and not being able with her mortal sight to
+bear the light of His Divinity, which seems to be beating upon her
+with its rays, places a hand before her eyes; which is expressed so
+well that it is a marvel. Over the hut is a choir of angels singing,
+who are so well executed, that they appear rather to have rained down
+from Heaven than to have been made by the hand of a painter. And in
+the same city there is a little picture, a foot square, the rarest and
+most beautiful work that is to be seen by his hand, of Christ in the
+Garden, representing an effect of night, and painted with little
+figures; wherein the Angel, appearing to Christ, illumines Him with
+the splendour of his light, with such truth to nature, that nothing
+better can be imagined or expressed. Below, on a plain at the foot of
+the mountain, are seen the three Apostles sleeping, over whom the
+mountain on which Christ is praying casts a shadow, giving those
+figures a force which one is not able to describe. Far in the
+background, over a distant landscape, there is shown the appearing of
+the dawn; and on one side are seen coming some soldiers, with Judas.
+And although it is so small, this scene is so well conceived, that
+there is no work of the same kind to equal it either in patience or in
+study.</p>
+
+<div class="figcenter">
+<a name="img041" id="img041"></a>
+<img src="images/img041-tb.jpg" width="500" height="370" alt="S. Thomas and S. James the Less." title="">
+<p class="caption">S. THOMAS AND S. JAMES THE LESS<br>
+(<i>Detail, after the fresco by</i> Antonio da Correggio.<br>
+<i>Parma: S. Giovanni Evangelista</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img041.jpg">View larger image</a></span></p>
+</div>
+
+<p><span class="pagenum"><a id="Page_121" name="Page_121">[Pg 121]</a></span> Many things might be said of the works of this master; but
+since, among the eminent men of our art, everything that is to be seen
+by his hand is admired as something divine, I will say no more. I have
+used all possible diligence in order to obtain his portrait, but,
+since he himself did not make it, and he was never portrayed by
+others, for he always lived in retirement, I have not been able to
+find one. He was, in truth, a person who had no opinion of himself,
+nor did he believe himself to be an able master of his art,
+contrasting his deficiencies with that perfection which he would have
+liked to achieve. He was contented with little, and he lived like an
+excellent Christian.</p>
+
+<div class="figcenter">
+<a name="img042" id="img042"></a>
+<img src="images/img042-tb.jpg" width="400" height="588" alt="The Madonna and Child with S. Jerome." title="">
+<p class="caption">THE MADONNA AND CHILD WITH S. JEROME<br>
+(<i>After the painting by</i> Antonio da Correggio.<br>
+<i>Parma: Gallery, 351</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img042.jpg">View larger image</a></span></p>
+</div>
+
+<p>Antonio, like a man who was weighed down by his family, was anxious to
+be always saving, and he had thereby become as miserly as he could
+well be. Wherefore it is related that, having received at Parma a
+payment of sixty crowns in copper coins, and wishing to take them to
+Correggio to meet some demand, he placed the money on his back and set
+out to walk on foot; but, being smitten by the heat of the sun, which
+was very great, and drinking water to refresh himself, he was seized
+by pleurisy, and had to take to his bed in a raging fever, nor did he
+ever raise his head from it, but finished the course of his life at
+the age of forty, or thereabout.</p>
+
+<p>His pictures date about 1512; and he bestowed a very great gift on
+painting by his handling of colours, which was that of a true master;
+and it was by means of him that men's eyes were opened in Lombardy,
+where so many beautiful intellects have been seen in painting,
+following him in making works worthy of praise and memory. Thus, by
+showing them his treatment of hair, executed with such facility, for
+all the difficulty of painting it, he taught them how it should be
+painted; for which all painters owe him an everlasting debt. At their
+instance the following epigram was written to him by Messer Fabio
+Segni, a gentleman of Florence:</p>
+
+<p class="poem10">
+  Hujus cum regeret mortales spiritus artus<br>
+<span class="add1em">Pictoris, Charites supplicuere Jovi.</span><br>
+  Non alia pingi dextra, Pater alme, rogamus;<br>
+<span class="add1em">Hunc præter, nulli pingere nos liceat.</span><br>
+  <span class="pagenum"><a id="Page_122" name="Page_122">[Pg 122]</a></span> Annuit his votis summi regnator Olympi,<br>
+<span class="add1em">Et juvenem subito sidera ad alta tulit,</span><br>
+  Ut posset melius Charitum simulacra referre<br>
+<span class="add1em">Præsens, et nudas cerneret inde Deas.</span></p>
+
+<p>At this same time lived Andrea del Gobbo of Milan, a very pleasing
+painter and colourist, many of whose works are scattered about in the
+houses of his native city of Milan. There is a large panel-picture of
+the Assumption of Our Lady, by his hand, in the Certosa of Pavia, but
+it was left unfinished, on account of death overtaking him; which
+panel shows how excellent he was, and how great a lover of the labours
+of art.</p>
+
+<div class="figcenter">
+<a name="img043" id="img043"></a>
+<img src="images/img043-tb.jpg" width="400" height="311" alt="The Adoration of the Magi." title="">
+<p class="caption">ANTONIO DA CORREGGIO: THE ADORATION OF THE MAGI<br>
+(<i>Milan: Brera, 427. Canvas</i>)<br>
+<span class="link"><a href="images/img043.jpg">View larger image</a></span></p>
+</div>
+
+
+<hr style="width: 65%;">
+<h2><a name="cosimo" id="cosimo"></a><span class="pagenum"><a id="Page_123" name="Page_123">[Pg 123]</a></span> PIERO DI COSIMO</h2>
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_cosimo" id="life_of_cosimo"></a><span class="pagenum"><a id="Page_125" name="Page_125">[Pg 125]</a></span> LIFE OF PIERO DI COSIMO</h2>
+
+<h3>PAINTER OF FLORENCE</h3>
+
+
+<p>While Giorgione and Correggio, to their own great credit and glory,
+were honouring the regions of Lombardy, Tuscany, on her part, was not
+wanting in men of beautiful intellect; among whom, not one of the
+least was Piero, the son of one Lorenzo, a goldsmith, and a pupil of
+Cosimo Rosselli, after whom he was always called Piero di Cosimo, and
+known by no other name. And in truth, when a man teaches us excellence
+and gives us the secret of living rightly, he deserves no less
+gratitude from us, and should be held no less as a true father, than
+he who begets us and gives us life and nothing more.</p>
+
+<p>Piero was entrusted by his father, who saw in his son a lively
+intelligence and an inclination to the art of design, to the care of
+Cosimo, who took him with no ordinary willingness; and seeing him grow
+no less in ability than in years, among the many disciples that he
+had, he bore him love as to a son, and always held him as such. This
+young man had by nature a most lofty spirit, and he was very strange,
+and different in fancy from the other youths who were working with
+Cosimo in order to learn the same art. He was at times so intent on
+what he was doing, that when some subject was being discussed, as
+often happens, at the end of the discussion it was necessary to go
+back to the beginning and tell him the whole, so far had his brain
+wandered after some other fancy of his own. And he was likewise so
+great a lover of solitude, that he knew no pleasure save that of going
+off by himself with his thoughts, letting his fancy roam and building
+his castles in the air. Right good reason had Cosimo, his master, for
+wishing him well, seeing that he made so much use of him in his works,
+that very often he caused him to execute <span class="pagenum"><a id="Page_126" name="Page_126">[Pg 126]</a></span> things of great
+importance, knowing that Piero had a more beautiful manner, as well as
+better judgment, than himself. For this reason he took Piero with him
+to Rome, when he was summoned thither by Pope Sixtus in order to paint
+the scenes in his chapel; in one of which Piero executed a very
+beautiful landscape, as was related in the Life of Cosimo.</p>
+
+<p>And since Piero drew most excellently from the life, he made in Rome
+many portraits of distinguished persons; in particular, those of
+Virginio Orsino and Ruberto Sanseverino, which he placed in the
+aforesaid scenes. Afterwards, also, he made a portrait of Duke
+Valentino, the son of Pope Alexander VI; which painting, to my
+knowledge, is not now to be found; but the cartoon by his hand still
+exists, being in the possession of the reverend and cultured M. Cosimo
+Bartoli, Provost of S. Giovanni. In Florence, he painted many pictures
+for a number of citizens, which are dispersed among their various
+houses, and of such I have seen some that are very good; and so, also,
+various things for many other persons. In the Noviciate of S. Marco is
+a picture by his hand of Our Lady, standing, with the Child in her
+arms, coloured in oils. And for the Chapel of Gino Capponi, in the
+Church of S. Spirito at Florence, he painted a panel wherein is the
+Visitation of Our Lady, with S. Nicholas, and a S. Anthony who is
+reading with a pair of spectacles on his nose, a very spirited figure.
+Here he counterfeited a book bound in parchment, somewhat old, which
+seems to be real, and also some balls that he gave to the S. Nicholas,
+shining and casting gleams of light and reflections from one to
+another; from which even by that time men could perceive the
+strangeness of his brain, and his constant seeking after difficulties.</p>
+
+<div class="figcenter">
+<a name="img044" id="img044"></a>
+<img src="images/img044-tb.jpg" width="500" height="176" alt="The Death of Procris." title="">
+<p class="caption">PIERO DI COSIMO: THE DEATH OF PROCRIS<br>
+(<i>London: National Gallery, 698. Panel</i>)<br>
+<span class="link"><a href="images/img044.jpg">View larger image</a></span></p>
+</div>
+
+<p>Even better did he show this after the death of Cosimo, when he kept
+himself constantly shut up, and would not let himself be seen at work,
+leading the life of a man who was less man than beast. He would never
+have his rooms swept, he would only eat when hunger came to him, and
+he would not let his garden be worked or his fruit-trees pruned; nay,
+he allowed his vines to grow, and the shoots to trail over the ground,
+nor were his fig-trees ever trimmed, or any other trees, for it
+pleased him to see everything wild, like his own nature; and he
+declared that Nature's own things should be left to her to look after,
+without lifting a hand to <span class="pagenum"><a id="Page_127" name="Page_127">[Pg 127]</a></span> them. He set himself often to
+observe such animals, plants, or other things as Nature at times
+creates out of caprice, or by chance; in which he found a pleasure and
+satisfaction that drove him quite out of his mind with delight; and he
+spoke of them so often in his discourse, that at times, although he
+found pleasure in them, it became wearisome to others. He would
+sometimes stop to gaze at a wall against which sick people had been
+for a long time discharging their spittle, and from this he would
+picture to himself battles of horsemen, and the most fantastic cities
+and widest landscapes that were ever seen; and he did the same with
+the clouds in the sky.</p>
+
+<p>He gave his attention to colouring in oils, having seen some works of
+Leonardo's, executed with that gradation of colour, and finished with
+that extraordinary diligence, which Leonardo used to employ when he
+wished to display his art. And so Piero, being pleased with his
+method, sought to imitate it, although he was afterwards very distant
+from Leonardo, and worlds away from any other manner. It may be said,
+in truth, that he changed his manner almost for every work that he
+executed.</p>
+
+<p>If Piero had not been so solitary, and had taken more care of himself
+in his way of living than he did, he would have made known the
+greatness of his intellect in such a way that he would have been
+revered, whereas, by reason of his uncouth ways, he was rather held to
+be a madman, although in the end he did no harm save to himself alone,
+while his works were beneficial and useful to his art. For which
+reason every good intellect and every excellent craftsman should
+always be taught, from such an example, to keep his eyes on the end of
+life.</p>
+
+<p>Nor will I refrain from saying that Piero, in his youth, being
+fanciful and extravagant in invention, was much employed for the
+masquerades that are held during the Carnival; and he became very dear
+to the young noblemen of Florence, having improved their festivals
+much in invention, adornment, grandeur, and pomp. As to that kind of
+pastime, it is said that he was one of the first to contrive to
+marshal them in the form of triumphal processions; at least, he
+improved them greatly, by accompanying the invention of the story
+represented, not only with music and with words suited to the subject,
+but also with a train of incredible <span class="pagenum"><a id="Page_128" name="Page_128">[Pg 128]</a></span> pomp, formed of men on
+foot and on horseback, with habits and ornaments in keeping with the
+story; which produced a very rich and beautiful effect, and had in it
+something both grand and ingenious. And it was certainly a very
+beautiful thing to see, by night, twenty-five or thirty pairs of
+horses, most richly caparisoned, with their riders in costume,
+according to the subject of the invention, and six or eight grooms to
+each rider, with torches in their hands, and all clothed in one and
+the same livery, sometimes more than four hundred in number; and then
+the chariot, or triumphal car, covered with ornaments, trophies, and
+most bizarre things of fancy; altogether, a thing which makes men's
+intellects more subtle, and gives great pleasure and satisfaction to
+the people.</p>
+
+<div class="figcenter">
+<a name="img045" id="img045"></a>
+<img src="images/img045-tb.jpg" width="500" height="196" alt="Perseus delivering Andromeda." title="">
+<p class="caption">PERSEUS DELIVERING ANDROMEDA<br>
+(<i>After the panel by</i> Piero di Cosimo.<br>
+<i>Florence: Uffizi, 1312</i>)<br>
+<i>Brogi</i><br>
+<span class="link"><a href="images/img045.jpg">View larger image</a></span></p>
+</div>
+
+<p>Among these spectacles, which were numerous and ingenious, it is my
+pleasure to give a brief description of one, which was contrived
+mostly by Piero, when he was already of a mature age, and which was
+not, like many, pleasing through its beauty, but, on the contrary, on
+account of a strange, horrible, and unexpected invention, gave no
+little satisfaction to the people: for even as in the matter of food
+bitter things sometimes give marvellous delight to the human palate,
+so do horrible things in such pastimes, if only they be carried out
+with judgment and art; which is evident in the representation of
+tragedies. This was the Car of Death, wrought by him with the greatest
+secrecy in the Sala del Papa, so that nothing could ever be found out
+about it, until it was seen and known at one and the same moment. This
+triumphal chariot was an enormous car drawn by buffaloes, black all
+over and painted with skeletons and white crosses; and upon the
+highest point of the car stood a colossal figure of Death, scythe in
+hand, and right round the car were a number of covered tombs; and at
+all the places where the procession halted for the chanting of dirges,
+these tombs opened, and from them issued figures draped in black
+cloth, upon which were painted all the bones of a skeleton, over their
+arms, breasts, flanks, and legs; which, what with the white over the
+black, and the appearing in the distance of some figures carrying
+torches, with masks that represented a death's head both in front and
+behind, as well as the neck, not only gave an appearance of the
+greatest reality, but was also horrible and terrifying <span class="pagenum"><a id="Page_129" name="Page_129">[Pg 129]</a></span> to
+behold. And these figures of the dead, at the sound of certain muffled
+trumpets, low and mournful in tone, came half out of their tombs, and,
+seating themselves upon them, sang to music full of melancholy that
+song so celebrated at the present day: "Dolor, pianto, e penitenzia."
+Before and after the car came a great number of the dead, riding on
+certain horses picked out with the greatest diligence from among the
+leanest and most meagre that could be found, with black caparisons
+covered with white crosses; and each had four grooms draped in the
+garb of death, with black torches, and a large black standard with
+crosses, bones, and death's heads. After the car were trailed ten
+black standards; and as they walked, the whole company sang in unison,
+with trembling voices, that Psalm of David that is called the
+Miserere.</p>
+
+<p>This dread spectacle, through its novelty and terror, as I have said,
+filled the whole city with fear and marvel together; and although at
+the first sight it did not seem suited to a Carnival, nevertheless,
+being new and very well arranged, it pleased the minds of all, and
+Piero, the creator and inventor of the whole, gained consummate praise
+and commendation for it; and it was the reason that afterwards, going
+from one thing to another, men continued to contrive lively and
+ingenious inventions, so that in truth, for such representations and
+for holding similar festivals, this city has never had an equal. And
+in those old men who saw it there still remains a vivid memory of it,
+nor are they ever weary of celebrating this fantastic invention. I
+have heard from the lips of Andrea di Cosimo, who helped him to carry
+out the work, and of Andrea del Sarto, who was Piero's disciple, and
+who also had a hand in it, that it was a common opinion at that time
+that this invention was intended to foreshadow the return of the
+Medici family to Florence in the year 1512, since at the time when the
+procession was held they were exiles, and, so to speak, dead, but
+destined in a short time to come to life; and in this sense were
+interpreted the following words in the song&mdash;</p>
+
+<p class="poem10">
+  Morti siam come vedete,<br>
+  Così morti vedrem voi;<br>
+  Fummo già come voi siete,<br>
+  Voi sarete come noi, etc.</p>
+
+<p><span class="pagenum"><a id="Page_130" name="Page_130">[Pg 130]</a></span> whereby men wished to signify the return of that family (a
+resurrection, as it were, from death to life), and the expulsion and
+abasement of their enemies; or it may have been that many gave it that
+significance from the subsequent fact of the return of that
+illustrious house to Florence&mdash;so prone is the human intellect to
+applying every word and act that has come previously, to the events
+that happen afterwards. Certain it is that this was the opinion of
+many at that time; and it was much spoken of.</p>
+
+<div class="figcenter">
+<a name="img046" id="img046"></a>
+<img src="images/img046-tb.jpg" width="500" height="200" alt="Venus, Mars, and Cupid." title="">
+<p class="caption">VENUS, MARS, AND CUPID<br>
+(<i>After the panel by</i> Piero di Cosimo.<br>
+<i>Berlin: Kaiser Friedrich Museum, 107</i>)<br>
+<i>Hanfstaengl</i><br>
+<span class="link"><a href="images/img046.jpg">View larger image</a></span></p>
+</div>
+
+<p>But to return to the art and actions of Piero; he was given the
+commission for a panel in the Church of the Servite Friars, in the
+Chapel of the Tedaldi, where they keep the garment and the pillow of
+S. Filippo, a brother of their Order; wherein he depicted Our Lady
+standing, raised from the ground on a pedestal, and uplifting her head
+towards Heaven, with a book in her hand, but without her Son; and
+above her is the Holy Spirit, bathing her with light. Nor did he wish
+that any other light than that of the Dove should illumine her and the
+figures that are round her, such as a S. Margaret and a S. Catherine,
+who are on their knees, adoring her, while S. Peter and S. John the
+Evangelist are standing, contemplating her, together with S. Filippo,
+the Servite Friar, and S. Antonino, Archbishop of Florence. Moreover,
+he made there a landscape that is very bizarre, what with the strange
+trees and certain grottoes. And in truth, there are some very
+beautiful things in this work, such as certain heads that reveal both
+draughtsmanship and grace; besides the colouring, which is very
+harmonious, for it is certain that Piero was a great master of
+colouring in oils. In the predella he painted some little scenes, very
+well executed; and, among others, there is one of S. Margaret issuing
+from the belly of the Dragon, wherein he made that animal so monstrous
+and hideous, that I do not think that there is anything better of that
+kind to be seen, for with its eyes it reveals venom, fire, and death,
+in an aspect truly terrifying. And certainly, as for such things, I do
+not believe that any one ever did them better than he, or came near
+him in imagining them; to which witness is borne by a marine monster
+that he made and presented to the Magnificent Giuliano de' Medici,
+which is so extravagant, bizarre, and fantastic in its deformity, that
+it seems <span class="pagenum"><a id="Page_131" name="Page_131">[Pg 131]</a></span> impossible that Nature should produce anything so
+deformed and strange among her creations. This monster is now in the
+guardaroba of Duke Cosimo de' Medici, as is also a book, likewise by
+the hand of Piero, of animals of the same kind, most beautiful and
+bizarre, hatched very diligently with the pen, and finished with an
+incredible patience; which book was presented to him by M. Cosimo
+Bartoli, Provost of S. Giovanni, who is very much my friend, as he is
+of all our craftsmen, being a man who has always delighted, and still
+delights, in our profession.</p>
+
+<p>He also executed, round a chamber in the house of Francesco del
+Pugliese, various scenes with little figures; nor is it possible to
+describe the different fantastic things that he delighted to paint in
+all those scenes, what with the buildings, the animals, the costumes,
+the various instruments, and any other fanciful things that came into
+his head, since the stories were drawn from fables. These scenes,
+after the death of Francesco del Pugliese and his sons, were taken
+away, nor do I know what has become of them; and the same thing has
+happened to a picture of Mars and Venus, with her Loves and Vulcan,
+executed with great art and with an incredible patience.</p>
+
+<p>Piero painted, for the elder Filippo Strozzi, a picture with little
+figures of Perseus delivering Andromeda from the Monster, in which are
+some very beautiful things. It is now in the house of Signor Sforza
+Almeni, First Chamberlain to Duke Cosimo, having been presented to him
+by Messer Giovanni Battista, the son of Lorenzo Strozzi, who knew how
+much that nobleman delighted in painting and sculpture; and he holds
+it in great account, for Piero never made a more lovely or more highly
+finished picture than this one, seeing that it is not possible to find
+a more bizarre or more fantastic sea-monster than that which Piero
+imagined and painted, or a fiercer attitude than that of Perseus, who
+is raising his sword in the air to smite the beast. In it, trembling
+between fear and hope, Andromeda is seen bound, most beautiful in
+countenance; and in the foreground are many people in various strange
+costumes, playing instruments and singing; among whom are some heads,
+smiling and rejoicing at seeing the deliverance of Andromeda, that are
+divine. The landscape is very beautiful, and the colouring sweet and
+full of <span class="pagenum"><a id="Page_132" name="Page_132">[Pg 132]</a></span> grace. In short, with regard to the harmony and
+gradation of the colours, he executed this work with the greatest
+possible diligence.</p>
+
+<p>He painted, also, a picture containing a nude Venus, with a Mars,
+likewise nude, who is sleeping in a meadow full of flowers, and all
+around are various Loves, who are carrying away, some here, some
+there, the helmet, armlets, and other pieces of armour of Mars; there
+is a grove of myrtle, with a Cupid that is afraid of a rabbit, and
+there are also the Doves of Venus and the other emblems of Love. This
+picture is at Florence, in the house of Giorgio Vasari, who keeps it
+in memory of that master, whose caprices have always pleased him.</p>
+
+<p>The Director of the Hospital of the Innocenti was much the friend of
+Piero; and wishing to have a panel painted, which was to be placed in
+the Pugliese Chapel, near the entrance into the church, on the left
+hand, he gave the commission for it to Piero, who brought it to
+completion at his leisure; but first he reduced his patron to despair,
+for on no account would he let him see it until it was finished. How
+strange this seemed to the patron, both because of their friendship,
+and because of his supplying Piero continually with money, without
+seeing what was being done, he himself showed, when, on the occasion
+of the final payment, he refused to give it to him without seeing the
+work. But, on Piero threatening that he would destroy all that he had
+painted, he was forced to give him the rest, and to wait patiently, in
+a greater rage than ever, for it to be set in place. This picture
+contains much that is truly beautiful.</p>
+
+<p>He undertook to paint a panel for a chapel in the Church of S. Piero
+Gattolini, and in this he represented Our Lady seated, with four
+figures round her, and two angels in the sky, who are crowning her;
+which work, executed with such diligence that it brought him praise
+and honour, is now to be seen in S. Friano, the other church having
+been ruined. For the tramezzo<a id="FNanchor13" name="FNanchor13"></a><a href="#Footnote13" title="Go to footnote 13" class="fnanchor">[13]</a> of the Church of S. Francesco, at
+Fiesole, he painted a little panel-picture of the Conception, which is
+a passing good little work, the figures being of no great size. For
+Giovanni Vespucci, who lived in a house now belonging to Piero
+Salviati, opposite to S. Michele, in the Via de' Servi, he executed
+some bacchanalian scenes, which are <span class="pagenum"><a id="Page_133" name="Page_133">[Pg 133]</a></span> round an apartment;
+wherein he made such strange fauns, satyrs, sylvan gods, little boys,
+and bacchanals, that it is a marvel to see the diversity of the bay
+horses and garments, and the variety of the goatlike features, and all
+with great grace and most vivid truth to nature. In one scene is
+Silenus riding on an ass, with many children, some supporting him, and
+some giving him drink; and throughout the whole is a feeling of the
+joy of life, produced by the great genius of Piero. And in truth, in
+all that there is to be seen by his hand, one recognizes a spirit very
+different and far distant from that of other painters, and a certain
+subtlety in the investigation of some of the deepest and most subtle
+secrets of Nature, without grudging time or labour, but only for his
+own delight and for his pleasure in the art. And it could not well be
+otherwise; since, having grown enamoured of her, he cared nothing for
+his own comfort, and reduced himself to eating nothing but boiled
+eggs, which, in order to save firing, he cooked when he was boiling
+his glue, and not six or eight at a time, but in fifties; and, keeping
+them in a basket, he would eat them one by one. In this life he found
+such peculiar pleasure that any other, in comparison with his own,
+seemed to him slavery. He could not bear the crying of children, the
+coughing of men, the sound of bells, and the chanting of friars; and
+when the rain was pouring in torrents from the sky, it pleased him to
+see it streaming straight down from the roofs and splashing on the
+ground. He had the greatest terror of lightning; and, when he heard
+very loud thunder, he wrapped himself in his mantle, and, having
+closed the windows and the door of the room, he crouched in a corner
+until the storm should pass. He was very varied and original in his
+discourse, and sometimes said such beautiful things, that he made his
+hearers burst with laughter. But when he was old, and near the age of
+eighty, he had become so strange and eccentric that nothing could be
+done with him. He would not have assistants standing round him, so
+that his misanthropy had robbed him of all possible aid. He was
+sometimes seized by a desire to work, but was not able, by reason of
+the palsy, and fell into such a rage that he tried to force his hands
+to labour; but, as he muttered to himself, the mahlstick fell from his
+grasp, and even his brushes, so that it was pitiable to behold. Flies
+enraged <span class="pagenum"><a id="Page_134" name="Page_134">[Pg 134]</a></span> him, and even shadows annoyed him. And so, having
+become ill through old age, he was visited by one or two friends, who
+besought him to make his peace with God; but he would not believe that
+he was dying, and put them off from one day to another; not that he
+was hard of heart, or an unbeliever, for he was a most zealous
+Christian, although his life was that of a beast. He discoursed at
+times on the torments of those ills that destroy men's bodies, and of
+the suffering endured by those who come to die with their strength
+wasting away little by little, which he called a great affliction. He
+spoke evil of physicians, apothecaries, and those who nurse the sick,
+saying that they cause them to die of hunger; besides the tortures of
+syrups, medicines, clysters, and other martyrdoms, such as not being
+allowed to sleep when you are drowsy, making your will, seeing your
+relatives round you, and staying in a dark room. He praised death by
+the hand of justice, saying that it was a fine thing to go to your
+death in that way; to see the broad sky about you, and all that
+throng; to be comforted with sweetmeats and with kind words; to have
+the priest and the people praying for you; and to go into Paradise
+with the Angels; so that whoever departed from this life at one blow,
+was very fortunate. And as he discoursed, he would twist everything to
+the strangest meanings that were ever heard. Wherefore, living in such
+strange fashion, he reduced himself to such a state with his
+extravagant fancies, that one morning he was found dead at the foot of
+a staircase, in the year 1521; and he was given burial in S. Piero
+Maggiore.</p>
+
+<p>His disciples were many, and one among them was Andrea del Sarto, who
+was a host in himself. Piero's portrait I received from Francesco da
+San Gallo, who was much his friend and intimate companion, and who
+made it when Piero was old; which Francesco still has a work by the
+hand of Piero that I must not pass by, a very beautiful head of
+Cleopatra, with an asp wound round her neck, and two portraits, one of
+his father Giuliano, and the other of his grandfather Francesco
+Giamberti, which seem to be alive.</p>
+
+<div class="figcenter">
+<a name="img047" id="img047"></a>
+<img src="images/img047-tb.jpg" width="400" height="594" alt="Francesco Giamberti." title="">
+<p class="caption">FRANCESCO GIAMBERTI<br>
+(<i>After the panel by</i> Piero di Cosimo.<br>
+<i>Hague: Royal Museum, 255</i>)<br>
+<i>Bruckmann</i><br>
+<span class="link"><a href="images/img047.jpg">View larger image</a></span></p>
+</div>
+
+
+<hr style="width: 65%;">
+<h2><a name="urbino" id="urbino"></a><span class="pagenum"><a id="Page_135" name="Page_135">[Pg 135]</a></span> BRAMANTE DA URBINO</h2>
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_urbino" id="life_of_urbino"></a><span class="pagenum"><a id="Page_137" name="Page_137">[Pg 137]</a></span> LIFE OF BRAMANTE DA URBINO</h2>
+
+<h3>ARCHITECT</h3>
+
+
+<p>Of very great advantage to architecture, in truth, was the new method
+of Filippo Brunelleschi, who imitated and restored to the light, after
+many ages, the noble works of the most learned and marvellous
+ancients. But no less useful to our age was Bramante, in following the
+footsteps of Filippo, and making the path of his profession of
+architecture secure for all who came after him, by means of his
+courage, boldness, intellect, and science in that art, wherein he had
+the mastery not of theory only, but of supreme skill and practice. Nor
+could nature have created a more vigorous intellect, or one to
+exercise his art and carry it into execution with greater invention
+and proportion, or with a more thorough knowledge, than Bramante. But
+no less essential than all this was the election to the Pontificate,
+at that time, of Julius II, a Pope of great spirit, full of desire to
+leave memorials behind him. And it was fortunate both for us and for
+Bramante that he found such a Prince (a thing which rarely happens to
+men of great genius), at whose expense he might be able to display the
+worth of his intellect, and that mastery over difficulties which he
+showed in architecture. His ability was so universal in the buildings
+that he erected, that the outlines of the cornices, the shafts of the
+columns, the graceful capitals, the bases, the consoles and corners,
+the vaults, the staircases, the projections, and every detail of every
+Order of architecture, contrived from the counsel or model of this
+craftsman, never failed to astonish all who saw them. Wherefore it
+appears to me that the everlasting gratitude which is due to the
+ancients from the intellects that study their works, is also due from
+them to the labours of Bramante; for if the Greeks were the inventors
+of architecture, <span class="pagenum"><a id="Page_138" name="Page_138">[Pg 138]</a></span> and the Romans their imitators, Bramante
+not only imitated what he saw, with new invention, and taught it to
+us, but also added very great beauty and elaboration to the art, which
+we see embellished by him at the present day.</p>
+
+<p>He was born at Castel Durante, in the State of Urbino, of poor but
+honest parentage. In his boyhood, besides reading and writing, he gave
+much attention to arithmetic; but his father, who had need that he
+should earn money, perceiving that he delighted much in drawing,
+applied him, when still a mere boy, to the art of painting; whereupon
+Bramante gave much study to the works of Fra Bartolommeo, otherwise
+called Fra Carnovale da Urbino, who painted the panel-picture of S.
+Maria della Bella at Urbino. But since he always delighted in
+architecture and perspective, he departed from Castel Durante, and
+made his way to Lombardy, where he went now to one city, and now to
+another, working as best he could, but not on things of great cost or
+much credit, having as yet neither name nor reputation. For this
+reason he determined at least to see some noteworthy work, and betook
+himself to Milan, in order to see the Duomo. In that city there was
+then living one Cesare Cesariano, reputed to be a good geometrician
+and an able architect, who wrote a commentary on Vitruvius, and, out
+of despair at not having received for this the remuneration that he
+had expected, became so strange that he would work no more; and,
+having grown almost savage, he died more like a beast than like a
+human being. There was also one Bernardino da Trevio, a Milanese,
+engineer and architect for the Duomo, and an excellent draughtsman,
+who was held by Leonardo da Vinci to be a rare master, although his
+manner was rather crude and somewhat hard in painting. By his hand is
+a Resurrection of Christ to be seen at the upper end of the cloister
+of the Grazie, with some very beautiful foreshortenings; and a chapel
+in fresco in S. Francesco, containing the deaths of S. Peter and S.
+Paul. He painted many other works in Milan, and he also made a good
+number in the surrounding district, which are held in esteem; and in
+our book there is a head of a very beautiful woman, in charcoal and
+lead-white, which still bears witness to the manner that he followed.</p>
+
+<div class="figcenter">
+<a name="img048" id="img048"></a>
+<img src="images/img048-tb.jpg" width="400" height="508" alt="Interior of Sacristy." title="">
+<p class="caption">INTERIOR OF SACRISTY<br>
+(<i>After</i> Bramante da Urbino.<br>
+<i>Milan: S. Satiro</i>)<br>
+<i>Brogi</i><br>
+<span class="link"><a href="images/img048.jpg">View larger image</a></span></p>
+</div>
+
+<p><span class="pagenum"><a id="Page_139" name="Page_139">[Pg 139]</a></span> But to return to Bramante; having studied that building, and
+having come to know those engineers, he so took courage, that he
+resolved to devote himself wholly to architecture. Having therefore
+departed from Milan, he betook himself, just before the holy year of
+1500, to Rome, where he was recognized by some friends, both from his
+own country and from Lombardy, and received a commission to paint,
+over the Porta Santa of S. Giovanni Laterano, which is opened for the
+Jubilee, the coat of arms of Pope Alexander VI, to be executed in
+fresco, with angels and other figures acting as supporters.</p>
+
+<p>Bramante had brought some money from Lombardy, and he earned some more
+in Rome by executing certain works; and this he spent with the
+greatest economy, since he wished to be able to live independently,
+and at the same time, without having to work, to be free to take
+measurements, at his ease, of all the ancient buildings in Rome. And
+having put his hand to this, he set out, alone with his thoughts; and
+within no great space of time he had measured all the buildings in
+that city and in the Campagna without; and he went as far as Naples,
+and wherever he knew that there were antiquities. He measured all that
+was at Tivoli and in the Villa of Hadrian, and, as will be related
+afterwards in the proper place, made great use of it. The mind of
+Bramante becoming known in this way, the Cardinal of Naples, having
+noticed him, began to favour him. Whereupon, while Bramante was
+continuing his studies, the desire came to the said Cardinal to have
+the cloister of the Frati della Pace rebuilt in travertine, and he
+gave the charge of this cloister to Bramante, and he, desiring to earn
+money and to gain the good will of that Cardinal, set himself to work
+with all possible industry and diligence, and brought it quickly to
+perfect completion. And although it was not a work of perfect beauty,
+it gave him a very great name, since there were not many in Rome who
+followed the profession of architecture with such zeal, study, and
+resolution as Bramante.</p>
+
+<p>At the beginning he served as under-architect to Pope Alexander VI for
+the fountain of Trastevere, and likewise for that which was made on
+the Piazza di S. Pietro. He also took part, together with other
+excellent architects, when his reputation had increased, in the
+planning <span class="pagenum"><a id="Page_140" name="Page_140">[Pg 140]</a></span> of a great part of the Palace of S. Giorgio, and of
+the Church of S. Lorenzo in Damaso, at the commission of Raffaello
+Riario, Cardinal of S. Giorgio, near the Campo di Fiore; which palace,
+whatever better work may have been executed afterwards, nevertheless
+was and still is held, on account of its greatness, to be a commodious
+and magnificent habitation; and the building of this edifice was
+carried out by one Antonio Montecavallo. Bramante was consulted with
+regard to the enlargement of S. Jacopo degli Spagnuoli, on the Piazza
+Navona, and likewise in the deliberations for the building of S. Maria
+de Anima, which was afterwards carried out by a German architect. From
+his design, also, was the Palace of Cardinal Adriano da Corneto in the
+Borgo Nuovo, which was built slowly, and then finally remained
+unfinished by reason of the flight of that Cardinal; and in like
+manner, the enlargement of the principal chapel of S. Maria del Popolo
+was executed from his design.</p>
+
+<p>These works brought him so much credit in Rome, that he was considered
+the best architect, in that he was resolute, prompt, and most fertile
+in invention; and he was continually employed by all the great persons
+in that city for their most important undertakings. Wherefore, after
+Julius II had been elected Pope, in the year 1503, he entered into his
+service. The fancy had taken that Pontiff to so transform the space
+that lay between the Belvedere and the Papal Palace, as to give it the
+aspect of a square theatre, embracing a little valley that ran between
+the old Papal Palace and the new buildings that Innocent VIII had
+erected as a habitation for the Popes; and he intended, by means of
+two corridors, one on either side of this little valley, to make it
+possible to go from the Belvedere to the Palace under loggie, and also
+to go from the Palace to the Belvedere in the same way, and likewise,
+by means of various flights of steps, to ascend to the level of the
+Belvedere. Whereupon Bramante, who had very good judgment and an
+inventive genius in such matters, distributed two ranges of columns
+along the lowest part; first, a very beautiful Doric loggia, similar
+to the Colosseum of the Savelli (although, in place of half-columns,
+he used pilasters), and all built of travertine; and over this a
+second range of the Ionic Order, full of windows, of such a height as
+to come to the level of the first-floor rooms <span class="pagenum"><a id="Page_141" name="Page_141">[Pg 141]</a></span> of the Papal
+Palace, and to the level of those of the Belvedere; intending to make,
+afterwards, a loggia more than four hundred paces long on the side
+towards Rome, and likewise another on the side towards the wood, with
+which, one on either hand, he proposed to enclose the valley; into
+which, after it had been levelled, was to be brought all the water
+from the Belvedere; and for this a very beautiful fountain was to be
+made. Of this design, Bramante finished the first corridor, which
+issues from the Palace and leads to the Belvedere on the side towards
+Rome, except the upper loggia, which was to go above it. As for the
+opposite part, on the side towards the wood, the foundations, indeed,
+were laid, but it could not be finished, being interrupted by the
+death of Julius, and then by that of Bramante. His design was held to
+be so beautiful in invention, that it was believed that from the time
+of the ancients until that day, Rome had seen nothing better. But of
+the other corridor, as has been said, he left only the foundations,
+and the labour of finishing it has dragged on down to our own day,
+when Pius IV has brought it almost to completion.</p>
+
+<p>Bramante also erected the head-wall of the Museum of ancient statues
+in the Belvedere, together with the range of niches; wherein were
+placed, in his lifetime, the Laocoon, one of the rarest of ancient
+statues, the Apollo, and the Venus; and the rest of the statues were
+set up there afterwards by Leo X, such as the Tiber, the Nile, and the
+Cleopatra, with some others added by Clement VII; and in the time of
+Paul III and Julius III many important improvements were made, at
+great expense.</p>
+
+<p>But to return to Bramante; he was very resolute, although he was
+hindered by the avarice of those who supplied him with the means to
+work, and he had a marvellous knowledge of the craft of building. This
+construction at the Belvedere was executed by him with extraordinary
+speed, and such was his eagerness as he worked, and that of the Pope,
+who would have liked to see the edifice spring up from the ground,
+without needing to be built, that the builders of the foundations
+brought the sand and the solid foundation-clay by night and let<a id="FNanchor14" name="FNanchor14"></a><a href="#Footnote14" title="Go to footnote 14" class="fnanchor">[14]</a> it
+down by day in the presence of Bramante, who caused the foundations to
+be made <span class="pagenum"><a id="Page_142" name="Page_142">[Pg 142]</a></span> without seeing anything more of the work. This
+inadvertence was the reason that all his buildings have cracked, and
+are in danger of falling down, as did this same corridor, of which a
+piece eighty braccia in length fell to the ground in the time of
+Clement VII, and was afterwards rebuilt by Pope Paul III, who also had
+the foundations restored and the whole strengthened.</p>
+
+<p>From his design, also, are many flights of steps in the Belvedere,
+varied according to their situations, whether high or low, in the
+Doric, Ionic, and Corinthian Orders&mdash;a very beautiful work, executed
+with extraordinary grace. And he had made a model for the whole, which
+is said to have been a marvellous thing, as may still be imagined from
+the beginning of the work, unfinished as it is. Moreover, he made a
+spiral staircase upon mounting columns, in such a way that one can
+ascend it on horseback; wherein the Doric passes into the Ionic, and
+the Ionic into the Corinthian, rising from one into the other; a work
+executed with supreme grace, and with truly excellent art, which does
+him no less honour than any other thing by his hand that is therein.
+This invention was copied by Bramante from S. Niccolò at Pisa, as was
+said in the Lives of Giovanni and Niccola of Pisa.</p>
+
+<p>The fancy took Bramante to make, in a frieze on the outer façade of
+the Belvedere, some letters after the manner of ancient hieroglyphics,
+representing the name of the Pope and his own, in order to show his
+ingenuity: and he had begun thus, "Julio II, Pont. Massimo," having
+caused a head in profile of Julius Cæsar to be made, and a bridge,
+with two arches, which signified, "Julio II, Pont.," and an obelisk
+from the Circus Maximus, to represent "Max." At which the Pope
+laughed, and caused him to make the letters in the ancient manner, one
+braccio in height, which are there at the present day; saying that he
+had copied this folly from a door at Viterbo, over which one Maestro
+Francesco, an architect, had placed his name, carved in the
+architrave, and represented by a S. Francis (S. Francesco), an arch
+(arco), a roof (tetto), and a tower (torre), which, interpreted in his
+own way, denoted, "Maestro Francesco Architettore." The Pope, on
+account of his ability in architecture, was very well disposed towards
+him.</p>
+
+<div class="figcenter">
+<a name="img049" id="img049"></a>
+<img src="images/img049-tb.jpg" width="400" height="514" alt="Tempietto." title="">
+<p class="caption">TEMPIETTO<br>
+(<i>After</i> Bramante da Urbino.<br>
+<i>Rome: S. Pietro in Montorio</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img049.jpg">View larger image</a></span></p>
+</div>
+
+<p><span class="pagenum"><a id="Page_143" name="Page_143">[Pg 143]</a></span> For these reasons he was rightly held worthy by the aforesaid
+Pope, who loved him very dearly for his great gifts, to be appointed
+to the Office of the Piombo, for which he made a machine for printing
+Bulls, with a very beautiful screw. In the service of that Pontiff
+Bramante went to Bologna, in the year 1504, when that city returned to
+the Church; and he occupied himself, throughout the whole war against
+Mirandola, on many ingenious things of the greatest importance. He
+made many designs for ground-plans and complete buildings, which he
+drew very well; and of such there are some to be seen in our book,
+accurately drawn and executed with very great art. He taught many of
+the rules of architecture to Raffaello da Urbino; designing for him,
+for example, the buildings that Raffaello afterwards drew in
+perspective in that apartment of the Pope wherein there is Mount
+Parnassus; in which apartment he made a portrait of Bramante taking
+measurements with a pair of compasses.</p>
+
+<p>The Pope resolved, having had the Strada Julia straightened out by
+Bramante, to place in it all the public offices and tribunals of Rome,
+on account of the convenience which this would bring to the merchants
+in their business, which up to that time had always been much
+hindered. Wherefore Bramante made a beginning with the palace that is
+to be seen by S. Biagio sul Tevere, wherein there is still an
+unfinished Corinthian temple, a thing of rare excellence. The rest of
+this beginning is in rustic work, and most beautiful; and it is a
+great pity that a work so honourable, useful, and magnificent, which
+is held by the masters of the profession to be the most beautiful
+example of design in that kind that has ever been seen, should not
+have been finished. He made, also, in the first cloister of S. Pietro
+a Montorio, a round temple of travertine, than which nothing more
+shapely or better conceived, whether in proportion, design, variety,
+or grace, could be imagined; and even more beautiful would it have
+been, if the whole extent of the cloister, which is not finished, had
+been brought to the form that is to be seen in a drawing by his hand.
+He directed the building, in the Borgo, of the palace which afterwards
+belonged to Raffaello da Urbino, executed with bricks and
+mould-castings, the columns and bosses being of the Doric Order and of
+rustic <span class="pagenum"><a id="Page_144" name="Page_144">[Pg 144]</a></span> work&mdash;a very beautiful work&mdash;with a new invention in
+the making of these castings. He also made the design and preparations
+for the decoration of S. Maria at Loreto, which was afterwards
+continued by Andrea Sansovino; and an endless number of models for
+palaces and temples, which are in Rome and throughout the States of
+the Church.</p>
+
+<p>So sublime was the intellect of this marvellous craftsman, that he
+made a vast design for restoring and rearranging the Papal Palace. And
+so greatly had his courage grown, on seeing the powers and desires of
+the Pope rise to the level of his own wishes and genius, that, hearing
+that he was minded to throw the Church of S. Pietro to the ground, in
+order to build it anew, he made him an endless number of designs. And
+among those that he made was one that was very wonderful, wherein he
+showed the greatest possible judgment, with two bell-towers, one on
+either side of the façade, as we see it in the coins afterwards struck
+for Julius II and Leo X by Caradosso, a most excellent goldsmith, who
+had no peer in making dies, as may still be seen from the medal of
+Bramante, executed by him, which is very beautiful. And so, the Pope
+having resolved to make a beginning with the vast and sublime
+structure of S. Pietro, Bramante caused half of the old church to be
+pulled down, and put his hand to the work, with the intention that it
+should surpass, in beauty, art, invention, and design, as well as in
+grandeur, richness, and adornment, all the buildings that had been
+erected in that city by the power of the Commonwealth, and by the art
+and intellect of so many able masters; and with his usual promptness
+he laid the foundations, and carried the greater part of the building,
+before the death of the Pope and his own, to the height of the
+cornice, where are the arches to all the four piers; and these he
+turned with supreme expedition and art. He also executed the vaulting
+of the principal chapel, where the recess is, giving his attention at
+the same time to pressing on the building of the chapel that is called
+the Chapel of the King of France.</p>
+
+<p>For this work he invented the method of casting vaults in wooden
+moulds, in such a manner that patterns of friezes and foliage, like
+carvings, come out in the plaster; and in the arches of this edifice
+he showed how they could be turned with flying scaffoldings, a method
+that we have <span class="pagenum"><a id="Page_145" name="Page_145">[Pg 145]</a></span> since seen followed by Antonio da San Gallo. In
+the part that was finished by him, the cornice that runs right round
+the interior is seen to be so graceful, that no other man's hand could
+take away or alter anything from its design without spoiling it. It is
+evident from his capitals, which are of olive leaves within, and from
+all the Doric work on the outer side, which is extraordinarily
+beautiful, how sublime was the courage of Bramante, whereby, in truth,
+if he had possessed physical powers equal to the intellect that
+adorned his spirit, he would most certainly have achieved even more
+unexampled things than he did. This work, as will be related in the
+proper places, since his death and down to the present day, has been
+much mutilated by other architects, insomuch that it may be said that
+with the exception of four arches which support the tribune, nothing
+of his has remained there. For Raffaello da Urbino and Giuliano da San
+Gallo, who carried on the work after the death of Julius II, together
+with Fra Giocondo of Verona, thought fit to begin to alter it; and
+after the death of those masters, Baldassarre Peruzzi, in building the
+Chapel of the King of France, in the transept on the side towards the
+Campo Santo, changed Bramante's design; and under Paul III Antonio da
+San Gallo changed it again entirely. Finally, Michelagnolo Buonarroti,
+sweeping away the countless opinions and superfluous expenses, has
+brought it to such beauty and perfection as not one of those others
+ever thought of, which all comes from his judgment and power of
+design; although he said to me several times that he was only the
+executor of the design and arrangements of Bramante, seeing that he
+who originally lays the foundations of a great edifice is its true
+creator. Vast, indeed, seemed the conception of Bramante in this work,
+and he gave it a very great beginning, which, even if he had begun on
+a smaller scale, neither San Gallo nor the others, nor even
+Buonarroti, would have had enough power of design to increase,
+although they were able to diminish it; so immense, stupendous, and
+magnificent was this edifice, and yet Bramante had conceived something
+even greater.</p>
+
+<p>It is said that he was so eager to see this structure making progress,
+that he pulled down many beautiful things in S. Pietro, such as tombs
+of Popes, paintings, and mosaics, and that for this reason we have
+lost <span class="pagenum"><a id="Page_146" name="Page_146">[Pg 146]</a></span> all trace of many portraits of distinguished persons,
+which were scattered throughout that church, which was the principal
+church of all Christendom. He preserved only the altar of S. Pietro,
+and the old tribune, round which he made a most beautiful ornament of
+the Doric Order, all of peperino-stone, to the end that when the Pope
+came to S. Pietro to say Mass, he might be able to stand within it
+with all his Court and with the Ambassadors of the Christian Princes;
+but death prevented him from finishing it entirely, and the Sienese
+Baldassarre afterwards brought it to completion.</p>
+
+<p>Bramante was a very merry and pleasant person, ever delighting to help
+his neighbour. He was very much the friend of men of ability, and
+favoured them in whatever way he could; as may be seen from his
+kindness to the gracious Raffaello da Urbino, most celebrated of
+painters, whom he brought to Rome. He always lived in the greatest
+splendour, doing honour to himself; and in the rank to which his
+merits had raised him, what he possessed was nothing to what he would
+have been able to spend. He delighted in poetry, and loved to
+improvise upon the lyre, or to hear others doing this: and he composed
+some sonnets, if not as polished as we now demand them, at least
+weighty and without faults. He was much esteemed by the prelates, and
+was received by an endless number of noblemen who made his
+acquaintance. In his lifetime he had very great renown, and even
+greater after his death, because of which the building of S. Pietro
+was interrupted for many years. He lived to the age of seventy, and he
+was borne to his tomb in Rome, with most honourable obsequies, by the
+Court of the Pope and by all the sculptors, architects, and painters.
+He was buried in S. Pietro, in the year 1514.</p>
+
+<div class="figcenter">
+<a name="img050" id="img050"></a>
+<img src="images/img050-tb.jpg" width="400" height="276" alt="Palazzo Giraud." title="">
+<p class="caption">PALAZZO GIRAUD<br>
+(<i>After</i> Bramante da Urbino. <i>Rome</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img050.jpg">View larger image</a></span></p>
+</div>
+
+<p>Very great was the loss that architecture suffered in the death of
+Bramante, who was the discoverer of many good methods wherewith he
+enriched that art, such as the invention of casting vaults, and the
+secret of stucco; both of which were known to the ancients, but had
+been lost until his time through the ruin of their buildings. And
+those who occupy themselves with measuring ancient works of
+architecture, find in the works of Bramante no less science and design
+than in any of the former; wherefore, among those who are versed in
+the profession, he <span class="pagenum"><a id="Page_147" name="Page_147">[Pg 147]</a></span> can be accounted one of the rarest
+intellects that have adorned our age. He left behind him an intimate
+friend, Giuliano Leno, who had much to do with the buildings of his
+time, but was employed rather to make preparations and to carry out
+the wishes of whoever designed them, than to work on his own account,
+although he had judgment and great experience.</p>
+
+<p>During his lifetime, Bramante employed in his works one Ventura, a
+carpenter of Pistoia, who was a man of very good ability, and drew
+passing well. This Ventura, while in Rome, delighted much in taking
+measurements of antiquities; and afterwards, wishing to live once more
+in his native place, he returned to Pistoia. Now it happened in that
+city, in the year 1509, that a Madonna, which is now called the
+Madonna della Umiltà, worked miracles; and since many offerings were
+brought to her, the Signoria that was then governing the city
+determined to build a temple in her honour. Whereupon Ventura,
+confronted with this opportunity, made with his own hand a model of an
+octagonal temple ...<a id="FNanchor15" name="FNanchor15"></a><a href="#Footnote15" title="Go to footnote 15" class="fnanchor">[15]</a> braccia in breadth and ... braccia in height,
+with a vestibule or closed portico in front, very ornate within and
+truly beautiful. This having given satisfaction to the Signoria and to
+the chief men of the city, the building was begun according to the
+plans of Ventura, who, having laid the foundations of the vestibule
+and the temple, completely finished the vestibule, which he made very
+rich in pilasters and cornices of the Corinthian Order, with other
+carved stonework; while all the vaults in that work were made in like
+manner, with squares surrounded by mouldings, also in stone, and
+filled with rosettes. Afterwards, the octagonal temple was also
+carried to the height of the last cornice, from which the vaulting of
+the tribune was to rise, during the lifetime of Ventura; and since he
+was not very experienced in works of that size, he did not consider
+how the weight of the tribune might be safely laid on the building,
+but made within the thickness of the wall, at the first range of
+windows, and at the second, where the others are, a passage that runs
+right round, whereby he contrived to weaken the walls so much, that,
+the edifice being without buttresses at the base, it was dangerous
+<span class="pagenum"><a id="Page_148" name="Page_148">[Pg 148]</a></span> to raise a vault over it, and particularly on the angles at
+the corners, upon which all the weight of the vault of that tribune
+must rest. Wherefore, after the death of Ventura, there was no
+architect with courage enough to raise that vault: nay, they had
+caused long and stout beams of timber to be brought to the place, in
+order to make a tent-shaped roof; but this did not please the
+citizens, and they would not have it put into execution. And so the
+building remained for many years without a roof, until, in the year
+1561, the Wardens of Works besought Duke Cosimo that his Excellency
+should so favour them as to cause that tribune to be vaulted.
+Whereupon, in order to meet their wishes, the Duke ordered Giorgio
+Vasari to go there and see whether he could find some method of
+vaulting it; and he, having done this, made a model raising the
+building to the height of eight braccia above the cornice that Ventura
+had left, in order to make buttresses for it; and he decreased the
+breadth of the passage that runs right round between the walls, and
+reinforced the building with buttresses, besides binding the corners
+and the parts below the passages that Ventura had made, between the
+windows, with stout keys of iron, double at the angles; which secured
+the whole in such a manner that the vault could be raised with safety.
+Whereupon his Excellency was pleased to visit the place, and, being
+satisfied with everything, gave orders for the work to be executed;
+and so all the buttresses have been built, and a beginning has already
+been made with the raising of the cupola. Thus, then, the work of
+Ventura will become richer, greater in size and adornment, and better
+in proportions; but he truly deserves to have record made of him,
+since that building is the most noteworthy modern work in the city of
+Pistoia.</p>
+
+
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="sanmarco" id="sanmarco"></a><span class="pagenum"><a id="Page_149" name="Page_149">[Pg 149]</a></span> FRA BARTOLOMMEO DI SAN MARCO</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_sanmarco" id="life_of_sanmarco"></a><span class="pagenum"><a id="Page_151" name="Page_151">[Pg 151]</a></span> LIFE OF FRA BARTOLOMMEO DI SAN MARCO</h2>
+
+<h3>[<i>BACCIO DELLA PORTA</i>]</h3>
+
+<h3>PAINTER OF FLORENCE</h3>
+
+
+<p>Near the territory of Prato, which is ten miles distant from Florence,
+in a village called Savignano, was born Bartolommeo, known, according
+to the Tuscan custom, by the name of Baccio. He, having shown in his
+childhood not merely inclination, but also aptitude, for drawing, was
+placed, through the good services of Benedetto da Maiano, with Cosimo
+Rosselli, and lodged in the house of some relatives of his own, who
+lived at the Porta a S. Piero Gattolini; where he stayed for many
+years, so that he was never called or known by any other name than
+that of Baccio della Porta.</p>
+
+<p>After taking his leave of Cosimo Rosselli, he began to study with
+great devotion the works of Leonardo da Vinci; and in a short time he
+made such proficience and such progress in colouring, that he acquired
+the name and reputation of being one of the best young men of his art,
+both in colouring and in drawing. He had a companion in Mariotto
+Albertinelli, who in a short time acquired his manner passing well;
+and together with him he executed many pictures of Our Lady, which are
+scattered throughout Florence. To speak of all these would take too
+long, and I will mention only some excellently painted by Baccio.
+There is one, containing a Madonna, in the house of Filippo di
+Averardo Salviati, which is most beautiful, and which he holds very
+dear and in great price. Another was bought not long since, at a sale
+of old furniture, by Pier Maria delle Pozze, a person greatly devoted
+to pictures, who, having recognized its beauty, will not let it go for
+any sum of money; in which work is a Madonna executed with
+extraordinary diligence. Piero del <span class="pagenum"><a id="Page_152" name="Page_152">[Pg 152]</a></span> Pugliese had a little
+Madonna of marble, in very low relief, a very rare work by the hand of
+Donatello, for which, in order to do it honour, he caused a wooden
+tabernacle to be made, with two little doors to enclose it. This he
+gave to Baccio della Porta, who painted, on the inner side of the
+doors, two little scenes, of which one was the Nativity of Christ, and
+the other His Circumcision; which Baccio executed with little figures
+after the manner of miniatures, in such a way that it would not be
+possible to do better work in oils; and then he painted Our Lady
+receiving the Annunciation from the Angel, in chiaroscuro, and
+likewise in oils, on the outer side of the same little doors, so as to
+be seen when they are closed. This work is now in the study of Duke
+Cosimo, wherein he keeps all his little antique figures of bronze,
+medals, and other rare pictures in miniature; and it is treasured by
+his most illustrious Excellency as a rare thing, as indeed it is.</p>
+
+<div class="figcenter">
+<a name="img051" id="img051"></a>
+<img src="images/img051-tb.jpg" width="400" height="307"
+alt="The Deposition from the Cross" title="">
+<p class="caption">FRA BARTOLOMMEO DI SAN MARCO: THE DEPOSITION FROM THE
+CROSS<br>
+(<i>Florence: Pitti, 64. Panel</i>)<br>
+<span class="link"><a href="images/img051.jpg">View larger image</a></span></p>
+</div>
+
+<p>Baccio was beloved in Florence for his virtues, for he was assiduous
+in his work, quiet and good by nature, and a truly God-fearing man; he
+had a great liking for a life of peace, and he shunned vicious
+company, delighted much in hearing sermons, and always sought the
+society of learned and serious persons. And in truth, it is seldom
+that nature creates a man of good parts and a gentle craftsman,
+without also providing him, after some time, with peace and favour, as
+she did for Baccio, who, as will be told below, obtained all that he
+desired. The report having spread abroad that he was no less good than
+able, his fame so increased that he was commissioned by Gerozzo di
+Monna Venna Dini to paint the chapel wherein the bones of the dead are
+kept, in the cemetery of the Hospital of S. Maria Nuova. There he
+began a Judgment in fresco, which he executed with such diligence and
+beauty of manner in the part which he finished, that he acquired
+extraordinary fame thereby, in addition to what he had already, and
+became greatly celebrated, on account of his having represented with
+excellent conceptions the Glory of Paradise, and Christ with the
+twelve Apostles judging the twelve Tribes, wherein the figures are
+soft in colouring and most beautifully draped. Moreover, in those
+figures that are being dragged to Hell, in the part that was designed
+but left unfinished, one sees the despair, grief, and shame of
+<span class="pagenum"><a id="Page_153" name="Page_153">[Pg 153]</a></span> everlasting death, even as one perceives contentment and
+gladness in those that are being saved; although this work remained
+unfinished, since Baccio was inclined to give his attention more to
+religion than to painting. For there was living in S. Marco, at this
+time, Fra Girolamo Savonarola of Ferrara, of the Order of Preaching
+Friars, a very famous theologian; and Baccio, going continually to
+hear his preaching, on account of the devotion that he felt for him,
+contracted a very strait intimacy with him, and passed almost all his
+time in the convent, having also become the friend of the other
+friars. Now it happened that Fra Girolamo, continuing his preaching,
+and crying out every day from the pulpit that lascivious pictures,
+music, and amorous books often lead the mind to evil, became convinced
+that it was not right to keep in houses where there were young girls
+painted figures of naked men and women. And at the next Carnival&mdash;when
+it was the custom in the city to make little huts of faggots and other
+kinds of wood on the public squares, and on the Tuesday evening,
+according to ancient use, to burn these, with amorous dances, in which
+men and women, joining hands, danced round these fires, singing
+certain airs&mdash;the people were so inflamed by Fra Girolamo, and he
+wrought upon them so strongly with his words, that on that day they
+brought to the place a vast quantity of nude figures, both in painting
+and in sculpture, many by the hand of excellent masters, and likewise
+books, lutes, and volumes of songs, which was a most grievous loss,
+particularly for painting. Thither Baccio carried all the drawings of
+nudes that he had made by way of studies, and he was followed by
+Lorenzo di Credi and by many others, who had the name of Piagnoni. And
+it was not long before Baccio, on account of the affection that he
+bore to Fra Girolamo, made a very beautiful portrait of him in a
+picture, which was then taken to Ferrara; but not long ago it came
+back to Florence, and it is now in the house of Filippo di Alamanno
+Salviati, who, since it is by the hand of Baccio, holds it very dear.</p>
+
+<p>It happened, after this, that one day the opponents of Fra Girolamo
+rose against him, in order to take him and deliver him over to the
+hands of justice, on account of the disturbances that he had caused in
+the city; and his friends, seeing this, also banded themselves
+together, to the <span class="pagenum"><a id="Page_154" name="Page_154">[Pg 154]</a></span> number of more than five hundred, and shut
+themselves up in S. Marco, and Baccio with them, on account of the
+great affection that he had for their party. It is true that, being a
+person of little courage, nay, even timorous and mean-spirited, and
+hearing an attack being made a little time after this on the convent,
+and men being wounded and killed, he began to have serious doubts
+about himself. For which reason he made a vow that if he were to
+escape from that turmoil, he would straightway assume the habit of
+that Order; which vow he carried out afterwards most faithfully, for
+when the uproar had ceased, and Fra Girolamo had been taken and
+condemned to death, as the writers of history relate with more detail,
+Baccio betook himself to Prato and became a monk in S. Domenico, in
+that city, on July 26, in the year 1500, as is found written in the
+chronicles of that same convent in which he assumed the habit; to the
+great displeasure of all his friends, who were grieved beyond measure
+at having lost him, and particularly because they heard that he had
+taken it into his head to forsake his painting.</p>
+
+<p>Whereupon Mariotto Albertinelli, his friend and companion, at the
+entreaties of Gerozzo Dini, took over the materials of Fra
+Bartolommeo&mdash;which was the name given by the Prior to Baccio, on
+investing him with the habit&mdash;and brought to completion the work of
+the Ossa in S. Maria Nuova; where he portrayed from life the Director
+of the Hospital at that time, and some friars skilled in surgery, with
+Gerozzo, the patron of the work, and his wife, full-length figures on
+their knees, upon the walls on either side; and in a nude figure that
+is seated, he portrayed Giuliano Bugiardini, his pupil, as a young
+man, with long locks according to the custom of that time, in which
+each separate hair might be counted, so carefully are they painted. He
+made there, likewise, his own portrait, in the head, with long locks,
+of a figure that is issuing from one of the tombs; and in that work,
+in the region of the blessed, there is also the portrait of Fra
+Giovanni da Fiesole, the painter, whose Life we have written. This
+painting was executed wholly in fresco, both by Fra Bartolommeo and by
+Mariotto, so that it has remained, and still remains, marvellously
+fresh, and is held in esteem by craftsmen, since it is scarcely
+possible to do better in that kind of work.</p>
+
+<div class="figcenter">
+<a name="img052" id="img052"></a>
+<img src="images/img052-tb.jpg" width="400" height="433" alt="The Holy Family." title="">
+<p class="caption">THE HOLY FAMILY<br>
+(<i>After the panel by</i> Fra Bartolommeo di San Marco.<br> <i>Rome: Corsini
+Gallery, 579</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img052.jpg">View larger image</a></span></p>
+</div>
+
+<p><span class="pagenum"><a id="Page_155" name="Page_155">[Pg 155]</a></span> When Fra Bartolommeo had been many months in Prato, he was
+sent by his superiors to take up his abode in S. Marco at Florence,
+and on account of his virtues he was received very warmly by the
+friars of that convent. In those days Bernardo del Bianco had caused
+to be erected, in the Badia of Florence, a chapel of grey-stone, full
+of carving, and very rich and beautiful, from the design of Benedetto
+da Rovezzano: which chapel was and still is much esteemed on account
+of some ornamental work of great variety, wherein Benedetto Buglioni
+placed, in some niches, angels and other figures made of glazed
+terra-cotta, in the round, to adorn it the more, with friezes
+containing cherubs and the devices of Bianco. And Bernardo, wishing to
+set up in the chapel a panel-picture that should be worthy of that
+adornment, and conceiving the idea that Fra Bartolommeo would be the
+right man for the work, sought in every possible way, through the
+intervention of his friends, to persuade him. Fra Bartolommeo was
+living in his convent, giving his attention to nothing save the divine
+offices and the duties of his Rule, although often besought by the
+Prior and by his dearest friends that he should work again at his
+painting; and for more than four years he had refused to touch a
+brush. But on this occasion, being pressed by Bernardo del Bianco, at
+length he began the panel-picture of S. Bernard, in which the Saint is
+writing, and gazing with such deep contemplation at the Madonna, with
+the Child in her arms, being borne by many angels and children, all
+coloured with great delicacy, that there is clearly perceived in him a
+certain celestial quality, I know not what, which seems, to him who
+studies it with attention, to shine out over that work, into which
+Baccio put much diligence and love; not to mention an arch executed in
+fresco, which is above it. He also made some pictures for Cardinal
+Giovanni de' Medici; and for Agnolo Doni he painted a picture of Our
+Lady, which stands on the altar of a chapel in his house&mdash;a work of
+extraordinary beauty.</p>
+
+<p>At this time the painter Raffaello da Urbino came to Florence to study
+his art, and taught the best principles of perspective to Fra
+Bartolommeo; and desiring to acquire the friar's manner of colouring,
+and being pleased with his handling of colours and his method of
+harmonizing <span class="pagenum"><a id="Page_156" name="Page_156">[Pg 156]</a></span> them, Raffaello was always in his company. Fra
+Bartolommeo painted about the same time, in S. Marco at Florence, a
+panel with an infinite number of figures, which is now in the
+possession of the King of France, having been presented to him after
+being exposed to view for many months in S. Marco. Afterwards, he
+painted another in that convent, containing an endless number of
+figures, in place of the one that was sent into France; in which
+picture are some children who are flying in the air and holding open a
+canopy, executed with such good drawing and art, and with such strong
+relief, that they appear to stand out from the panel, while the
+colouring of the flesh reveals that beauty and excellence which every
+able craftsman seeks to give to his pictures; and this work is still
+considered at the present day to be most excellent. In it are many
+figures surrounding a Madonna, all most admirable, and executed with
+grace, feeling, boldness, spirit, and vivacity; and coloured,
+moreover, in so striking a manner, that they seem to be in relief,
+since he wished to show that he was able not only to draw, but also to
+give his figures force and make them stand out by means of the
+darkness of the shadows, as may be seen in some children who are round
+a canopy, upholding it, who, as they fly through the air, almost
+project from the panel. Besides this, there is an Infant Christ who is
+marrying S. Catherine the Nun, than which it would not be possible to
+paint anything more lifelike with the dark colouring that he used.
+There is a circle of saints on one side diminishing in perspective,
+round the depth of a great recess, who are distributed with such fine
+design that they seem to be real; and the same may be seen on the
+other side. And in truth, in this manner of colouring, he imitated to
+a great extent the works of Leonardo; particularly in the darks, for
+which he used printer's smoke-black and the black of burnt ivory. This
+panel has now become much darker than it was when he painted it, on
+account of those blacks, which have kept growing heavier and darker.
+In the foreground, among the principal figures, he made a S. George in
+armour, who has a standard in his hand, a bold, spirited, and
+vivacious figure, in a beautiful attitude. There is also a S.
+Bartholomew, standing, a figure that deserves the highest praise; with
+two children who are playing, one on a lute, and the other on a lyre,
+one of whom he <span class="pagenum"><a id="Page_157" name="Page_157">[Pg 157]</a></span> made with a leg drawn up and his instrument
+resting upon it, and with the hands touching the strings in the act of
+running over them, an ear intent on the harmony, the head upraised,
+and the mouth slightly open, in such a way that whoever beholds him
+cannot persuade himself that he should not also hear the voice. No
+less lifelike is the other, who, leaning on one side, and bending over
+with one ear to the lyre, appears to be listening to learn how far it
+is in accord with the sound of the lute and the voice, while, with his
+eyes fixed on the ground, and his ear turned intently towards his
+companion, who is playing and singing, he seeks to follow in harmony
+with the air. These conceptions and expressions are truly ingenious;
+the children, who are seated, and clothed in veiling, are marvellous
+and executed with great industry by the practised hand of Fra
+Bartolommeo; and the whole work is brought out into strong relief by a
+fine gradation of dark shadows.</p>
+
+<p>A little time afterwards he painted another panel, to stand opposite
+to the former, and containing a Madonna surrounded by some saints,
+which is held to be a good work. He won extraordinary praise for
+having introduced a method of blending the colouring of his figures in
+such a way as to add a marvellous degree of harmony to art, making
+them appear to be in relief and alive, and executing them with supreme
+perfection of manner.</p>
+
+<p>Hearing much of the noble works made in Rome by Michelagnolo, and
+likewise those of the gracious Raffaello, and being roused by the
+fame, which was continually reaching him, of the marvels wrought by
+those two divine craftsmen, with leave from his Prior he betook
+himself to Rome. There he was entertained by Fra Mariano Fetti, Friar
+of the Piombo, for whom he painted two pictures of S. Peter and S.
+Paul at his Convent of S. Silvestro a Monte Cavallo. But since he did
+not succeed in working as well in the air of Rome as he had done in
+that of Florence, while the vast number of works that he saw, what
+with the ancient and the modern, bewildered him so that much of the
+ability and excellence that he believed himself to possess, fell away
+from him, he determined to depart, leaving to Raffaello the charge of
+finishing one of those pictures, that of S. Peter, which he had not
+completed; which picture was <span class="pagenum"><a id="Page_158" name="Page_158">[Pg 158]</a></span> retouched all over by the hand
+of the marvellous Raffaello, and given to Fra Mariano.</p>
+
+<p>Thus, then, Fra Bartolommeo returned to Florence. There he had been
+accused many times of not knowing how to paint nudes; for which reason
+he resolved to put himself to the test, and to show by means of his
+labour that he was as well fitted as any other master for the highest
+achievements of his art. Whereupon, to prove this, he painted a
+picture of S. Sebastian, naked, very lifelike in the colouring of the
+flesh, sweet in countenance, and likewise executed with corresponding
+beauty of person, whereby he won infinite praise from the craftsmen.
+It is said that, while this figure was exposed to view in the church,
+the friars found, through the confessional, women who had sinned at
+the sight of it, on account of the charm and melting beauty of the
+lifelike reality imparted to it by the genius of Fra Bartolommeo; for
+which reason they removed it from the church and placed it in the
+chapter-house, where it did not remain long before it was bought by
+Giovan Battista della Palla and sent to the King of France.</p>
+
+<div class="figcenter">
+<a name="img053" id="img053"></a>
+<img src="images/img053-tb.jpg" width="400" height="513" alt="S. Mark." title="">
+<p class="caption">S. MARK<br>
+(<i>After the painting by</i> Fra Bartolommeo di San Marco.<br> <i>Florence:
+Pitti, 125</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img053.jpg">View larger image</a></span></p>
+</div>
+
+<p>Fra Bartolommeo had fallen into a rage against the joiners who made
+the ornamental frames for his panels and pictures, for it was their
+custom, as it still is at the present day, always to cover an eighth
+part of the figures with the projecting inner edges of the frames. He
+determined, therefore, to invent some means of doing without frames
+for panels; and for this S. Sebastian he caused the panel to be made
+in the form of a half-circle, wherein he drew a niche in perspective,
+which has the appearance of being carved in relief in the panel. Thus,
+painting a frame all round, he made an ornament for the figure in the
+middle; and he did the same for our S. Vincent, and for the S. Mark
+that will be described after the S. Vincent. For the arch of a door
+leading into the sacristy, he painted in oils, on wood, a figure of S.
+Vincent, a brother of that Order, representing him in the act of
+preaching on the Judgment, so that there may be perceived in his
+gestures, and particularly in his head, that vehemence and fury which
+are generally seen in the faces of preachers, when they are doing
+their utmost, with threats of the vengeance of God, to lead men
+hardened in sin into the perfect life; in <span class="pagenum"><a id="Page_159" name="Page_159">[Pg 159]</a></span> such a manner
+that this figure appears, to one who studies it with attention, to be
+not painted but real and alive, with such strong relief is it
+executed; and it is a pity that it is all cracking and spoiling, on
+account of its having been painted with fresh coats of colour on fresh
+size, as I said of the works of Pietro Perugino in the Convent of the
+Ingesuati.</p>
+
+<p>The fancy took him, in order to show that he was able to make large
+figures&mdash;for he had been told that his manner was that of a
+miniaturist&mdash;to paint on panel, for the wall in which is the door of
+the choir, a figure of S. Mark the Evangelist, five braccia in height,
+and executed with very good draughtsmanship and supreme excellence.</p>
+
+<p>After this, Salvadore Billi, a Florentine merchant, on his return from
+Naples, having heard the fame of Fra Bartolommeo, and having seen his
+works, caused him to paint a panel-picture of Christ the Saviour, in
+allusion to his own name, with the four Evangelists round Him;
+wherein, at the foot, are also two little boys upholding the globe of
+the world, whose flesh, fresh and tender, is excellently painted, as
+is the whole work, in which there are likewise two prophets that are
+much extolled. This panel stands in the Nunziata at Florence, below
+the great organ, according to the wish of Salvadore; it is a very
+beautiful work, finished by Fra Bartolommeo with much lovingness and
+great perfection; and it is surrounded by an ornament of marble, all
+carved by the hand of Pietro Rosselli.</p>
+
+<p>Afterwards, having need of a change of air, the Prior at that time,
+who was his friend, sent him away to a monastery of his Order,
+wherein, while he stayed there, he combined the labour of his hands
+with the contemplation of death, with profit<a id="FNanchor16" name="FNanchor16"></a><a href="#Footnote16" title="Go to footnote 16" class="fnanchor">[16]</a> both for his soul and
+for the convent. For S. Martino in Lucca he painted a panel wherein,
+at the feet of a Madonna, there is a little angel playing on a lute,
+together with S. Stephen and S. John; in which picture, executed with
+excellent draughtsmanship and colouring, he proved his ability. For S.
+Romano, likewise, he painted a panel on canvas of the Madonna della
+Misericordia, who is placed on a pedestal of stone, with some angels
+holding her mantle; and together <span class="pagenum"><a id="Page_160" name="Page_160">[Pg 160]</a></span> with her he depicted a
+throng of people on some steps, some standing, others seated, and
+others kneeling, but all gazing at a figure of Christ on high, who is
+sending down lightnings and thunderbolts upon the people. Clearly did
+Fra Bartolommeo prove in this work how well he was able to manage the
+gradation of shadows and darks in painting, giving extraordinary
+relief to his figures, and showing a rare and excellent mastery over
+the difficulties of his art in colouring, drawing, and invention; and
+the work is as perfect as any that he ever made. For the same church
+he painted another panel, also on canvas, containing a Christ and S.
+Catherine the Martyr, together with a S. Catherine of Siena, rapt in
+ecstasy from the earth, a figure as good as any that could possibly be
+painted in that manner.</p>
+
+<div class="figcenter">
+<a name="img054" id="img054"></a>
+<img src="images/img054-tb.jpg" width="400" height="628" alt="God The Father, with Ss. Mary Magdalen and Catharine." title="">
+<p class="caption">GOD THE FATHER, WITH SS. MARY MAGDALEN AND CATHARINE<br>
+(<i>After the painting by</i> Fra Bartolommeo di San Marco.<br> <i>Lucca:
+Gallery, 12</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img054.jpg">View larger image</a></span></p>
+</div>
+
+<p>Returning to Florence, he gave some attention to the study of music;
+and, delighting much therein, he would sometimes sing to pass the
+time. At Prato, opposite to the prison, he painted a panel-picture of
+the Assumption. He executed some pictures of Our Lady for the house of
+the Medici, and also other paintings for various people, such as a
+picture of Our Lady which Lodovico di Lodovico Capponi has in his
+apartment, and likewise another of the Virgin holding the Child in her
+arms, with two heads of saints, that is in the possession of the very
+Excellent Messer Lelio Torelli, Chief Secretary to the most
+Illustrious Duke Cosimo, who holds it very dear both on account of the
+genius of Fra Bartolommeo, and because he delights in, loves, and
+favours not only the men of our art, but every fine intellect. In the
+house of Piero del Pugliese, which now belongs to Matteo Botti, a
+citizen and merchant of Florence, in an antechamber at the head of a
+staircase, he painted a S. George in armour, on horseback, who is
+slaying the Dragon with his lance&mdash;a very spirited figure. This he
+executed in chiaroscuro, in oils, a method that he much delighted to
+use for all his works, sketching them in the manner of a cartoon, with
+ink or with bitumen, before colouring them; as may still be seen from
+many beginnings of pictures and panels, which he left unfinished on
+account of his death, and as may also be perceived from many drawings
+by his hand, executed in chiaroscuro, of which the greater part are
+now in the Monastery of S. Caterina da Siena on the <span class="pagenum"><a id="Page_161" name="Page_161">[Pg 161]</a></span> Piazza
+di S. Marco, in the possession of a nun who paints, and of whom record
+will be made in the proper place; while many made in the same way
+adorn our book of drawings, honouring his memory, and some are in the
+hands of Messer Francesco del Garbo, a most excellent physician.</p>
+
+<p>Fra Bartolommeo always liked to have living objects before him when he
+was working; and in order to be able to draw draperies, armour, and
+other suchlike things, he caused a life-size figure of wood to be made,
+which moved at the joints; and this he clothed with real draperies,
+from which he painted most beautiful things, being able to keep them
+in position as long as he pleased, until he had brought his work to
+perfection. This figure, worm-eaten and ruined as it is, is in our
+possession, treasured in memory of him.</p>
+
+<p>At Arezzo, for the Abbey of the Black Friars, he made a head of Christ
+in dark tints&mdash;a very beautiful work. He painted, also, the panel of
+the Company of the Contemplanti, which was preserved in the house of
+the Magnificent Messer Ottaviano de' Medici, and has now been placed
+in a chapel of that house, with many ornaments, by his son Messer
+Alessandro, who holds it very dear in memory of Fra Bartolommeo, and
+also because he takes vast pleasure in painting. In the chapel of the
+Noviciate of S. Marco there is a panel-picture of the Purification,
+very lovely, which he executed with good draughtsmanship and high
+finish. At S. Maria Maddalena, a seat of the Friars of his Order,
+without Florence, while staying there for his own pleasure, he made a
+Christ and a Magdalene; and he also painted certain things in fresco
+in that convent. In like manner, he wrought in fresco an arch over the
+strangers' apartment in S. Marco, in which he painted Christ with
+Cleophas and Luke, and made a portrait of Fra Niccolò della Magna, who
+was then a young man, and who afterwards became Archbishop of Capua,
+and finally a Cardinal. He began a panel for S. Gallo, afterwards
+finished by Giuliano Bugiardini, which is now on the high-altar of S.
+Jacopo fra Fossi, on the Canto degli Alberti; and likewise a picture
+of the Rape of Dinah, now in the possession of Messer Cristofano
+Rinieri, and afterwards coloured by the same Giuliano, in which are
+buildings and conceptions that are much extolled.</p>
+
+<p><span class="pagenum"><a id="Page_162" name="Page_162">[Pg 162]</a></span> From Piero Soderini he received the commission for the panel
+of the Council Chamber, which he began in such a manner, drawing it in
+chiaroscuro, that it seemed destined to do him very great credit; and,
+unfinished as it is, it now has a place of honour in the Chapel of the
+Magnificent Ottaviano de' Medici, in S. Lorenzo. In it are all the
+Patron Saints of the city of Florence, and those saints on whose days
+that city has gained her victories; and there is also the portrait of
+Fra Bartolommeo himself, made by him with a mirror. He had begun this
+picture, and had drawn the whole design, when it happened that, from
+working continually under a window, with the light from it beating on
+his back, he became completely paralyzed on that side of his body, and
+quite unable to move. Thereupon he was advised&mdash;such being the orders
+of his physicians&mdash;to go to the baths of San Filippo; where he stayed
+a long time, but became very little better thereby. Now Fra
+Bartolommeo was a great lover of fruit, which pleased his palate
+mightily, although it was ruinous to his health. Wherefore one
+morning, having eaten many figs, there came upon him, in addition to
+his other infirmity, a very violent fever, which cut short the course
+of his life in four days, at the age of forty-eight; when, still
+wholly conscious, he rendered up his soul to Heaven.</p>
+
+<p>His death grieved his friends, and particularly the friars, who gave
+him honourable sepulture in their burial-place in S. Marco, on October
+8, in the year 1517. He had a dispensation from attending any of the
+offices in the choir with the other friars, and the gains from his
+works went to the convent, enough money being left in his hands to pay
+for colours and other materials necessary for his painting.</p>
+
+<p>He left disciples in Cecchino del Frate, Benedetto Cianfanini,
+Gabriele Rustici, and Fra Paolo Pistoiese, the latter inheriting all
+his possessions. This Fra Paolo painted many panels and pictures from
+his master's drawings, after his death; of which three are in S.
+Domenico at Pistoia, and one at S. Maria del Sasso in the Casentino.</p>
+
+<p>Fra Bartolommeo gave such grace to his figures with his colouring, and
+made them so novel and so modern in manner, that for these reasons he
+deserves to be numbered by us among the benefactors of art.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="albertinelli" id="albertinelli"></a><span class="pagenum"><a id="Page_163" name="Page_163">[Pg 163]</a></span> MARIOTTO ALBERTINELLI</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_albertinelli" id="life_of_albertinelli"></a><span class="pagenum"><a id="Page_165" name="Page_165">[Pg 165]</a></span> LIFE OF MARIOTTO ALBERTINELLI</h2>
+
+<h3>PAINTER OF FLORENCE</h3>
+
+
+<p>Mariotto Albertinelli, the closest and most intimate friend of Fra
+Bartolommeo&mdash;his other self, one might call him, not only on account
+of the constant connection and intercourse between them, but also
+through their similarity of manner during the period when Mariotto
+gave proper attention to art&mdash;was the son of Biagio di Bindo
+Albertinelli. At the age of twenty he abandoned his calling of
+gold-beater, in which he had been employed up to that time; and he
+learnt the first rudiments of painting in the workshop of Cosimo
+Rosselli, where he formed such an intimacy with Baccio della Porta,
+that they were one soul and one body. Such, indeed, was the brotherly
+friendship between them, that when Baccio took his leave of Cosimo, in
+order to practise his art as a master by himself, Mariotto went off
+with him; whereupon they lived for a long time, both one and the
+other, at the Porta a S. Piero Gattolini, executing many works in
+company. And since Mariotto was not so well grounded in drawing as was
+Baccio, he devoted himself to the study of such antiquities as were
+then in Florence, the greater part and the best of which were in the
+house of the Medici. He made a number of drawings of certain little
+panels in half-relief that were under the loggia in the garden, on the
+side towards S. Lorenzo, in one of which is Adonis with a very
+beautiful dog, and in another two nude figures, one seated, with a dog
+at its feet, and the other standing with the legs crossed, leaning on
+a staff. Both these panels are marvellous; and there are likewise two
+others of the same size, in one of which are two little boys carrying
+Jove's thunderbolt, while in the other is the nude figure of an old
+man, with wings on his shoulders and feet, representing Chance, and
+balancing <span class="pagenum"><a id="Page_166" name="Page_166">[Pg 166]</a></span> a pair of scales in his hands. In addition to
+these works, that garden was full of torsi of men and women, which
+were a school not only for Mariotto, but for all the sculptors and
+painters of his time. A good part of these are now in the guardaroba
+of Duke Cosimo, and others, such as the two torsi of Marsyas, the
+heads over the windows, and those of the Emperors over the doors, are
+still in the same place.</p>
+
+<p>By studying these antiquities, Mariotto made great proficience in
+drawing; and he entered into the service of the mother of Duke
+Lorenzo, Madonna Alfonsina, who, desiring that he should devote
+himself to becoming an able master, offered him all possible
+assistance. Dividing his time, therefore, between drawing and
+colouring, he became a passing good craftsman, as is proved by some
+pictures that he executed for that lady, which were sent by her to
+Rome, for Carlo and Giordano Orsini, and which afterwards came into
+the hands of Cæsar Borgia. He made a very good portrait of Madonna
+Alfonsina from the life; and it seemed to him, on account of his
+friendship with her, that his fortune was made, when, in the year
+1494, Piero de' Medici was banished, and her assistance and favour
+failed him. Whereupon he returned to the workshop of Baccio, where he
+set himself with even greater zeal to make models of clay and to
+increase his knowledge, labouring at the study of nature, and
+imitating the works of Baccio, so that in a few years he became a
+sound and practised master. And then, seeing his work succeeding so
+well, he so grew in courage, that, imitating the manner and method of
+his companion, the hand of Mariotto was taken by many for that of Fra
+Bartolommeo.</p>
+
+<div class="figcenter">
+<a name="img055" id="img055"></a>
+<img src="images/img055-tb.jpg" width="400" height="453" alt="The Madonna enthroned, with Saints." title="">
+<p class="caption">THE MADONNA ENTHRONED, WITH SAINTS<br>
+(<i>After the panel by</i> Mariotto Albertinelli.<br> <i>Florence: Accademia,
+167</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img055.jpg">View larger image</a></span></p>
+</div>
+
+<p>But when he heard that Baccio had gone off to become a monk, Mariotto
+was almost overwhelmed and out of his mind; and so strange did the
+news seem to him, that he was in despair, and nothing could cheer him.
+If it had not been, indeed, that Mariotto could not then endure having
+anything to do with monks, against whom he was ever railing, and
+belonged to the party that was opposed to the faction of Fra Girolamo
+of Ferrara, his love for Baccio would have wrought upon him so
+strongly, that it would have forced him to don the cowl in the same
+convent as his companion. However, he was besought by Gerozzo
+<span class="pagenum"><a id="Page_167" name="Page_167">[Pg 167]</a></span> Dini, who had given the commission for the Judgment that
+Baccio had left unfinished in the Ossa, that he, having a manner
+similar to Baccio's, should undertake to finish it; whereupon, being
+also moved by the circumstance that the cartoon completed by the hand
+of Baccio and other drawings were there, and by the entreaties of Fra
+Bartolommeo himself, who had received money on account of the
+painting, and was troubled in conscience at not having kept his
+promise, he finished the work, and executed all that was wanting with
+diligence and love, in such a way that many, not knowing this, think
+that it was painted by one single hand; and this brought him vast
+credit among craftsmen.</p>
+
+<p>In the Chapter-house of the Certosa of Florence he executed a
+Crucifixion, with Our Lady and the Magdalene at the foot of the Cross,
+and some angels in the sky, who are receiving the blood of Christ; a
+work wrought in fresco, with diligence and lovingness, and passing
+well painted. Now some of the young men who were learning art under
+him, thinking that the friars were not giving them proper food, had
+counterfeited, without the knowledge of Mariotto, the keys of those
+windows opening into the friar's rooms, through which their pittance
+is passed; and sometimes, in secret, they stole some of it, now from
+one and now from another. There was a great uproar about this among
+the friars, since in the matter of eating they are as sensitive as any
+other person; but the lads did it with great dexterity, and, since
+they were held to be honest fellows, the blame fell on some of the
+friars, who were said to be doing it from hatred of one another.
+However, one day the truth was revealed, and the friars, to the end
+that the work might be finished, gave a double allowance to Mariotto
+and his lads, who finished the work with great glee and laughter.</p>
+
+<p>For the Nuns of S. Giuliano in Florence he painted the panel of their
+high-altar, which he executed in a room that he had in the Gualfonda;
+together with another for the same church, with a Crucifix, some
+Angels, and God the Father, representing the Trinity, in oils and on a
+gold ground.</p>
+
+<p>Mariotto was a most restless person, devoted to the pleasures of love,
+and a good liver in the matter of eating; wherefore, conceiving a
+hatred <span class="pagenum"><a id="Page_168" name="Page_168">[Pg 168]</a></span> for the subtleties and brain-rackings of painting,
+and being often wounded by the tongues of other painters (according to
+the undying custom among them, handed down from one to another), he
+resolved to turn to a more humble, less fatiguing, and more cheerful
+art. And so, having opened a very fine inn, without the Porta S.
+Gallo, and a tavern and inn on the Ponte Vecchio, at the Dragon, he
+followed that calling for many months, saying that he had chosen an
+art without foreshortenings, muscles, and perspectives, and, what was
+much more important, free from censure, and that the art which he had
+given up was quite the contrary of his new one, since the former
+imitated flesh and blood, and the latter made both blood and flesh;
+and now, having good wine, he heard himself praised all day long,
+whereas before he used to hear nothing but censure.</p>
+
+<div class="figcenter">
+<a name="img056" id="img056"></a>
+<img src="images/img056-tb.jpg" width="400" height="630" alt="The Salutation." title="">
+<p class="caption">MARIOTTO ALBERTINELLI: THE SALUTATION<br>
+(<i>Florence: Uffizi, 1259. Panel</i>)
+<br><span class="link"><a href="images/img056.jpg">View larger image</a></span></p>
+</div>
+
+<p>However, having grown weary of this as well, and ashamed of the
+baseness of his calling, he returned to painting, and executed
+pictures and paintings for the houses of citizens in Florence. For
+Giovan Maria Benintendi he painted three little scenes with his own
+hand; and for the house of the Medici, at the election of Leo X, he
+painted a round picture of his arms, in oils, with Faith, Hope, and
+Charity, which hung for a long time over the door of their palace. He
+undertook to make, in the Company of S. Zanobi, near the Chapter-house
+of S. Maria del Fiore, a panel-picture of the Annunciation, which he
+executed with great labour. For this he caused special windows to be
+made, wishing to work on the spot, in order to be able to make the
+views recede, where they were high and distant, by lowering the tones,
+or to bring them forward, at his pleasure. Now he had conceived the
+idea that pictures which have no relief and force, combined with
+delicacy, are of no account; but since he knew that they cannot be
+made to stand out from the surface without shadows, which, if they are
+too dark, remain indistinct, while, if they are delicate, they have no
+force, he was eager to combine this delicacy with a certain method of
+treatment to which up to that time, so it seemed to him, art had not
+attained in any satisfactory manner. Wherefore, looking on this work
+as an opportunity for accomplishing this, he set himself, to this end,
+to make extraordinary efforts, which may be recognized in a
+<span class="pagenum"><a id="Page_169" name="Page_169">[Pg 169]</a></span> figure of God the Father, which is in the sky, and in some
+little children, who stand out from the panel in strong relief against
+a dark background in perspective that he made there with a ceiling in
+the form of a barrel-shaped vault, which, with its arches curving and
+its lines diminishing to a point, recedes inwards in such a manner
+that it appears to be in relief; besides which, there are some angels
+scattering flowers as they fly, that are very graceful.</p>
+
+<p>This work was painted out and painted in again many times by Mariotto
+before he could bring it to completion. He was for ever changing the
+colouring, making it now lighter, now darker, and sometimes more
+lively and glowing, sometimes less; but, never being completely
+satisfied, and never persuaded that he had done justice with his hand
+to the thoughts of his intellect, he wished to find a white that
+should be more brilliant than lead-white, and set himself, therefore,
+to clarify the latter, in order to be able to heighten the highest
+light to his own satisfaction. However, having recognized that he was
+not able to express by means of art all that the intelligence of the
+human brain grasps and comprehends, he contented himself with what he
+had achieved, since he could not attain to what it was not possible to
+reach. This work brought Mariotto praise and honour among craftsmen,
+but by no means as much profit as he hoped to gain from his patrons in
+return for his labours, since a dispute arose between him and those
+who had commissioned him to paint it. But Pietro Perugino, then an old
+man, Ridolfo Ghirlandajo, and Francesco Granacci valued it, and
+settled the price of the work by common consent.</p>
+
+<p>For S. Pancrazio, in Florence, Mariotto painted a semicircular picture
+of the Visitation of Our Lady. For S. Trinità, likewise, he executed
+with diligence a panel-picture of Our Lady, S. Jerome, and S. Zanobi,
+at the commission of Zanobi del Maestro; and for the Church of the
+Congregation of the Priests of S. Martino, he painted a picture on
+panel of the Visitation, which is much extolled. He was invited to the
+Convent of La Quercia, without Viterbo; but after having begun a panel
+there, he conceived a desire to see Rome. Having made his way to that
+city, therefore, he executed to perfection for the Chapel of Fra
+Mariano <span class="pagenum"><a id="Page_170" name="Page_170">[Pg 170]</a></span> Fetti in S. Silvestro di Monte Cavallo, a
+panel-picture in oils of S. Dominic, S. Catherine of Siena, with
+Christ marrying her, and Our Lady, in a delicate manner. He then
+returned to La Quercia, where he had a mistress, to whom, on account
+of the desire that he had felt while he was in Rome and could not
+enjoy her love, he sought to show that he was valiant in the lists;
+wherefore he exerted himself so much, that, being no longer young and
+so stalwart in such efforts, he was forced to take to his bed. And
+laying the blame for this on the air of the place, he had himself
+carried to Florence in a litter; but no expedients or remedies availed
+him in his sickness, from which he died in a few days, at the age of
+forty-five. He was buried in S. Piero Maggiore, in that city.</p>
+
+<p>There are some drawings by the hand of this master in our book,
+executed with the pen and in chiaroscuro, which are very good;
+particularly a spiral staircase, drawn with great ingenuity in
+perspective, of which he had a good knowledge.</p>
+
+<p>Mariotto had many disciples; among others, Giuliano Bugiardini and
+Franciabigio, both Florentines, and Innocenzio da Imola, of whom we
+will speak in the proper place. Visino, a painter of Florence, was
+likewise his disciple, and excelled all these others in drawing,
+colouring, and industry, showing, also, a better manner in the works
+that he made, which he executed with great diligence. A few of them
+are still in Florence; and one can study his work at the present day
+in the house of Giovan Battista d' Agnol Doni, in a mirror<a id="FNanchor17" name="FNanchor17"></a><a href="#Footnote17" title="Go to footnote 17" class="fnanchor">[17]</a>&mdash;picture
+painted in oils after the manner of a miniature, wherein are Adam and
+Eve naked, eating the apple, a work executed with great care; and from
+another picture, of Christ being taken down from the Cross, together
+with the Thieves, in which there is a beautifully contrived
+complication of ladders, with some men aiding each other to take down
+the body of Christ, and others bearing <span class="pagenum"><a id="Page_171" name="Page_171">[Pg 171]</a></span> one of the Thieves on
+their shoulders to burial, and all the figures in varied and fantastic
+attitudes, suited to that subject, and proving that he was an able
+man. The same master was brought by some Florentine merchants to
+Hungary, where he executed many works and gained great renown. But the
+poor man was soon in danger of coming to an evil end, because, being
+of a frank and free-spoken nature, he was not able to endure the
+wearisome persistence of some Hungarians, who kept tormenting him all
+day long with praises of their own country, as if there were no
+pleasure or happiness in anything except eating and drinking in their
+stifling rooms, and no grandeur or nobility save in their King and his
+Court, all the rest of the world being rubbish. It seemed to him (and
+indeed it is true) that in Italy there was another kind of excellence,
+culture, and beauty; and one day, being weary of their nonsense, and
+chancing to be a little merry, he let slip the opinion that a flask of
+Trebbiano and a berlingozzo<a id="FNanchor18" name="FNanchor18"></a><a href="#Footnote18" title="Go to footnote 18" class="fnanchor">[18]</a> were worth all the Kings and Queens
+that had ever reigned in those regions. And if the matter had not
+happened to fall into the hands of a Bishop, who was a gentleman and a
+man of the world, and also, above all, a tactful person, both able and
+willing to turn the thing into a joke, Visino would have learnt not to
+play with savages; for those brutes of Hungarians, not understanding
+his words, and thinking that he had uttered something terrible, such
+as a threat that he would rob their King of his life and throne,
+wished to give him short shrift and crucify him by mob-law. But the
+good Bishop drew him out of all embarrassment, and, appraising the
+merit of the excellent master at its true value, and putting a good
+complexion on the affair, restored him to the favour of the King, who,
+on hearing the story, was much amused by it. His good fortune,
+however, did not last long, for, not being able to endure the stifling
+rooms and the cold air, which ruined his constitution, in a short time
+this brought his life to an end; although his repute and fame survived
+in the memory of those who knew him when alive, and of those who saw
+his works in the years after his death. His pictures date about the
+year 1512.</p>
+
+
+
+<hr style="width: 65%;">
+<h2><a name="delgarbo" id="delgarbo"></a><span class="pagenum"><a id="Page_173" name="Page_173">[Pg 173]</a></span> RAFFAELLINO DEL GARBO</h2>
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_delgarbo" id="life_of_delgarbo"></a><span class="pagenum"><a id="Page_175" name="Page_175">[Pg 175]</a></span> LIFE OF RAFFAELLINO DEL GARBO</h2>
+
+<h3>PAINTER OF FLORENCE</h3>
+
+
+<p>Raffaello del Garbo, while he was a little boy, was called by the pet
+name of Raffaellino, which he retained ever afterwards; and in his
+earliest days he gave such promise in his art, that he was already
+numbered among the most excellent masters, a thing which happens to
+few. But still fewer meet the fate which afterwards came upon him, in
+that from a splendid beginning and almost certain hopes, he arrived at
+a very feeble end. For it is a general rule, in the world both of
+nature and of art, for things to grow gradually from small beginnings,
+little by little, until they reach their highest perfection. It is
+true, however, that many laws both of art and of nature are unknown to
+us, nor do they hold to one unvarying order at all times and in every
+case, a thing which very often renders uncertain the judgments of men.
+How this may happen is seen in Raffaellino, since it appeared that in
+him nature and art did their utmost to set out from extraordinary
+beginnings, the middle stage of which was below mediocrity, and the
+end almost nothing.</p>
+
+<p>In his youth he drew as much as any painter who has ever exercised
+himself in drawing in order to become perfect; wherefore there may
+still be seen, throughout the world of art, a great number of his
+drawings, which have been dispersed by a son of his for ridiculous
+prices, partly drawn with the style, partly with the pen or in
+water-colours, but all on tinted paper, heightened with lead-white,
+and executed with marvellous boldness and mastery; and there are many
+of them in our book, drawn in a most beautiful manner. Besides this,
+he learnt to paint so well in distemper and in fresco, that his first
+works were executed with an incredible patience and diligence, as has
+been related.</p>
+
+<p><span class="pagenum"><a id="Page_176" name="Page_176">[Pg 176]</a></span> In the Minerva, round the tomb of Cardinal Caraffa, he
+painted the vaulted ceiling, with such delicacy, that it seems like
+the work of an illuminator; wherefore it was held in great estimation
+by craftsmen at that time. His master, Filippo, regarded him in some
+respects as a much better painter than himself; and Raffaellino had
+acquired Filippo's manner so well, that there were few who could
+distinguish the one from the other. Later, after having left his
+master, he gave much more delicacy to that manner in the draperies,
+and greater softness to hair and to the expressions of the heads; and
+he was held in such expectation by craftsmen, that, while he followed
+this manner, he was considered the first of the young painters of his
+day. Now the family of the Capponi, having built a chapel that is
+called the Paradiso, on the hill below the Church of S. Bartolommeo a
+Monte Oliveto, without the Porta a S. Friano, wished to have the panel
+executed by Raffaellino, and gave him the commission; whereupon he
+painted in oils the Resurrection of Christ, with some soldiers who
+have fallen, as if dead, round the Sepulchre. These figures are very
+spirited and beautiful, and they have the most graceful heads that it
+is possible to see; among which, in the head of a young man, is a
+marvellous portrait of Niccola Capponi, while, in like manner, the
+head of one who is crying out because the stone covering of the tomb
+has fallen upon him, is most beautiful and bizarre. Wherefore the
+Capponi, having seen that Raffaellino's picture was a rare work,
+caused a frame to be made for it, all carved, with round columns
+richly adorned with burnished gold on a ground of bole. Before many
+years had passed, the campanile of that building was struck by
+lightning, which pierced the vault and fell near that panel, which,
+having been executed in oils, suffered no harm; but where the fluid
+passed near the gilt frame, it consumed the gold, leaving nothing
+there but the bare bole. It has seemed to me right to say that much
+with regard to oil-painting, to the end that all may see how important
+it is to know how to guard against such injury, which lightning has
+done not only to this work, but to many others.</p>
+
+<div class="figcenter">
+<a name="img057" id="img057"></a>
+<img src="images/img057-tb.jpg" width="400" height="375" alt="The Resurrection." title="">
+<p class="caption">THE RESURRECTION<br>
+(<i>After the panel by</i> Raffaellino del Garbo.<br> <i>Florence: Accademia,
+90</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img057.jpg">View larger image</a></span></p>
+</div>
+
+<p>He painted in fresco, at the corner of a house that now belongs to
+Matteo Botti, between the Canto del Ponte alla Carraja and the Canto
+<span class="pagenum"><a id="Page_177" name="Page_177">[Pg 177]</a></span> della Cuculia, a little shrine containing Our Lady with
+the Child in her arms, with S. Catherine and S. Barbara kneeling, a
+very graceful and carefully executed work. For the Villa of
+Marignolle, belonging to the Girolami, he painted two most beautiful
+panels, with Our Lady, S. Zanobi, and other saints; and he filled the
+predella below both of these with little figures representing scenes
+from the lives of those saints, executed with great diligence. On the
+wall above the door of the Church of the Nuns of S. Giorgio, he
+painted a Pietà, with a group of the Maries; and in like manner, in
+another arch below this, a figure of Our Lady, a work worthy of great
+praise, executed in the year 1504. In the Church of S. Spirito at
+Florence, in a panel over that of the Nerli, which his master Filippo
+had executed, he painted a Pietà, which is held to be a very good and
+praiseworthy work; but in another, representing S. Bernard, he fell
+short of that standard. Below the door of the sacristy are two
+panel-pictures by his hand; one showing S. Gregory the Pope saying
+Mass, when Christ appears to him, naked, with the Cross on His
+shoulder, and shedding blood from His side, with the deacon and
+sub-deacon, in their vestments, serving the Mass, and two angels
+swinging censers over the body of Christ. For another chapel, lower
+down, he executed a panel-picture containing Our Lady, S. Jerome, and
+S. Bartholomew. On these two works he bestowed no little labour; but
+he went on deteriorating from day to day. I do not know to what I
+should attribute his misfortune, for poor Raffaellino was not wanting
+in industry, diligence, and application; yet they availed him little.
+It is believed, indeed, that, becoming overburdened and impoverished
+by the cares of a family, and being compelled to use for his daily
+needs whatever he earned, not to mention that he was a man of no great
+spirit and undertook to do work for small prices, in this way he went
+on growing worse little by little; although there is always something
+of the good to be seen in his works.</p>
+
+<p>For the Monks of Cestello, on the wall of their refectory, he painted
+a large scene coloured in fresco, in which he depicted the miracle
+wrought by Jesus Christ with the five loaves and two fishes, with
+which he satisfied five thousand people. For the Abbot de' Panichi he
+executed <span class="pagenum"><a id="Page_178" name="Page_178">[Pg 178]</a></span> the panel-picture of the high-altar in the Church
+of S. Salvi, without the Porta alla Croce, painting therein Our Lady,
+S. Giovanni Gualberto, S. Salvi, S. Bernardo, a Cardinal of the Uberti
+family, and S. Benedetto the Abbot, and, at the sides, S. Batista and
+S. Fedele in armour, in two niches on either hand of the picture,
+which had a rich frame; and in the predella are several scenes, with
+little figures, from the Life of S. Giovanni Gualberto. In all this he
+acquitted himself very well, because he was assisted in his
+wretchedness by that Abbot, who took pity on him for the sake of his
+talents; and in the predella of the panel Raffaellino made a portrait
+of him from life, together with one of the General who was then ruling
+his Order. In S. Piero Maggiore, on the right as one enters the
+church, there is a panel by his hand, and in the Murate there is a
+picture of S. Sigismund, the King. For Girolamo Federighi, in that
+part of S. Pancrazio where he was afterwards buried, he painted a
+Trinity in fresco, with portraits of him and of his wife on their
+knees; and here he began to decline into pettiness of manner. He also
+made two figures in distemper for the Monks of Cestello, a S. Rocco
+and a S. Ignazio, which are in the Chapel of S. Sebastiano. And in a
+little chapel on the abutment of the Ponte Rubaconte, on the side
+towards the Mills, he painted a Madonna, a S. Laurence, and another
+saint.</p>
+
+<p>In the end he was reduced to undertaking any work, however mean; and
+he was employed by certain nuns and other persons, who were
+embroidering a quantity of church vestments and hangings at that time,
+to make designs in chiaroscuro and ornamental borders containing
+saints and stories, for ridiculous prices. For although he had
+deteriorated, there sometimes issued from his hand most beautiful
+designs and fancies, as is proved by many drawings that were sold and
+dispersed after the death of those who used them for embroidery; of
+which there are many in the book of the illustrious
+hospital-director,<a id="FNanchor19" name="FNanchor19"></a><a href="#Footnote19" title="Go to footnote 19" class="fnanchor">[19]</a> that show how able he was in draughtsmanship.
+This was the reason that many vestments, hangings, and ornaments,
+which are held to be very beautiful, were made for the churches of
+Florence and throughout the Florentine territory, and also for
+Cardinals and Bishops in Rome. At the present day this method
+<span class="pagenum"><a id="Page_179" name="Page_179">[Pg 179]</a></span> of embroidery, which was used by Paolo da Verona, the
+Florentine Galieno, and others like them, is almost lost, and another
+method, with wide stitches, has been introduced, which has neither the
+same beauty nor the same careful workmanship, and is much less durable
+than the other. Wherefore, in return for this benefit, although
+poverty caused him misery and hardship during his lifetime, he
+deserves to have honour and glory for his talents after his death.</p>
+
+<p>And in truth Raffaellino was unfortunate in his connections, for he
+always mixed with poor and humble people, like a man who had sunk and
+become ashamed of himself, seeing that in his youth he had given such
+great promise, and now knew how distant he was from the extraordinary
+excellence of the works that he had made at that time. And thus,
+growing old, he fell away so much from his early standard, that his
+works no longer appeared to be by his hand; and forgetting his art
+more and more every day, he was reduced to painting, in addition to
+his usual panels and pictures, the meanest kinds of works. And he sank
+so low that everything was a torment to him, but above all his
+burdensome family of children, which turned all his ability in art
+into mere clumsiness. Wherefore, being overtaken by infirmities and
+impoverished, he finished his life in misery at the age of
+fifty-eight, and was buried in S. Simone, at Florence, by the Company
+of the Misericordia, in the year 1524.</p>
+
+<p>He left behind him many pupils who became able masters. One, who went
+in his boyhood to learn the rudiments of art from Raffaellino, was the
+Florentine painter Bronzino, who afterwards acquitted himself so well
+under the wing of Jacopo da Pontormo, another painter of Florence,
+that he has made as much proficience in the art as his master Jacopo.
+The portrait of Raffaellino was copied from a drawing that belonged to
+Bastiano da Monte Carlo, who was also his disciple, and who, for a man
+with no draughtsmanship, became a passing good master.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="torrigiano" id="torrigiano"></a><span class="pagenum"><a id="Page_181" name="Page_181">[Pg 181]</a></span> TORRIGIANO</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_torrigiano" id="life_of_torrigiano"></a><span class="pagenum"><a id="Page_183" name="Page_183">[Pg 183]</a></span> LIFE OF TORRIGIANO</h2>
+
+<h3>SCULPTOR OF FLORENCE</h3>
+
+
+<p>Great is the power of anger in the soul of one who is seeking, with
+arrogance and pride, to gain a reputation for excellence in some
+profession, when he sees rising in the same art, at a time when he
+does not expect it, some unknown man of beautiful genius, who not only
+equals him, but in time surpasses him by a great measure. Of such
+persons, in truth, it may be said that there is no iron that they
+would not gnaw in their rage, nor any evil which they would not do if
+they were able, for it seems to them too grievous an affront in the
+eyes of the world, that children whom they saw born should have
+reached maturity almost in one bound from their cradles. They do not
+reflect that every day one may see the will of young men, spurred on
+by zeal in their tender years, and exercised by them in continual
+studies, rise to infinite heights; while the old, led by fear, pride,
+and ambition, lose the cunning of their hands, so that the better they
+think to work, the worse they do it, and where they believe that they
+are advancing, they are going backwards. Wherefore, out of envy, they
+never give credit to the young for the perfection of their works,
+however clearly they may see it, on account of the obstinacy that
+possesses them. And it is known from experience that when, in order to
+show what they can do, they exert themselves to the utmost of their
+power, they often produce works that are ridiculous and a mere
+laughing-stock. In truth, when craftsmen have reached the age when the
+eye is no longer steady and the hand trembles, their place, if they
+have saved the wherewithal to live, is to give advice to men who can
+work, for the reason that the arts of painting and sculpture call for
+a mind in every way vigorous and awake (as it is at the age when the
+blood <span class="pagenum"><a id="Page_184" name="Page_184">[Pg 184]</a></span> is boiling), full of burning desire, and a capital
+enemy of the pleasures of the world. And whoever is not temperate with
+regard to the delights of the world should shun the studies of any art
+or science whatsoever, seeing that such pleasures and study can never
+agree well together. Since, therefore, these arts involve so many
+burdens, few, indeed, are they who attain to the highest rank; and
+those who start with eagerness from the post are greater in number
+than those who run well in the race and win the prize.</p>
+
+<p>Now there was more pride than art, although he was very able, to be
+seen in Torrigiano, a sculptor of Florence, who in his youth was
+maintained by the elder Lorenzo de' Medici in the garden which that
+magnificent citizen possessed on the Piazza di S. Marco in Florence.
+This garden was in such wise filled with the best ancient statuary,
+that the loggia, the walks, and all the apartments were adorned with
+noble ancient figures of marble, pictures, and other suchlike things,
+made by the hands of the best masters who ever lived in Italy or
+elsewhere. And all these works, in addition to the magnificence and
+adornment that they conferred on that garden, were as a school or
+academy for the young painters and sculptors, as well as for all
+others who were studying the arts of design, and particularly for the
+young nobles; since the Magnificent Lorenzo had a strong conviction
+that those who are born of noble blood can attain to perfection in all
+things more readily and more speedily than is possible, for the most
+part, for men of humble birth, in whom there are rarely seen those
+conceptions and that marvellous genius which are perceived in men of
+illustrious stock. Moreover, the less highly born, having generally to
+defend themselves from hardship and poverty, and being forced in
+consequence to undertake any sort of work, however mean, are not able
+to exercise their intellect, or to attain to the highest degree of
+excellence. Wherefore it was well said by the learned Alciato&mdash;when
+speaking of men of beautiful genius, born in poverty, who are not able
+to raise themselves, because, in proportion as they are impelled
+upwards by the wings of their genius, so are they held down by their
+poverty&mdash;</p>
+
+<p class="poem10">
+  Ut me pluma levat, sic grave mergit onus.</p>
+
+<p><span class="pagenum"><a id="Page_185" name="Page_185">[Pg 185]</a></span> Lorenzo the Magnificent, then, always favoured men of genius,
+and particularly such of the nobles as showed an inclination for these
+our arts; wherefore it is no marvel that from that school there should
+have issued some who have amazed the world. And what is more, he not
+only gave the means to buy food and clothing to those who, being poor,
+would otherwise not have been able to pursue the studies of design,
+but also bestowed extraordinary gifts on any one among them who had
+acquitted himself in some work better than the others; so that the
+young students of our arts, competing thus with each other, thereby
+became very excellent, as I will relate.</p>
+
+<p>The guardian and master of these young men, at that time, was the
+Florentine sculptor Bertoldo, an old and practised craftsman, who had
+once been a disciple of Donato. He taught them, and likewise had
+charge of the works in the garden, and of many drawings, cartoons, and
+models by the hand of Donato, Pippo,<a id="FNanchor20" name="FNanchor20"></a><a href="#Footnote20" title="Go to footnote 20" class="fnanchor">[20]</a> Masaccio, Paolo Uccello, Fra
+Giovanni, Fra Filippo, and other masters, both native and foreign. It
+is a sure fact that these arts can only be acquired by a long course
+of study in drawing and diligently imitating works of excellence; and
+whoever has not such facilities, however much he may be assisted by
+nature, can never arrive at perfection, save late in life.</p>
+
+<p>But to return to the antiquities of the garden; they were in great
+part dispersed in the year 1494, when Piero, the son of the aforesaid
+Lorenzo, was banished from Florence, all being sold by auction. The
+greater part of them, however, were restored to the Magnificent
+Giuliano in the year 1512, at the time when he and the other members
+of the House of Medici returned to their country; and at the present
+day they are for the most part preserved in the guardaroba of Duke
+Cosimo. Truly magnificent was the example thus given by Lorenzo, and
+whenever Princes and other persons of high degree choose to imitate
+it, they will always gain everlasting honour and glory thereby; since
+he who assists and favours, in their noble undertakings, men of rare
+and beautiful genius, from whom the world receives such beauty,
+honour, convenience and benefit, deserves to live for ever in the
+minds and memories of mankind.</p>
+
+<p><span class="pagenum"><a id="Page_186" name="Page_186">[Pg 186]</a></span> Among those who studied the arts of design in that garden,
+the following all became very excellent masters; Michelagnolo, the son
+of Lodovico Buonarroti; Giovan Francesco Rustici; Torrigiano
+Torrigiani; Francesco Granacci; Niccolò, the son of Jacopo<a id="FNanchor21" name="FNanchor21"></a><a href="#Footnote21" title="Go to footnote 21" class="fnanchor">[21]</a> Soggi;
+Lorenzo di Credi, and Giuliano Bugiardini; and, among the foreigners,
+Baccio da Montelupo, Andrea Contucci of Monte Sansovino, and others,
+of whom mention will be made in the proper places.</p>
+
+<p>Torrigiano, then, whose Life we are now about to write, was a student
+in the garden with those named above; and he was not only powerful in
+person, and proud and fearless in spirit, but also by nature so
+overbearing and choleric, that he was for ever tyrannizing over all
+the others both with words and deeds. His chief profession was
+sculpture, yet he worked with great delicacy in terra-cotta, in a very
+good and beautiful manner. But not being able to endure that any one
+should surpass him, he would set himself to spoil with his hands such
+of the works of others as showed an excellence that he could not
+achieve with his brain; and if these others resented this, he often
+had recourse to something stronger than words. He had a particular
+hatred for Michelagnolo, for no other reason than that he saw him
+attending zealously to the study of art, and knew that he used to draw
+in secret at his own house by night and on feast-days, so that he came
+to succeed better in the garden than all the others, and was therefore
+much favoured by Lorenzo the Magnificent. Wherefore, moved by bitter
+envy, Torrigiano was always seeking to affront him, both in word and
+deed; and one day, having come to blows, Torrigiano struck
+Michelagnolo so hard on the nose with his fist, that he broke it,
+insomuch that Michelagnolo had his nose flattened for the rest of his
+life. This matter becoming known to Lorenzo, he was so enraged that
+Torrigiano, if he had not fled from Florence, would have suffered some
+heavy punishment.</p>
+
+<div class="figcenter">
+<a name="img058" id="img058"></a>
+<img src="images/img058-tb.jpg" width="450" height="370" alt="Tomb of Henry VII." title="">
+<p class="caption">TOMB OF HENRY VII<br>
+(<i>After</i> Torrigiano.<br> <i>London: Westminster Abbey</i>)<br>
+<i>Mansell</i>
+<br><span class="link"><a href="images/img058.jpg">View larger image</a></span></p>
+</div>
+
+<p>Having therefore made his way to Rome, where Alexander VI was then
+pressing on the work of the Borgia Tower, Torrigiano executed in it a
+great quantity of stucco-work, in company with other masters.
+Afterwards, money being offered in the service of Duke Valentino, who
+<span class="pagenum"><a id="Page_187" name="Page_187">[Pg 187]</a></span> was making war against the people of Romagna, Torrigiano
+was led away by certain young Florentines; and, having changed himself
+in a moment from a sculptor to a soldier, he bore himself valiantly in
+those campaigns of Romagna. He did the same under Paolo Vitelli in the
+war with Pisa; and he was with Piero de' Medici at the action on the
+Garigliano, where he won the right to arms, and the name of a valiant
+standard-bearer.</p>
+
+<p>But in the end, recognizing that he was never likely to reach the rank
+of captain that he desired, although he deserved it, and that he had
+saved nothing in the wars, and had, on the contrary, wasted his time,
+he returned to sculpture. For certain Florentine merchants, then, he
+made small works in marble and bronze, little figures, which are
+scattered throughout the houses of citizens in Florence, and he
+executed many drawings in a bold and excellent manner, as may be seen
+from some by his hand that are in our book, together with others which
+he made in competition with Michelagnolo. And having been brought by
+those merchants to England, he executed there, in the service of the
+King, an endless number of works in marble, bronze, and wood,
+competing with some masters of that country, to all of whom he proved
+superior. For this he was so well and so richly rewarded, that, if he
+had not been as reckless and unbridled as he was proud, he might have
+lived a life of ease and ended his days in comfort; but what happened
+to him was the very opposite.</p>
+
+<p>After this, having been summoned from England into Spain, he made many
+works there, which are scattered about in various places, and are held
+in great estimation; and, among others, he made a Crucifix of
+terra-cotta, which is the most marvellous thing that there is in all
+Spain. For a monastery of Friars of S. Jerome, without the city of
+Seville, he made another Crucifix; a S. Jerome in Penitence, with his
+lion, the figure of that Saint being a portrait of an old
+house-steward of the Botti family, Florentine merchants settled in
+Spain; and a Madonna with the Child. This last figure was so beautiful
+that it led to his making another like it for the Duke of Arcus, who,
+in order to obtain it, made such promises to Torrigiano, that he
+believed that it would make him <span class="pagenum"><a id="Page_188" name="Page_188">[Pg 188]</a></span> rich for the rest of his
+life. The work being finished, the Duke gave him so many of those
+coins that are called "maravedis," which are worth little or nothing,
+that Torrigiano, to whose house there came two persons laden with
+them, became even more confirmed in his belief that he was to be a
+very rich man. But afterwards, having shown this money to a Florentine
+friend of his, and having asked him to count it and reckon its value
+in Italian coin, he saw that all that vast sum did not amount to
+thirty ducats; at which, holding himself to have been fooled, he went
+in a violent rage to where the figure was that he had made for the
+Duke, and wholly destroyed it. Whereupon that Spaniard, considering
+himself affronted, denounced Torrigiano as a heretic; on which account
+he was thrown into prison, and after being examined every day, and
+sent from one inquisitor to the other, he was finally judged to
+deserve the severest penalty. But this was never put into execution,
+because Torrigiano himself was plunged thereby into such melancholy,
+that, remaining many days without eating, and thus becoming very weak,
+little by little he put an end to his own life; and in this way, by
+denying himself his food, he avoided the shame into which he would
+perchance have fallen, for it was believed that he had been condemned
+to death.</p>
+
+<p>The works of this master date about the year of our salvation, 1515,
+and he died in the year 1522.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="sangallo" id="sangallo"></a><span class="pagenum"><a id="Page_189" name="Page_189">[Pg 189]</a></span> GIULIANO AND ANTONIO DA SAN GALLO</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_sangallo" id="life_of_sangallo"></a><span class="pagenum"><a id="Page_191" name="Page_191">[Pg 191]</a></span> LIVES OF GIULIANO AND ANTONIO DA SAN GALLO</h2>
+
+<h3>ARCHITECTS OF FLORENCE</h3>
+
+
+<p>Francesco di Paolo Giamberti, who was a passing good architect in the
+time of Cosimo de' Medici, and was much employed by him, had two sons,
+Giuliano and Antonio, whom he apprenticed to the art of wood-carving.
+One of these two sons, Giuliano, he placed with Francione, a joiner,
+an ingenious person, who gave attention at the same time to
+wood-carving and to perspective, and with whom Francesco was very
+intimate, since they had executed many works in company, both in
+carving and in architecture, for Lorenzo de' Medici. This Giuliano
+learnt so well all that Francione taught him, that the carvings and
+beautiful perspectives that he afterwards executed by himself in the
+choir of the Duomo of Pisa are still regarded not without marvel at
+the present day, even among the many new perspectives.</p>
+
+<p>While Giuliano was studying design, and his young blood ran hot in his
+veins, the army of the Duke of Calabria, by reason of the hatred which
+that lord bore to Lorenzo de' Medici, encamped before Castellina, in
+order to occupy the dominions of the Signoria of Florence, and also,
+if this should be successful, in order to accomplish some greater
+design. Wherefore Lorenzo the Magnificent was forced to send an
+engineer to Castellina, who might make mills and bastions, and should
+have the charge of handling the artillery, which few men at that time
+were able to do; and he sent thither Giuliano, considering him to have
+a mind more able, more ready, and more resolute than any other man,
+and knowing him already as the son of Francesco, who had been a
+devoted servant of the House of Medici.</p>
+
+<p>Arriving at Castellina, therefore, Giuliano fortified that place with
+<span class="pagenum"><a id="Page_192" name="Page_192">[Pg 192]</a></span> good walls and mills, both within and without, and furnished
+it with everything else necessary for the defence. Then, observing
+that the artillery-men stood at a great distance from their pieces,
+handling, loading, and discharging them with much timidity, he gave
+his attention to this, and so contrived that from that time onwards
+the artillery did harm to no one, whereas it had previously killed
+many of them, since they had not had judgment and knowledge enough to
+avoid suffering injury from the recoil. Having therefore taken charge
+of the artillery, Giuliano showed great skill in discharging it to the
+best possible advantage; and the Duke's forces so lost heart by reason
+of this and other adverse circumstances, that they were glad to make
+terms and depart from the town. In consequence of this Giuliano won no
+little praise from Lorenzo in Florence, and was looked upon with
+favour and affection ever afterwards.</p>
+
+<p>Having meanwhile given his attention to architecture, he began the
+first cloister of the Monastery of Cestello, and executed that part of
+it that is seen to be of the Ionic Order; placing capitals on the
+columns with volutes curving downwards to the collarino, where the
+shaft of the column ends, and making, below the ovoli and the
+fusarole, a frieze, one-third in height of the diameter of the column.
+This capital was copied from a very ancient one of marble, found at
+Fiesole by Messer Leonardo Salutati, Bishop of that place, who kept it
+for some time, together with other antiquities, in a house and garden
+that he occupied in the Via di S. Gallo, opposite to S. Agata; and it
+is now in the possession of Messer Giovan Battista da Ricasoli, Bishop
+of Pistoia, and is prized for its beauty and variety, since among the
+ancient capitals there has not been seen another like it. But that
+cloister remained unfinished, because those monks were not then able
+to bear such an expense.</p>
+
+<p>Meanwhile Giuliano had come into even greater credit with Lorenzo; and
+the latter, who was intending to build a palace at Poggio a Cajano, a
+place between Florence and Pistoia, and had caused several models to
+be made for it by Francione and by others, commissioned Giuliano,
+also, to make one of the sort of building that he proposed to erect.
+And Giuliano made it so completely different in form from the others,
+and so <span class="pagenum"><a id="Page_193" name="Page_193">[Pg 193]</a></span> much to Lorenzo's fancy, that he began straightway to
+have it carried into execution, as the best of all the models; on
+which account he took Giuliano even more into his favour, and ever
+afterwards gave him an allowance.</p>
+
+<p>After this, Giuliano wishing to make a vaulted ceiling for the great
+hall of that palace in the manner that we call barrel-shaped, Lorenzo
+could not believe, on account of the great space, that it could be
+raised. Whereupon Giuliano, who was building a house for himself in
+Florence, made a ceiling for his hall according to the design of the
+other, in order to convince the mind of that Magnificent Prince; and
+Lorenzo therefore gave orders for the ceiling at the Poggio to be
+carried out, which was successfully done.</p>
+
+<p>By that time the fame of Giuliano had so increased, that, at the
+entreaty of the Duke of Calabria, he was commissioned by Lorenzo the
+Magnificent to make the model for a palace that was to be built at
+Naples; and he spent a long time over executing it. Now while he was
+working at this, the Castellan of Ostia, then Bishop della Rovere, who
+after a time became Pope Julius II, wishing to restore that stronghold
+and to put it into good order, and having heard the fame of Giuliano,
+sent to Florence for him; and, having supplied him with a good
+provision, he kept him employed for two years in making therein all
+the useful improvements that he was able to execute by means of his
+art. And to the end that the model for the Duke of Calabria might not
+be neglected, but might be brought to conclusion, he left it to his
+brother Antonio, who finished it according to his directions, which,
+in executing it and carrying it to completion, he followed with great
+diligence, for he was no less competent in that art than Giuliano
+himself. Now Giuliano was advised by the elder Lorenzo to present it
+in person, to the end that he might show from the model itself the
+difficulties that he had triumphed over in making it. Whereupon he
+departed for Naples, and, having presented the work, was received with
+honour; for men were as much impressed by the gracious manner in which
+the Magnificent Lorenzo had sent him, as they were struck with marvel
+at the masterly work in the model, which gave such satisfaction that
+the building was straightway begun near the Castel Nuovo.</p>
+
+<p><span class="pagenum"><a id="Page_194" name="Page_194">[Pg 194]</a></span> After Giuliano had been some time in Naples, he sought leave
+from the Duke to return to Florence; whereupon he was presented by the
+King with horses and garments, and, among other things, with a silver
+cup containing some hundreds of ducats. These things Giuliano would
+not accept, saying that he served a patron who had no need of silver
+or gold, but that if he did indeed wish to give him some present or
+some token of approbation, to show that he had been in that city, he
+might bestow upon him some of his antiquities, which he would choose
+himself. These the King granted to him most liberally, both for love
+of the Magnificent Lorenzo and on account of Giuliano's own worth; and
+they were a head of the Emperor Hadrian, which is now above the door
+of the garden at the house of the Medici, a nude woman, more than
+life-size, and a Cupid sleeping, all in marble and in the round.
+Giuliano sent them as presents to the Magnificent Lorenzo, who
+expressed vast delight at the gift, and never tired of praising the
+action of this most liberal of craftsmen, who had refused gold and
+silver for the sake of art, a thing which few would have done. That
+Cupid is now in the guardaroba of Duke Cosimo.</p>
+
+<div class="figcenter">
+<a name="img059" id="img059"></a>
+<img src="images/img059-tb.jpg" width="400" height="528" alt="Façade of S. Maria Delle Carceri." title="">
+<p class="caption">FAÇADE OF S. MARIA DELLE CARCERI<br>
+(<i>After</i> Giuliano da San Gallo.<br> <i>Prato</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img059.jpg">View larger image</a></span></p>
+</div>
+
+<p>Having then returned to Florence, Giuliano was received most
+graciously by the Magnificent Lorenzo. Now the fancy had taken that
+Prince to build a convent capable of holding a hundred friars, without
+the Porta S. Gallo, in order to give satisfaction to Fra Mariano da
+Ghinazzano, a most learned member of the Order of Eremite Friars of S.
+Augustine. For this convent models were made by many architects, and
+in the end that of Giuliano was put into execution, which was the
+reason that Lorenzo, from this work, gave him the name of Giuliano da
+San Gallo. Wherefore Giuliano, who heard himself called by everyone
+"da San Gallo," said one day in jest to the Magnificent Lorenzo, "By
+giving me this new name of 'da San Gallo,' you are making me lose the
+ancient name of my house, so that, in place of going forward in the
+matter of lineage, as I thought to do, I am going backward." Whereupon
+Lorenzo answered that he would rather have him become the founder of a
+new house through his own worth, than depend on others; at which
+Giuliano was well content.</p>
+
+<p>Meanwhile the work of S. Gallo was carried on, together with
+<span class="pagenum"><a id="Page_195" name="Page_195">[Pg 195]</a></span> Lorenzo's other buildings; but neither the convent nor the
+others were finished, by reason of the death of Lorenzo. And even the
+completed part of this structure of S. Gallo did not long remain
+standing, because in 1530, on account of the siege of Florence, it was
+destroyed and thrown to the ground, together with the whole suburb,
+the piazza of which was completely surrounded by very beautiful
+buildings; and at the present day there is no trace to be seen there
+of house, church, or convent.</p>
+
+<p>At this time there took place the death of the King of Naples,
+whereupon Giuliano Gondi, a very rich Florentine merchant, returned
+from that city to Florence, and commissioned Giuliano da San Gallo,
+with whom he had become very intimate on account of his visit to
+Naples, to build him a palace in rustic work, opposite to S. Firenze,
+above the place where the lions used to be. This palace was to form
+the angle of the piazza and to face the old Mercatanzia; but the death
+of Giuliano Gondi put a stop to the work. In it, among other things,
+Giuliano made a chimney-piece, very rich in carvings, and so varied
+and beautiful in composition, that up to that time there had never
+been seen the like, nor one with such a wealth of figures. The same
+master made a palace for a Venetian in Camerata, without the Porta a
+Pinti, and many houses for private citizens, of which there is no need
+to make mention.</p>
+
+<p>Lorenzo the Magnificent, in order to benefit the commonwealth and
+adorn the State, and at the same time to leave behind him some
+splendid monument, in addition to the endless number that he had
+already erected, wished to execute the fortification of the Poggio
+Imperiale, above Poggibonsi, on the road to Rome, with a view to
+founding a city there; and he would not lay it out without the advice
+and design of Giuliano. Wherefore that master began that most famous
+structure, in which he made the well-designed and beautiful range of
+fortifications that we see at the present day.</p>
+
+<p>These works brought him such fame, that he was then summoned to Milan,
+through the mediation of Lorenzo, by the Duke of Milan, to the end
+that he might make for him the model of a palace; and there Giuliano
+was no less honoured by the Duke than he had previously been honoured
+by the King of Naples, when that Sovereign had invited him <span class="pagenum"><a id="Page_196" name="Page_196">[Pg 196]</a></span>
+to that city. For when he had presented the model to him, on the part
+of the Magnificent Lorenzo, the Duke was filled with astonishment and
+marvel at seeing the vast number of beautiful adornments in it, so
+well arranged and distributed, and all accommodated in their places
+with art and grace; for which reason all the materials necessary for
+the work were got together, and they began to put it into execution.
+In the same city, together with Giuliano, was Leonardo da Vinci, who
+was working for the Duke; and Leonardo, speaking with Giuliano about
+the casting of the horse that he was proposing to make, received from
+him some excellent suggestions. This work was broken to pieces on the
+arrival of the French, so that the horse was never finished; nor could
+the palace be brought to completion.</p>
+
+<p>Having returned to Florence, Giuliano found that his brother Antonio,
+who worked for him on his models, had become so excellent, that there
+was no one in his day who was a better master in carving, particularly
+for large Crucifixes of wood; to which witness is borne by the one
+over the high-altar of the Nunziata in Florence, by another that is
+kept by the Friars of S. Gallo in S. Jacopo tra Fossi, and by a third
+in the Company of the Scalzo, which are all held to be very good. But
+Giuliano removed him from that profession and caused him to give his
+attention to architecture, in company with himself, since he had many
+works to execute, both public and private.</p>
+
+<p>Now it happened, as it is always happening, that Fortune, the enemy of
+talent, robbed the followers of the arts of their hope and support by
+the death of Lorenzo de' Medici, which was a heavy loss not only to
+all able craftsmen and to his country, but also to all Italy.
+Wherefore Giuliano, together with all the other lofty spirits, was
+left wholly inconsolable; and in his grief he betook himself to Prato,
+near Florence, in order to build the Temple of the Madonna delle
+Carcere, since all building in Florence, both public and private, was
+at a standstill. He lived in Prato, therefore, three whole years,
+supporting the expense, discomfort, and sorrow as best he could.</p>
+
+<p>At the end of that time, it being proposed to roof the Church of the
+Madonna at Loreto, and to raise the cupola, which had been formerly
+<span class="pagenum"><a id="Page_197" name="Page_197">[Pg 197]</a></span> begun but not finished by Giuliano da Maiano, and those who
+had charge of the matter doubting that the piers were too weak to bear
+such a weight, they wrote, therefore, to Giuliano, that if he desired
+such a work, he should go and see it for himself. And having gone,
+like the bold and able man that he was, he showed them that the cupola
+could be raised with ease, and that he had courage enough for the
+task; and so many, and of such a kind, were the reasons that he put
+before them, that the work was allotted to him. After receiving this
+commission, he caused the work in Prato to be despatched, and made his
+way, with the same master-builders and stone-cutters, to Loreto. And
+to the end that this structure, besides beauty of form, might be firm,
+solid, stable, and well bound in the stonework, he sent to Rome for
+pozzolana<a id="FNanchor22" name="FNanchor22"></a><a href="#Footnote22" title="Go to footnote 22" class="fnanchor">[22]</a>; nor was any lime used that was not mixed with it, nor
+any stone built in without it; and thus, within the space of three
+years, it was brought to perfect completion, ready for use.</p>
+
+<p>Giuliano then went to Rome, where, for Pope Alexander VI, he restored
+the roof of S. Maria Maggiore, which was falling into ruin; and he
+made there the ceiling that is to be seen at the present day. While he
+was thus employed about the Court, Bishop della Rovere, who had been
+the friend of Giuliano from the time when he was Castellan of Ostia,
+and who had been created Cardinal of S. Pietro in Vincula, caused him
+to make a model for the Palace of S. Pietro in Vincula. And a little
+time after, desiring to build a palace in his own city of Savona, he
+wished to have it erected likewise from the design and under the eye
+of Giuliano. But such a journey was difficult for Giuliano, for the
+reason that his ceiling was not yet finished, and Pope Alexander would
+not let him go. He entrusted the finishing of it, therefore, to his
+brother Antonio, who, having a good and versatile intelligence, and
+coming thus into contact with the Court, entered into the service of
+the Pope, who conceived a very great affection for him; and this he
+proved when he resolved to restore, with new foundations and with
+defences after the manner of a castle, the Mausoleum of Hadrian, now
+called the Castello di S. Angelo, for Antonio was made overseer of
+this undertaking, and under his <span class="pagenum"><a id="Page_198" name="Page_198">[Pg 198]</a></span> direction were made the
+great towers below, the ditches, and the rest of the fortifications
+that we see at the present day. This work brought him great credit
+with the Pope, and with his son, Duke Valentino; and it led to his
+building the fortress that is now to be seen at Cività Castellana.
+Thus, then, while that Pontiff was alive, he was continually employed
+in building; and while working for him, he was rewarded by him no less
+than he was esteemed.</p>
+
+<p>Giuliano had already carried well forward the work at Savona, when the
+Cardinal returned to Rome on some business of his own, leaving many
+workmen to bring the building to completion after the directions and
+design of Giuliano, whom he took with him to Rome. Giuliano made that
+journey willingly, wishing to see Antonio and his works; and he stayed
+there some months. During that time, however, the Cardinal fell into
+disgrace with the Pope, and departed from Rome, in order not to be
+taken prisoner, and Giuliano, as before, went in his company. On
+arriving at Savona, they set a much greater number of master-builders
+and other artificers to work on the building. But the threats of the
+Pope against the Cardinal becoming every day louder, it was not long
+before he made his way to Avignon. From there he sent as a present to
+the King of France a model for a palace that Giuliano had made for
+him, which was marvellous, very rich in ornament, and spacious enough
+for the accommodation of his whole Court. The royal Court was at Lyons
+when Giuliano presented his model; and the gift was so welcome and
+acceptable to the King, that he rewarded Giuliano liberally and gave
+him infinite praise, besides rendering many thanks for it to the
+Cardinal, who was at Avignon.</p>
+
+<p>Meanwhile they received news that the palace at Savona was already
+nearly finished; whereupon the Cardinal determined that Giuliano
+should once more see the work, and Giuliano, having gone for this
+purpose to Savona, had not been there long when it was completely
+finished. Then, desiring to return to Florence, where he had not been
+for a long time, Giuliano took the road for that city together with
+his master-builders. Now at that time the King of France had restored
+Pisa her liberty, and the war between the Florentines and the Pisans
+was still raging; and <span class="pagenum"><a id="Page_199" name="Page_199">[Pg 199]</a></span> Giuliano, wishing to pass through
+Pisan territory, had a safe-conduct made out for his company at Lucca,
+for they had no small apprehension about the Pisan soldiers.
+Nevertheless, while passing near Altopascio, they were captured by the
+Pisans, who cared nothing for safe-conducts or for any other warrant
+that they might have. And for six months Giuliano was detained in
+Pisa, his ransom being fixed at three hundred ducats; nor was he able
+to return to Florence until he had paid it.</p>
+
+<p>Antonio had heard this news in Rome, and, desiring to see his native
+city and his brother again, obtained leave to depart from Rome; and on
+his way he designed for Duke Valentino the fortress of Montefiascone.
+Finally, in the year 1503, he reached Florence, where the two brothers
+and their friends took joyful pleasure in each other's company.</p>
+
+<p>There now ensued the death of Alexander VI, and the election of Pius
+III, who lived but a short time; whereupon the Cardinal of S. Pietro
+in Vincula was created Pontiff, under the name of Pope Julius II;
+which brought great joy to Giuliano, on account of his having been so
+long in his service, and he determined, therefore, to go to kiss the
+Pope's foot. Having then arrived in Rome, he was warmly received and
+welcomed lovingly, and was straightway commissioned to execute the
+first buildings undertaken by that Pope before the coming of Bramante.</p>
+
+<p>Antonio, who had remained in Florence, continued, in the absence of
+Giuliano (Piero Soderini being Gonfalonier), the building of the
+Poggio Imperiale, to which all the Pisan prisoners were sent to
+labour, in order to finish the work the quicker. After this, by reason
+of the troubles at Arezzo, the old fortress was destroyed, and Antonio
+made the model for the new one, with the consent of Giuliano, who had
+come from Rome for this purpose, but soon returned thither; and this
+work was the reason that Antonio was appointed architect to the
+Commune of Florence for all the fortifications.</p>
+
+<p>On the return of Giuliano to Rome, the question was being debated as
+to whether the divine Michelagnolo Buonarroti should make the tomb of
+Pope Julius; whereupon Giuliano exhorted the Pope to pursue that
+undertaking, adding that it seemed to him that it was necessary to
+build a special chapel for such a monument, and that it should not be
+placed <span class="pagenum"><a id="Page_200" name="Page_200">[Pg 200]</a></span> in the old S. Pietro, in which there was no space for
+it, whereas a new chapel would bring out all the perfection of the
+work. After many architects, then, had made designs, the matter little
+by little became one of such importance, that, in place of erecting a
+chapel, a beginning was made with the great fabric of the new S.
+Pietro. There had arrived in Rome, about that time, the architect
+Bramante of Castel Durante, who had been in Lombardy; and he went to
+work in such a manner, with various extraordinary means and methods of
+his own, and with his fantastic ideas, having on his side Baldassarre
+Peruzzi, Raffaello da Urbino, and other architects, that he put the
+whole undertaking into confusion; whereby much time was consumed in
+discussions. Finally&mdash;so well did he know how to set about the
+matter&mdash;the work was entrusted to him, as the man who had shown the
+finest judgment, the best intelligence, and the greatest invention.</p>
+
+<p>Giuliano, resenting this, for it appeared to him that he had received
+an affront from the Pope, in view of the faithful service that he had
+rendered to him when his rank was not so high, and of the promise made
+to him by the Pope that he should have that building, sought leave to
+go; and so, notwithstanding that he was appointed companion to
+Bramante for other edifices that were being erected in Rome, he
+departed, and returned, with many gifts received from that Pontiff, to
+Florence.</p>
+
+<p>This was a great joy to Piero Soderini, who straightway set him to
+work. Nor had six months gone by, when Messer Bartolommeo della
+Rovere, the nephew of the Pope, and a friend of Giuliano, wrote to him
+in the name of his Holiness that he should return for his own
+advantage to Rome; but neither terms nor promises availed to move
+Giuliano, who considered that he had been put to shame by the Pope.
+Finally, however, a letter was written to Piero Soderini, urging him
+in one way or another to send Giuliano to Rome, since his Holiness
+wished to finish the fortifications of the Great Round Tower, which
+had been begun by Nicholas V, and likewise those of the Borgo and the
+Belvedere, with other works; and Giuliano allowed himself to be
+persuaded by Soderini, and therefore went to Rome, where he received a
+gracious welcome and many gifts from the Pope.</p>
+
+<p><span class="pagenum"><a id="Page_201" name="Page_201">[Pg 201]</a></span> Having afterwards gone to Bologna, from which the Bentivogli
+had just been driven out, the Pope resolved, by the advice of
+Giuliano, to have a figure of himself in bronze made by Michelagnolo
+Buonarroti; and this was carried out, as will be related in the Life
+of Michelagnolo himself. Giuliano also followed the Pope to Mirandola,
+and after it was taken, having endured much fatigue and many
+discomforts, he returned with the Court to Rome. But the furious
+desire to drive the French out of Italy not having yet got out of the
+head of the Pope, he strove to wrest the government of Florence out of
+the hands of Piero Soderini, whose power was no small hindrance to him
+in the project that he had in mind. Whereupon, since the Pontiff, for
+these reasons, had turned aside from building and had embroiled
+himself in wars, Giuliano, by this time weary, and perceiving that
+attention was being given only to the construction of S. Pietro, and
+not much even to that, sought leave from him to depart. But the Pope
+answered him in anger, "Do you believe that you are the only Giuliano
+da San Gallo to be found?" To which he replied that none could be
+found equal to him in faithful service, while he himself would easily
+find Princes truer to their promises than the Pope had been towards
+him. However, the Pontiff would by no means give him leave to go,
+saying that he would speak to him about it another time.</p>
+
+<p>Meanwhile Bramante, having brought Raffaello da Urbino to Rome, set
+him to work at painting the Papal apartments; whereupon Giuliano,
+perceiving that the Pope took great delight in those pictures, and
+knowing that he wished to have the ceiling of the chapel of his uncle
+Sixtus painted, spoke to him of Michelagnolo, adding that he had
+already executed the bronze statue in Bologna. Which news pleased the
+Pope so much that he sent for Michelagnolo, who, on arriving in Rome,
+received the commission for the ceiling of that chapel.</p>
+
+<p>A little time after this, Giuliano coming back once more to seek leave
+from the Pope to depart, his Holiness, seeing him determined on this,
+was content that he should return to Florence, without forfeiting his
+favour; and, after having blessed him, he gave him a purse of red
+satin containing five hundred crowns, telling him that he might return
+<span class="pagenum"><a id="Page_202" name="Page_202">[Pg 202]</a></span> home to rest, but that he would always be his friend.
+Giuliano, then, having kissed the sacred foot, returned to Florence,
+at the very time when Pisa was surrounded and besieged by the army of
+Florence. No sooner had he arrived, therefore, than Piero Soderini,
+after the due greetings, sent him to the camp to help the military
+commissaries, who had found themselves unable to prevent the Pisans
+from passing provisions into Pisa by way of the Arno. Giuliano made a
+design for a bridge of boats to be built at some better season, and
+then went back to Florence; and when spring had come, taking with him
+his brother Antonio, he made his way to Pisa, where they constructed a
+bridge, which was a very ingenious piece of work, since, besides the
+fact that, rising or falling with the water, and being well bound with
+chains, it stood safe and sound against floods, it carried out the
+desires of the commissaries in such a manner, cutting off Pisa from
+access to the sea by way of the Arno, that the Pisans, having no other
+expedient in their sore straits, were forced to come to terms with the
+Florentines; and so they surrendered. Nor was it long before the same
+Piero Soderini again sent Giuliano, with a vast number of
+master-builders, to Pisa, where with extraordinary swiftness he
+erected the fortress that still stands at the Porta a S. Marco, and
+also the gate itself, which he built in the Doric Order. And the while
+that Giuliano was engaged on this work, which was until the year 1512,
+Antonio went through the whole dominion, inspecting and restoring the
+fortresses and other public buildings.</p>
+
+<p>After this, by the favour of the same Pope Julius, the house of Medici
+was reinstated in the government of Florence, from which they had been
+driven out on the invasion of Italy by Charles VIII, King of France,
+and Piero Soderini was expelled from the Palace; and the Medici showed
+their gratitude to Giuliano and Antonio for the services that they had
+rendered in the past to their illustrious family. Now Cardinal
+Giovanni de' Medici having been elected Pope a short time after the
+death of Julius II, Giuliano was forced once again to betake himself
+to Rome; where, Bramante dying not long after his arrival, it was
+proposed to give to Giuliano the charge of the building of S. Pietro.
+But he, being worn out by his labours, and crushed down by old age and
+by the <span class="pagenum"><a id="Page_203" name="Page_203">[Pg 203]</a></span> stone, which made his life a burden, returned by
+leave of his Holiness to Florence; and that commission was given to
+the most gracious Raffaello da Urbino. And Giuliano, after two years,
+was pressed so sorely by his malady, that he died at the age of
+seventy-four in the year 1517, leaving his name to the world, his body
+to the earth, and his soul to God.</p>
+
+<p>By his departure he left a heavy burden of sorrow to his brother
+Antonio, who loved him tenderly, and to a son of his own named
+Francesco, who was engaged in sculpture, although he was still quite
+young. This Francesco, who has preserved up to our own day all the
+treasures of his elders, and holds them in veneration, executed many
+works at Florence and elsewhere, both in sculpture and in
+architecture, and by his hand is the Madonna of marble, with the Child
+in her arms, and lying in the lap of S. Anne, that is in Orsanmichele;
+which work, with the figures carved in the round out of one single
+block, was held, as it still is, to be very beautiful. He has also
+executed the tomb that Pope Clement caused to be made for Piero de'
+Medici at Monte Cassino, besides many other works, of which no mention
+is here made because the said Francesco is still alive.</p>
+
+<p>After the death of Giuliano, Antonio, being a man who was not willing
+to stay idle, made two large Crucifixes of wood, one of which was sent
+into Spain, while the other, by order of the Vice-Chancellor, Cardinal
+Giulio de' Medici, was taken by Domenico Buoninsegni into France. It
+being then proposed to build the fortress of Livorno, Antonio was sent
+thither by Cardinal de' Medici to make the design for it; which he
+did, although it was afterwards not carried completely into execution,
+nor even after the method suggested by Antonio. After this, the men of
+Montepulciano determining, by reason of the miracles wrought by an
+image of Our Lady, to build a temple for it at very great cost,
+Antonio made the model for this, and became head of the undertaking;
+on which account he visited that building twice a year. At the present
+day it is to be seen carried to perfect completion, having been
+executed with supreme grace, and with truly marvellous beauty and
+variety of composition, by the genius of Antonio, and all the masonry
+is of a certain stone that has a tinge of white, after the manner of
+travertine. It <span class="pagenum"><a id="Page_204" name="Page_204">[Pg 204]</a></span> stands without the Porta di S. Biagio, on the
+right hand, half-way up the slope of the hill. At this time, he made a
+beginning with a palace in the township of Monte San Sovino, for
+Antonio di Monte, Cardinal of Santa Prassedia; and he built another
+for the same man at Montepulciano, both being executed and finished
+with extraordinary grace.</p>
+
+<p>He made the design for the side of the buildings of the Servite Friars
+(in Florence), on their Piazza, following the order of the Loggia of
+the Innocenti; and at Arezzo he made models for the aisles of the
+Madonna delle Lacrime, although that work was very badly conceived,
+because it is out of harmony with the original part of the building,
+and the arches at the ends are not in true line with the centre. He
+also made a model for the Madonna of Cortona; but I do not think that
+this was put into execution. He was employed in the siege on the
+bastions and fortifications within the city, and in this undertaking
+he had as a companion his nephew Francesco. After this, the Giant of
+the Piazza, executed by the hand of Michelagnolo, having been set into
+place in the time of Giuliano, the brother of our Antonio, it was
+proposed to set up the other, which had been made by Baccio
+Bandinelli; and the task of bringing it safely into position was given
+to Antonio, who, taking Baccio d' Agnolo as his companion, carried
+this out by means of very powerful machines, and placed it in safety
+on the base that had been prepared for that purpose.</p>
+
+<p>In the end, having become old, he took no pleasure in anything save
+agriculture, of which he had an excellent knowledge. And then, when on
+account of old age he was no longer able to bear the discomforts of
+this world, he rendered up his soul to God, in the year 1534, and was
+laid to rest by the side of his brother Giuliano in the tomb of the
+Giamberti, in the Church of S. Maria Novella.</p>
+
+<p>The marvellous works of these two brothers will bear witness before
+the world to the extraordinary genius that they possessed; and for
+their lives, their honourable ways, and their every action, they were
+held in estimation by all men. Giuliano and Antonio bequeathed to the
+art of architecture methods that gave the Tuscan Order of building
+better form than any other architect had yet achieved, and the Doric
+Order they <span class="pagenum"><a id="Page_205" name="Page_205">[Pg 205]</a></span> enriched with better measures and proportions
+than their predecessors, following the rules and canons of Vitruvius,
+had been wont to use. They collected in their houses at Florence an
+infinite number of most beautiful antiquities in marble, which adorned
+Florence, and still adorn her, no less than those masters honoured
+themselves and their art. Giuliano brought from Rome the method of
+casting vaults with such materials as made them ready carved; examples
+of which may be seen in a room in his own house, and in the vaulting
+of the Great Hall at Poggio a Cajano, which is still to be seen there.
+Wherefore we should acknowledge our obligation to their labours,
+whereby they fortified the dominion of Florence, adorned the city, and
+gave a name, throughout the many regions where they worked, to
+Florence and to the intellects of Tuscany, who, to honour their
+memory, have written to them these verses&mdash;</p>
+
+<p class="poem10">
+  Cedite Romani structores, cedite Graii,<br>
+<span class="add1em">Artis, Vitruvi, tu quoque cede parens.</span><br>
+  Etruscos celebrare viros, testudinis arcus,<br>
+<span class="add1em">Urna, tholus, statuæ, templa, domusque petunt.</span></p>
+
+
+<hr style="width: 65%;">
+<h2><a name="rafdaurbino" id="rafdaurbino"></a><span class="pagenum"><a id="Page_207" name="Page_207">[Pg 207]</a></span> RAFFAELLO DA URBINO</h2>
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_rafdaurbino" id="life_of_rafdaurbino"></a><span class="pagenum"><a id="Page_209" name="Page_209">[Pg 209]</a></span> LIFE OF RAFFAELLO DA URBINO</h2>
+
+<h3>[<i>RAFFAELLO SANZIO</i>]</h3>
+
+<h3>PAINTER AND ARCHITECT</h3>
+
+
+<p>How bountiful and benign Heaven sometimes shows itself in showering
+upon one single person the infinite riches of its treasures, and all
+those graces and rarest gifts that it is wont to distribute among many
+individuals, over a long space of time, could be clearly seen in the
+no less excellent than gracious Raffaello Sanzio da Urbino, who was
+endowed by nature with all that modesty and goodness which are seen at
+times in those who, beyond all other men, have added to their natural
+sweetness and gentleness the beautiful adornment of courtesy and
+grace, by reason of which they always show themselves agreeable and
+pleasant to every sort of person and in all their actions. Him nature
+presented to the world, when, vanquished by art through the hands of
+Michelagnolo Buonarroti, she wished to be vanquished, in Raffaello, by
+art and character together. And in truth, since the greater part of
+the craftsmen who had lived up to that time had received from nature a
+certain element of savagery and madness, which, besides making them
+strange and eccentric, had brought it about that very often there was
+revealed in them rather the obscure darkness of vice than the
+brightness and splendour of those virtues that make men immortal,
+there was right good reason for her to cause to shine out brilliantly
+in Raffaello, as a contrast to the others, all the rarest qualities of
+the mind, accompanied by such grace, industry, beauty, modesty, and
+excellence of character, as would have sufficed to efface any vice,
+however hideous, and any blot, were it ever so great. Wherefore it may
+be surely said that those who are the possessors of such rare and
+numerous gifts as were seen in Raffaello da Urbino, are not merely
+men, but, if it be not a sin to say it, mortal gods; <span class="pagenum"><a id="Page_210" name="Page_210">[Pg 210]</a></span> and
+that those who, by means of their works, leave an honourable name
+written in the archives of fame in this earthly world of ours, can
+also hope to have to enjoy in Heaven a worthy reward for their labours
+and merits.</p>
+
+<div class="figcenter">
+<a name="img060" id="img060"></a>
+<img src="images/img060-tb.jpg" width="400" height="530" alt="S. George and the Dragon." title="">
+<p class="caption">RAPHAEL: S. GEORGE AND THE DRAGON<br>
+(<i>S. Petersburg: Hermitage, 39. Panel</i>)
+<br><span class="link"><a href="images/img060.jpg">View larger image</a></span></p>
+</div>
+
+<p>Raffaello was born at Urbino, a very famous city in Italy, at three
+o'clock of the night on Good Friday, in the year 1483, to a father
+named Giovanni de' Santi, a painter of no great excellence, and yet a
+man of good intelligence, well able to direct his children on that
+good path which he himself had not been fortunate enough to have shown
+to him in his boyhood. And since Giovanni knew how important it is to
+rear infants, not with the milk of nurses, but with that of their own
+mothers, no sooner was Raffaello born, to whom with happy augury he
+gave that name at baptism, than he insisted that this his only
+child&mdash;and he had no more afterwards&mdash;should be suckled by his own
+mother, and that in his tender years he should have his character
+formed in the house of his parents, rather than learn less gentle or
+even boorish ways and habits in the houses of peasants or common
+people. When he was well grown, he began to exercise him in painting,
+seeing him much inclined to such an art, and possessed of a very
+beautiful genius: wherefore not many years passed before Raffaello,
+still a boy, became a great help to Giovanni in many works that he
+executed in the state of Urbino. In the end, this good and loving
+father, knowing that his son could learn little from him, made up his
+mind to place him with Pietro Perugino, who, as he heard tell, held
+the first place among painters at that time. He went, therefore, to
+Perugia: but not finding Pietro there, he set himself, in order to
+lessen the annoyance of waiting for him, to execute some works in S.
+Francesco. When Pietro had returned from Rome, Giovanni, who was a
+gentle and well-bred person, formed a friendship with him, and, when
+the time appeared to have come, in the most adroit method that he
+knew, told him his desire. And so Pietro, who was very courteous and a
+lover of beautiful genius, agreed to have Raffaello: whereupon
+Giovanni, going off rejoicing to Urbino, took the boy, not without
+many tears on the part of his mother, who loved him dearly, and
+brought him to Perugia, where Pietro, after seeing Raffaello's method
+of drawing, and his beautiful <span class="pagenum"><a id="Page_211" name="Page_211">[Pg 211]</a></span> manners and character,
+formed a judgment of him which time, from the result, proved to be
+very true.</p>
+
+<p>It is a very notable thing that Raffaello, studying the manner of
+Pietro, imitated it in every respect so closely, that his copies could
+not be distinguished from his master's originals, and it was not
+possible to see any clear difference between his works and Pietro's;
+as is still evident from some figures in a panel in S. Francesco at
+Perugia, which he executed in oils for Madonna Maddalena degli Oddi.
+These are a Madonna who has risen into Heaven, with Jesus Christ
+crowning her, while below, round the sepulchre, are the twelve
+Apostles, contemplating the Celestial Glory, and at the foot of the
+panel is a predella divided into three scenes, painted with little
+figures, of the Madonna receiving the Annunciation from the Angel, of
+the Magi adoring Christ, and of Christ in the arms of Simeon in the
+Temple. This work is executed with truly supreme diligence; and one
+who had not a good knowledge of the two manners, would hold it as
+certain that it is by the hand of Pietro, whereas it is without a
+doubt by the hand of Raffaello.</p>
+
+<p>After this work, Pietro returning to Florence on some business of his
+own, Raffaello departed from Perugia and went off with some friends to
+Città di Castello, where he painted a panel for S. Agostino in the
+same manner, and likewise one of a Crucifixion for S. Domenico, which,
+if his name were not written upon it, no one would believe to be a
+work by Raffaello, but rather by Pietro. For S. Francesco, also in the
+same city, he painted a little panel-picture of the Marriage of Our
+Lady, in which one may recognize the excellence of Raffaello
+increasing and growing in refinement, and surpassing the manner of
+Pietro. In this work is a temple drawn in perspective with such loving
+care, that it is a marvellous thing to see the difficulties that he
+was for ever seeking out in this branch of his profession.</p>
+
+<p>Meanwhile, when he had acquired very great fame by following his
+master's manner, Pope Pius II<a id="FNanchor23" name="FNanchor23"></a><a href="#Footnote23" title="Go to footnote 23" class="fnanchor">[23]</a> had given the commission for
+painting the library of the Duomo at Siena to Pinturicchio; and he,
+being a friend <span class="pagenum"><a id="Page_212" name="Page_212">[Pg 212]</a></span> of Raffaello, and knowing him to be an
+excellent draughtsman, brought him to Siena, where Raffaello made for
+him some of the drawings and cartoons for that work. The reason that
+he did not continue at it was that some painters in Siena kept
+extolling with vast praise the cartoon that Leonardo da Vinci had made
+in the Sala del Papa<a id="FNanchor24" name="FNanchor24"></a><a href="#Footnote24" title="Go to footnote 24" class="fnanchor">[24]</a> of a very beautiful group of horsemen, to be
+painted afterwards in the Hall of the Palace of the Signoria, and
+likewise some nudes executed by Michelagnolo Buonarroti in competition
+with Leonardo, and much better; and Raffaello, on account of the love
+that he always bore to the excellent in art, was seized by such a
+desire to see them, that, putting aside that work and all thought of
+his own advantage and comfort, he went off to Florence.</p>
+
+<p>Having arrived there, and being pleased no less with the city than
+with those works, which appeared to him to be divine, he determined to
+take up his abode there for some time; and thus he formed a friendship
+with some young painters, among whom were Ridolfo Ghirlandajo,
+Aristotile da San Gallo, and others, and became much honoured in that
+city, particularly by Taddeo Taddei, who, being one who always loved
+any man inclined to excellence, would have him ever in his house and
+at his table. And Raffaello, who was gentleness itself, in order not
+to be beaten in courtesy, made him two pictures, which incline to his
+first manner, derived from Pietro, but also to the other much better
+manner that he afterwards acquired by study, as will be related; which
+pictures are still in the house of the heirs of the said Taddeo.</p>
+
+<div class="figcenter">
+<a name="img061" id="img061"></a>
+<img src="images/img061-tb.jpg" width="400" height="599" alt="Lo Sposalizio." title="">
+<p class="caption">LO SPOSALIZIO<br>
+(<i>After the panel by</i> Raffaello da Urbino.<br> <i>Milan: Brera, 472</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img061.jpg">View larger image</a></span></p>
+</div>
+
+<p>Raffaello also formed a very great friendship with Lorenzo Nasi; and
+for this Lorenzo, who had taken a wife about that time, he painted a
+picture in which he made a Madonna, and between her legs her Son, to
+whom a little S. John, full of joy, is offering a bird, with great
+delight and pleasure for both of them. In the attitude of each is a
+certain childlike simplicity which is wholly lovely, besides that they
+are so well coloured, and executed with such diligence, that they
+appear to be rather of living flesh than wrought by means of colour
+and draughtsmanship; the Madonna, likewise, has an air truly full of
+grace and divinity; and the foreground, the landscapes, and in short
+all the rest of the work, are <span class="pagenum"><a id="Page_213" name="Page_213">[Pg 213]</a></span> most beautiful. This
+picture was held by Lorenzo Nasi, as long as he lived, in very great
+veneration, both in memory of Raffaello, who had been so much his
+friend, and on account of the dignity and excellence of the work; but
+afterwards, on August 9, in the year 1548, it met an evil fate, when,
+on account of the collapse of the hill of S. Giorgio, the house of
+Lorenzo fell down, together with the ornate and beautiful houses of
+the heirs of Marco del Nero, and other neighbouring dwellings.
+However, the pieces of the picture being found among the fragments of
+the ruins, the son of Lorenzo, Battista, who was a great lover of art,
+had them put together again as well as was possible.</p>
+
+<div class="figcenter">
+<a name="img062" id="img062"></a>
+<img src="images/img062-tb.jpg" width="400" height="571" alt="Maddalena Doni." title="">
+<p class="caption">MADDALENA DONI<br>
+(<i>After the panel by</i> Raffaello da Urbino.<br> <i>Florence: Pitti, 59</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img062.jpg">View larger image</a></span></p>
+</div>
+
+<p>After these works, Raffaello was forced to depart from Florence and go
+to Urbino, where, on account of the death of his mother and of his
+father Giovanni, all his affairs were in confusion. While he was
+living in Urbino, therefore, he painted for Guidobaldo da Montefeltro,
+then Captain of the Florentines, two pictures of Our Lady, small but
+very beautiful, and in his second manner, which are now in the
+possession of the most illustrious and excellent Guidobaldo, Duke of
+Urbino. For the same patron he painted a little picture of Christ
+praying in the Garden, with the three Apostles sleeping at some
+distance from Him. This painting is so highly finished, that a
+miniature could not be better, or in any way different; and after
+having been a long time in the possession of Francesco Maria, Duke of
+Urbino, it was then presented by the most illustrious Signora Leonora,
+his consort, to the Venetians Don Paolo Giustiniano and Don Pietro
+Quirini, hermits of the holy Hermitage of Camaldoli, who afterwards
+placed it, as a relic and a very rare thing, and, in a word, as a work
+by the hand of Raffaello da Urbino, and also to honour the memory of
+that most illustrious lady, in the apartment of the Superior of that
+hermitage, where it is held in the veneration that it deserves.</p>
+
+<p>Having executed these works and settled his affairs, Raffaello
+returned to Perugia, where he painted a panel-picture of Our Lady, S.
+John the Baptist, and S. Nicholas, for the Chapel of the Ansidei in
+the Church of the Servite Friars. And in the Chapel of the Madonna in
+S. Severo, a little monastery of the Order of Camaldoli, in the same
+city, <span class="pagenum"><a id="Page_214" name="Page_214">[Pg 214]</a></span> he painted in fresco a Christ in Glory, and a God the
+Father with angels round Him, and six saints seated, S. Benedict, S.
+Romualdo, S. Laurence, S. Jerome, S. Mauro, and S. Placido, three on
+either side; and on this picture, which was held at that time to be
+most beautiful for a work in fresco, he wrote his name in large and
+very legible letters. In the same city, also, he was commissioned by
+the Nuns of S. Anthony of Padua to paint a panel-picture of Our Lady,
+with Jesus Christ fully dressed, as it pleased those simple and
+venerable sisters, in her lap, and on either side of the Madonna S.
+Peter, S. Paul, S. Cecilia, and S. Catherine; to which two holy
+virgins he gave the sweetest and most lovely expressions of
+countenance and the most beautifully varied head-dresses that are
+anywhere to be seen, which was a rare thing in those times. Above this
+panel, in a lunette, he painted a very beautiful God the Father, and
+in the predella of the altar three scenes with little figures, of
+Christ praying in the Garden, bearing the Cross (wherein are some
+soldiers dragging Him along with most beautiful movements), and lying
+dead in the lap of His Mother. This work is truly marvellous and
+devout; and it is held in great veneration by those nuns, and much
+extolled by all painters.</p>
+
+<p>I will not refrain from saying that it was recognized, after he had
+been in Florence, that he changed and improved his manner so much,
+from having seen many works by the hands of excellent masters, that it
+had nothing to do with his earlier manner; indeed, the two might have
+belonged to different masters, one much more excellent than the other
+in painting.</p>
+
+<p>Before he departed from Perugia, Madonna Atalanta Baglioni besought
+him that he should consent to paint a panel for her chapel in the
+Church of S. Francesco; but since he was not able to meet her wishes
+at that time, he promised her that, after returning from Florence,
+whither he was obliged to go on some affairs, he would not fail her.
+And so, having come to Florence, where he applied himself with
+incredible labour to the studies of his art, he made the cartoon for
+that chapel, with the intention of going, as he did, as soon as the
+occasion might present itself, to put it into execution.</p>
+
+<div class="figcenter">
+<a name="img063" id="img063"></a>
+<img src="images/img063-tb.jpg" width="400" height="602" alt="Angelo Doni." title="">
+<p class="caption">RAFFAELLO DA URBINO: ANGELO DONI<br>
+(<i>Florence: Pitti, 61. Panel</i>)
+<br><span class="link"><a href="images/img063.jpg">View larger image</a></span></p>
+</div>
+
+<p>While he was thus staying in Florence, Agnolo Doni&mdash;who was very
+<span class="pagenum"><a id="Page_215" name="Page_215">[Pg 215]</a></span> careful of his money in other things, but willing to spend
+it, although still with the greatest possible economy, on works of
+painting and sculpture, in which he much delighted&mdash;caused him to make
+portraits of himself and of his wife; and these may be seen, painted
+in his new manner, in the possession of Giovan Battista, his son, in
+the beautiful and most commodious house that the same Agnolo built on
+the Corso de' Tintori, near the Canto degli Alberti, in Florence. For
+Domenico Canigiani, also, he painted a picture of Our Lady, with the
+Child Jesus welcoming a little S. John brought to Him by S. Elizabeth,
+who, as she holds him, is gazing with a most animated expression at a
+S. Joseph, who is standing with both his hands leaning on a staff, and
+inclines his head towards her, as though praising the greatness of God
+and marvelling that she, so advanced in years, should have so young a
+child. And all appear to be amazed to see with how much feeling and
+reverence the two cousins, for all their tender age, are caressing one
+another; not to mention that every touch of colour in the heads,
+hands, and feet seems to be living flesh rather than a tint laid on by
+a master of that art. This most noble picture is now in the possession
+of the heirs of the said Domenico Canigiani, who hold it in the
+estimation that is due to a work by Raffaello da Urbino.</p>
+
+<p>This most excellent of painters studied in the city of Florence the
+old works of Masaccio; and what he saw in those of Leonardo and
+Michelagnolo made him give even greater attention to his studies, in
+consequence of which he effected an extraordinary improvement in his
+art and manner. While he was living in Florence, Raffaello, besides
+other friendships, became very intimate with Fra Bartolommeo di San
+Marco, being much pleased with his colouring, and taking no little
+pains to imitate it: and in return he taught that good father the
+principles of perspective, to which up to that time the monk had not
+given any attention.</p>
+
+<p>But at the very height of this friendly intercourse, Raffaello was
+recalled to Perugia, where he began by finishing the work for the
+aforesaid Madonna Atalanta Baglioni in S. Francesco, for which, as has
+been related, he had made the cartoon in Florence. In this most divine
+picture there is a Dead Christ being borne to the Sepulchre, executed
+<span class="pagenum"><a id="Page_216" name="Page_216">[Pg 216]</a></span> with such freshness and such loving care, that it seems to
+the eye to have been only just painted. In the composition of this
+work, Raffaello imagined to himself the sorrow that the nearest and
+most affectionate relatives of the dead one feel in laying to rest the
+body of him who has been their best beloved, and on whom, in truth,
+the happiness, honour, and welfare of a whole family have depended.
+Our Lady is seen in a swoon; and the heads of all the figures are very
+gracious in their weeping, particularly that of S. John, who, with his
+hands clasped, bows his head in such a manner as to move the hardest
+heart to pity. And in truth, whoever considers the diligence, love,
+art, and grace shown by this picture, has great reason to marvel, for
+it amazes all who behold it, what with the air of the figures, the
+beauty of the draperies, and, in short, the supreme excellence that it
+reveals in every part.</p>
+
+<div class="figcenter">
+<a name="img064" id="img064"></a>
+<img src="images/img064-tb.jpg" width="450" height="330" alt="The School of Athens." title="">
+<p class="caption">"THE SCHOOL OF ATHENS"<br>
+(<i>After the fresco by</i> Raffaello da Urbino.<br> <i>Rome: The Vatican</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img064.jpg">View larger image</a></span></p>
+</div>
+
+<p>This work finished, he returned to Florence, where he received from
+the Dei, citizens of that city, the commission for an altar-panel that
+was to be placed in their chapel in S. Spirito; and he began it, and
+brought the sketch very nearly to completion. At the same time he
+painted a picture that was afterwards sent to Siena, although, on the
+departure of Raffaello, it was left with Ridolfo Ghirlandajo, to the
+end that he might finish a piece of blue drapery that was wanting.
+This happened because Bramante da Urbino, who was in the service of
+Julius II, wrote to Raffaello, on account of his being distantly
+related to him and also his compatriot, that he had so wrought upon
+the Pope, who had caused some new rooms to be made (in the Vatican),
+that Raffaello would have a chance of showing his worth in them. This
+proposal pleased Raffaello: wherefore, abandoning his works in
+Florence, and leaving the panel for the Dei unfinished, in the state
+in which Messer Baldassarre da Pescia had it placed in the Pieve of
+his native city after the death of Raffaello, he betook himself to
+Rome. Having arrived there, he found that most of the rooms in the
+Palace had been painted, or were still being painted, by a number of
+masters. To be precise, he saw that there was one room in which a
+scene had been finished by Piero della Francesca; Luca da Cortona had
+brought one wall nearly to completion; and Don Pietro<a id="FNanchor25" name="FNanchor25"></a><a href="#Footnote25" title="Go to footnote 25" class="fnanchor">[25]</a> <span class="pagenum"><a id="Page_217" name="Page_217">[Pg 217]</a></span>
+della Gatta, Abbot of S. Clemente at Arezzo, had begun some works
+there. Bramantino, the Milanese, had likewise painted many figures,
+which were mostly portraits from life, and were held to be very
+beautiful. After his arrival, therefore, having been received very
+warmly by Pope Julius, Raffaello began in the Camera della Segnatura a
+scene of the theologians reconciling Philosophy and Astrology with
+Theology: wherein are portraits of all the sages in the world,
+disputing in various ways. Standing apart are some astrologers, who
+have made various kinds of figures and characters of geomancy and
+astrology on some little tablets, which they send to the Evangelists
+by certain very beautiful angels; and these Evangelists are expounding
+them. Among them is Diogenes with his cup, lying on the steps, and
+lost in thought, a figure very well conceived, which, for its beauty
+and the characteristic negligence of its dress, is worthy to be
+extolled. There, also, are Aristotle and Plato, one with the Timæus in
+his hand, the other with the Ethics; and round them, in a circle, is a
+great school of philosophers. Nor is it possible to express the beauty
+of those astrologers and geometricians who are drawing a vast number
+of figures and characters with compasses on tablets: among whom, in
+the figure of a young man, shapely and handsome, who is throwing out
+his arms in admiration, and inclining his head, is the portrait of
+Federigo II, Duke of Mantua, who was then in Rome. There is also a
+figure that is stooping to the ground, holding in its hand a pair of
+compasses, with which it is making a circle on a tablet: this is said
+to be the architect Bramante, and it is no less the man himself than
+if he were alive, so well is it drawn. Beside a figure with its back
+turned and holding a globe of the heavens in its hand, is the portrait
+of Zoroaster; and next to him is Raffaello, the master of the work,
+who made his own portrait by means of a mirror, in a youthful head
+with an air of great modesty, filled with a pleasing and excellent
+grace, and wearing a black cap.</p>
+
+<p>Nor is one able to describe the beauty and goodness that are to be
+seen in the heads and figures of the Evangelists, to whose
+countenances he gave an air of attention and intentness very true to
+life, and particularly in those who are writing. Thus, behind S.
+Matthew, who is copying <span class="pagenum"><a id="Page_218" name="Page_218">[Pg 218]</a></span> the characters from the tablet
+wherein are the figures (which is held before him by an angel), and
+writing them down in a book, he painted an old man who, having placed
+a piece of paper on his knee, is copying all that S. Matthew writes
+down; and while intent on his work in that uncomfortable position, he
+seems to twist his head and his jaws in time with the motion of the
+pen. And in addition to the details of the conceptions, which are
+numerous enough, there is the composition of the whole scene, which is
+truly arranged with so much order and proportion, that he may be said
+to have given therein such a proof of his powers as made men
+understand that he was resolved to hold the sovereignty, without
+question, among all who handled the brush.</p>
+
+<p>He also adorned this work with a view in perspective and with many
+figures, executed in such a sweet and delicate manner, that Pope
+Julius was induced thereby to cause all the scenes of the other
+masters, both the old and the new, to be thrown to the ground, so that
+Raffaello alone might have the glory of all the labours that had been
+devoted to these works up to that time. The work of Giovanni Antonio
+Sodoma of Vercelli, which was above Raffaello's painting, was to be
+thrown down by order of the Pope; but Raffaello determined to make use
+of its compartments and grotesques. There were also some medallions,
+four in number, and in each of these he made a figure as a symbol of
+the scenes below, each figure being on the same side as the scene that
+it represented. Over the first scene, wherein he painted Philosophy,
+Astrology, Geometry, and Poetry making peace with Theology, is a woman
+representing Knowledge, who is seated on a throne that is supported on
+either side by a figure of the Goddess Cybele, each with those many
+breasts which in ancient times were the attributes of Diana
+Polymastes; and her dress is of four colours, standing for the four
+elements; from the head downwards there is the colour of fire, below
+the girdle that of the sky, from the groin to the knees there is the
+colour of earth, and the rest, down to the feet, is the colour of
+water. With her, also, are some truly beautiful little boys. In
+another medallion, on the side towards the window that looks over the
+Belvedere, is a figure of Poetry, who is in the form of Polyhymnia,
+crowned with laurel, and holds an antique musical instrument <span class="pagenum"><a id="Page_219" name="Page_219">[Pg 219]</a></span>
+in one hand, and a book in the other, and has her legs crossed. With a
+more than human beauty of expression in her countenance, she stands
+with her eyes uplifted towards Heaven, accompanied by two little boys,
+who are lively and spirited, and who make a group of beautiful variety
+both with her and with the others. On this side, over the aforesaid
+window, Raffaello afterwards painted Mount Parnassus. In the third
+medallion, which is above the scene where the Holy Doctors are
+ordaining the Mass, is a figure of Theology, no less beautiful than
+the others, with books and other things round her, and likewise
+accompanied by little boys. And in the fourth medallion, over the
+other window, which looks out on the court, he painted Justice with
+her scales, and her sword uplifted, and with the same little boys that
+are with the others; of which the effect is supremely beautiful, for
+in the scene on the wall below he depicted the giving of the Civil and
+the Canon Law, as we will relate in the proper place.</p>
+
+<p>In like manner, on the same ceiling, in the angles of the pendentives,
+he executed four scenes which he drew and coloured with great
+diligence, but with figures of no great size. In one of these, that
+near the Theology, he painted the Sin of Adam, the eating of the
+apple, which he executed with a most delicate manner; and in the
+second, near the Astrology, is a figure of that science setting the
+fixed stars and planets in their places. In the next, that belonging
+to Mount Parnassus, is Marsyas, whom Apollo has caused to be bound to
+a tree and flayed; and on the side of the scene wherein the Decretals
+are given, there is the Judgment of Solomon, showing him proposing to
+have the child cut in half. These four scenes are all full of
+expression and feeling, and executed with excellent draughtsmanship,
+and with pleasing and gracious colouring.</p>
+
+<p>But now, having finished with the vaulting&mdash;that is, the ceiling&mdash;of
+that apartment, it remains for us to describe what he painted below
+the things mentioned above, wall by wall. On the wall towards the
+Belvedere, where there are Mount Parnassus and the Fount of Helicon,
+he made round that mount a laurel wood of darkest shadows, in the
+verdure of which one almost sees the leaves quivering in the gentle
+zephyrs; and in the air are vast numbers of naked Loves, most
+beautiful <span class="pagenum"><a id="Page_220" name="Page_220">[Pg 220]</a></span> in feature and expression, who are plucking
+branches of laurel and with them making garlands, which they throw and
+scatter about the mount. Over the whole, in truth, there seems to
+breathe a spirit of divinity, so beautiful are the figures, and such
+the nobility of the picture, which makes whoever studies it with
+attention marvel how a human brain, by the imperfect means of mere
+colours, and by excellence of draughtsmanship, could make painted
+things appear alive. Most lifelike, also, are those Poets who are seen
+here and there about the mount, some standing, some seated, some
+writing, and others discoursing, and others, again, singing or
+conversing together, in groups of four or six, according as it pleased
+him to distribute them. There are portraits from nature of all the
+most famous poets, ancient and modern, and some only just dead, or
+still living in his day; which were taken from statues or medals, and
+many from old pictures, and some, who were still alive, portrayed from
+the life by himself. And to begin with one end, there are Ovid,
+Virgil, Ennius, Tibullus, Catullus, Propertius, and Homer; the
+last-named, blind and chanting his verses with uplifted head, having
+at his feet one who is writing them down. Next, in a group, are all
+the nine Muses and Apollo, with such beauty in their aspect, and such
+divinity in the figures, that they breathe out a spirit of grace and
+life. There, also, are the learned Sappho, the most divine Dante, the
+gracious Petrarca, and the amorous Boccaccio, who are wholly alive,
+with Tibaldeo, and an endless number of other moderns; and this scene
+is composed with much grace, and executed with diligence.</p>
+
+<p>On another wall he made a Heaven, with Christ, Our Lady, S. John the
+Baptist, the Apostles, the Evangelists, and the Martyrs, enthroned on
+clouds, with God the Father sending down the Holy Spirit over them
+all, and particularly over an endless number of saints, who are below,
+writing the Mass, and engaged in disputation about the Host, which is
+on the altar. Among these are the four Doctors of the Church, who have
+about them a vast number of saints, such as Dominic, Francis, Thomas
+Aquinas, Buonaventura, Scotus, and Nicholas of Lira, with Dante, Fra
+Girolamo Savonarola of Ferrara, and all the Christian theologians,
+with an infinite number of portraits from nature; and in the air
+<span class="pagenum"><a id="Page_221" name="Page_221">[Pg 221]</a></span> are four little children, who are holding open the Gospels.
+Anything more graceful or more perfect than these figures no painter
+could create, since those saints are represented as seated in the air,
+in a circle, and so well, that in truth, besides the appearance of
+life that the colouring gives them, they are foreshortened and made to
+recede in such a manner, that they would not be otherwise if they were
+in relief. Moreover, their vestments show a rich variety, with most
+beautiful folds in the draperies, and the expressions of the heads are
+more Divine than human; as may be seen in that of Christ, which
+reveals all the clemency and devoutness that Divinity can show to
+mortal men through the medium of painting. For Raffaello received from
+nature a particular gift of making the expressions of his heads very
+sweet and gracious; of which we have proof also in the Madonna, who,
+with her hands pressed to her bosom, gazing in contemplation upon her
+Son, seems incapable of refusing any favour; not to mention that he
+showed a truly beautiful sense of fitness, giving a look of age to the
+expressions of the Holy Patriarchs, simplicity to the Apostles, and
+faith to the Martyrs. Even more art and genius did he display in the
+holy Christian Doctors, in whose features, while they make disputation
+throughout the scene in groups of six or three or two, there may be
+seen a kind of eagerness and distress in seeking to find the truth of
+that which is in question, revealing this by gesticulating with their
+hands, making various movements of their persons, turning their ears
+to listen, knitting their brows, and expressing astonishment in many
+different ways, all truly well varied and appropriate; save only the
+four Doctors of the Church, who, illumined by the Holy Spirit, are
+unravelling and expounding, by means of the Holy Scriptures, all the
+problems of the Gospels, which are held up by those little boys who
+have them in their hands as they hover in the air.</p>
+
+<p>On another wall, where the other window is, on one side, he painted
+Justinian giving the Laws to the Doctors to be revised; and above
+this, Temperance, Fortitude, and Prudence. On the other side he
+painted the Pope giving the Canonical Decretals; for which Pope he
+made a portrait from life of Pope Julius, and, beside him, Cardinal
+Giovanni de' Medici, who became Pope Leo, Cardinal Antonio di Monte,
+and Cardinal <span class="pagenum"><a id="Page_222" name="Page_222">[Pg 222]</a></span> Alessandro Farnese, who afterwards became Pope
+Paul III, with other portraits.</p>
+
+<p>The Pope was very well satisfied with this work; and in order to make
+the panelling worthy of the paintings, he sent to Monte Oliveto di
+Chiusuri, a place in the territory of Siena, for Fra Giovanni da
+Verona, a great master at that time of perspective-views in inlaid
+woodwork, who made there not only the panelling right round, but also
+very beautiful doors and seats, wrought with perspective-views, which
+brought him great favour, rewards, and honour from the Pope. And it is
+certain that in that craft there was never any man more able than
+Giovanni, either in design or in workmanship: of which we still have
+proof in the Sacristy, wrought most beautifully with perspective-views
+in woodwork, of S. Maria in Organo in his native city of Verona, in
+the choir of Monte Oliveto di Chiusuri and that of S. Benedetto at
+Siena, in the Sacristy of Monte Oliveto at Naples, and also in the
+choir of the Chapel of Paolo da Tolosa in the same place, executed by
+that master. Wherefore he well deserved to be esteemed and held in
+very great honour by the convent of his Order, in which he died at the
+age of sixty-eight, in the year 1537. Of him, as of a person truly
+excellent and rare, I have thought it right to make mention, believing
+that this was due to his talents, which, as will be related in another
+place, led to many beautiful works being made by other masters after
+him.</p>
+
+<div class="figcenter">
+<a name="img065" id="img065"></a>
+<img src="images/img065-tb.jpg" width="450" height="332" alt="The Disputa Del Sacramento." title="">
+<p class="caption">THE "DISPUTA DEL SACRAMENTO"<br>
+(<i>After the fresco by</i> Raffaello da Urbino.<br> <i>Rome: The Vatican</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img065.jpg">View larger image</a></span></p>
+</div>
+
+<p>But to return to Raffaello; his powers grew in such a manner, that he
+was commissioned by the Pope to go on to paint a second room, that
+near the Great Hall. And at this time, when he had gained a very great
+name, he also made a portrait of Pope Julius in a picture in oils, so
+true and so lifelike, that the portrait caused all who saw it to
+tremble, as if it had been the living man himself. This work is now in
+S. Maria del Popolo, together with a very beautiful picture of Our
+Lady, painted at the same time by the same master, and containing the
+Nativity of Jesus Christ, wherein is the Virgin laying a veil over her
+Son, whose beauty is such, both in the air of the head and in all the
+members, as to show that He is the true Son of God. And no less
+beautiful than the Child is the Madonna, in whom, besides her supreme
+loveliness, there may be seen <span class="pagenum"><a id="Page_223" name="Page_223">[Pg 223]</a></span> piety and gladness. There is
+also a Joseph, who, leaning with both his hands on a staff, and lost
+in thoughtful contemplation of the King and Queen of Heaven, gazes
+with the adoration of a most saintly old man. Both these pictures are
+exhibited on days of solemn festival.</p>
+
+<p>By this time Raffaello had acquired much fame in Rome; but, although
+his manner was graceful and held by all to be very beautiful, and
+despite the fact that he had seen so many antiquities in that city,
+and was for ever studying, nevertheless he had not yet given thereby
+to his figures that grandeur and majesty which he gave to them from
+that time onward. For it happened in those days that Michelagnolo made
+the terrifying outburst against the Pope in the chapel, of which we
+will speak in his Life; whence he was forced to fly to Florence.
+Whereupon Bramante, having the keys of the chapel, allowed Raffaello,
+who was his friend, to see it, to the end that he might be able to
+learn the methods of Michelagnolo. And the sight of it was the reason
+that Raffaello straightway repainted, although he had already finished
+it, the Prophet Isaiah that is to be seen in S. Agostino at Rome,
+above the S. Anne by Andrea Sansovino; in which work, by means of what
+he had seen of Michelagnolo's painting, he made the manner
+immeasurably better and more grand, and gave it greater majesty.
+Wherefore Michelagnolo, on seeing afterwards the work of Raffaello,
+thought, as was the truth, that Bramante had done him that wrong on
+purpose in order to bring profit and fame to Raffaello.</p>
+
+<p>Not long after this, Agostino Chigi, a very rich merchant of Siena,
+who was much the friend of every man of excellence, gave Raffaello the
+commission to paint a chapel; and this he did because a short time
+before Raffaello had painted for him in his softest manner, in a
+loggia of his palace, now called the Chigi, in the Trastevere, a
+Galatea in a car on the sea drawn by two dolphins, and surrounded by
+Tritons and many sea-gods. Raffaello, then, having made the cartoon
+for that chapel, which is at the entrance of the Church of S. Maria
+della Pace, on the right hand as one goes into the church by the
+principal door, executed it in fresco, in his new manner, which was no
+little grander and more magnificent than his earlier manner. In this
+painting Raffaello depicted <span class="pagenum"><a id="Page_224" name="Page_224">[Pg 224]</a></span> some Prophets and Sibyls, before
+Michelagnolo's chapel had been thrown open to view, although he had
+seen it; and in truth it is held to be the best of his works, and the
+most beautiful among so many that are beautiful, for in the women and
+children that are in it, there may be seen a marvellous vivacity and
+perfect colouring. And this work caused him to be greatly esteemed
+both in his lifetime and after his death, being the rarest and most
+excellent that Raffaello executed in all his life.</p>
+
+<p>Next, spurred by the entreaties of a Chamberlain of Pope Julius, he
+painted the panel for the high-altar of the Araceli, wherein he made a
+Madonna in the sky, with a most beautiful landscape, a S. John, a S.
+Francis, and a S. Jerome represented as a Cardinal; in which Madonna
+may be seen a humility and a modesty truly worthy of the Mother of
+Christ; and besides the beautiful gesture of the Child as He plays
+with His Mother's hand, there is revealed in S. John that penitential
+air which fasting generally gives, while his head displays the
+sincerity of soul and frank assurance appropriate to those who live
+away from the world and despise it, and, in their dealings with
+mankind, make war on falsehood and speak out the truth. In like
+manner, the S. Jerome has his head uplifted with his eyes on the
+Madonna, deep in contemplation; and in them seem to be suggested all
+the learning and knowledge that he showed in his writings, while with
+both his hands he is presenting the Chamberlain, in the act of
+recommending him to her; which portrait of the Chamberlain is as
+lifelike as any ever painted. Nor did Raffaello fail to do as well in
+the figure of S. Francis, who, kneeling on the ground, with one arm
+outstretched, and with his head upraised, is gazing up at the Madonna,
+glowing with a love in tone with the feeling of the picture, which,
+both by the lineaments and by the colouring, shows him melting with
+affection, and taking comfort and life from the gracious sight of her
+beauty and of the vivacity and beauty of her Son. In the middle of the
+panel, below the Madonna, Raffaello made a little boy standing, who is
+raising his head towards her and holding an inscription: than whom
+none better or more graceful could be painted, what with the beauty of
+his features and the proportionate loveliness of his person. And in
+addition there is a landscape, which is singularly beautiful in its
+absolute perfection.</p>
+
+<div class="figcenter">
+<a name="img066" id="img066"></a>
+<img src="images/img066-tb.jpg" width="450" height="331" alt="The Mass of Bolsena." title="">
+<p class="caption">THE MASS OF BOLSENA<br>
+(<i>After the fresco by</i> Raffaello da Urbino.<br> <i>Rome: The Vatican</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img066.jpg">View larger image</a></span></p>
+</div>
+
+<p><span class="pagenum"><a id="Page_225" name="Page_225">[Pg 225]</a></span> Afterwards, going on with the apartments of the Palace, he
+painted a scene of the Miracle of the Sacramental Corporal of Orvieto,
+or of Bolsena, whichever it may be called. In this scene there may be
+perceived in the face of the priest who is saying Mass, which is
+glowing with a blush, the shame that he felt on seeing the Host turned
+into blood on the Corporal on account of his unbelief. With terror in
+his eyes, dumbfoundered and beside himself in the presence of his
+hearers, he seems like one who knows not what to do; and in the
+gesture of his hands may almost be seen the fear and trembling that a
+man would feel in such a case. Round him Raffaello made many figures,
+all varied and different, some serving the Mass, others kneeling on a
+flight of steps; and all, bewildered by the strangeness of the event,
+are making various most beautiful movements and gestures, while in
+many, both men and women, there is revealed a belief that they are to
+blame. Among the women is one who is seated on the ground at the foot
+of the scene, holding a child in her arms; and she, hearing the
+account that another appears to be giving her of the thing that has
+happened to the priest, turns in a marvellous manner as she listens to
+this, with a womanly grace that is very natural and lifelike. On the
+other side he painted Pope Julius hearing that Mass, a most marvellous
+work, wherein he made a portrait of Cardinal di San Giorgio, with
+innumerable others; and the window-opening he turned to advantage by
+making a flight of steps, in such a way that all the painting seems to
+be one whole: nay, it appears as if, were that window-space not there,
+the work would in nowise have been complete. Wherefore it may be truly
+credited to him that in the invention and composition of every kind of
+painted story, no one has ever been more dexterous, facile, and able
+than Raffaello.</p>
+
+<p>This he also proved in another scene in the same place, opposite to
+the last-named, of S. Peter in the hands of Herod, and guarded in
+prison by men-at-arms; wherein he showed such a grasp of architecture,
+and such judgment in the buildings of the prison, that in truth the
+others after him seem to have more confusion than he has beauty. For
+he was ever seeking to represent stories just as they are written, and
+to paint in them things gracious and excellent; as is proved in this
+one by the <span class="pagenum"><a id="Page_226" name="Page_226">[Pg 226]</a></span> horror of the prison, wherein that old man is
+seen bound in chains of iron between the two men-at-arms, by the deep
+slumber of the guards, and by the dazzling splendour of the Angel,
+which, in the thick darkness of the night, reveals with its light
+every detail of the prison, and makes the arms of the soldiers shine
+resplendent, in such a way that their burnished lustre seems more
+lifelike than if they were real, although they are only painted. No
+less art and genius are there in the action of S. Peter, when, freed
+from his chains, he goes forth from the prison, accompanied by the
+Angel, wherein one sees in the face of the Saint a belief that it is
+rather a dream than a reality; and so, also, terror and dismay are
+shown in some other armed guards without the prison, who hear the
+noise of the iron door, while a sentinel with a torch in his hand
+rouses the others, and, as he gives them light with it, the blaze of
+the torch is reflected in all their armour; and all that its glow does
+not reach is illumined by the light of the moon. This composition
+Raffaello painted over the window, where the wall is darkest; and
+thus, when you look at the picture, the light strikes you in the face,
+and the real light conflicts so well with the different lights of the
+night in the painting, that the smoke of the torch, the splendour of
+the Angel, and the thick darkness of the night seem to you to be
+wholly real and natural, and you would never say that it was all
+painted, so vividly did he express this difficult conception. In it
+are seen shadows playing on the armour, other shadows projected,
+reflections, and a vaporous glare from the lights, all executed with
+darkest shade, and so well, that it may be truly said that he was the
+master of every other master; and as an effect of night, among all
+those that painting has ever produced, this is the most real and most
+divine, and is held by all the world to be the rarest.</p>
+
+<p>On one of the unbroken walls, also, he painted the Divine Worship and
+the Ark of the Hebrews, with the Candlestick; and likewise Pope Julius
+driving Avarice out of the Temple, a scene as beautiful and as
+excellent as the Night described above. Here, in some bearers who are
+carrying Pope Julius, a most lifelike figure, in his chair, are
+portraits of men who were living at that time. And while the people,
+some women among them, are making way for the Pope, so that he may
+pass, one sees <span class="pagenum"><a id="Page_227" name="Page_227">[Pg 227]</a></span> the furious onset of an armed man on
+horseback, who, accompanied by two on foot, and in an attitude of the
+greatest fierceness, is smiting and riding down the proud Heliodorus,
+who is seeking, at the command of Antiochus, to rob the Temple of all
+the wealth stored for the widows and orphans. Already the riches and
+treasures could be seen being removed and taken away, when, on account
+of the terror of the strange misfortune of Heliodorus, so rudely
+struck down and smitten by the three figures mentioned above
+(although, this being a vision, they are seen and heard by him alone),
+behold, they are all dropped and upset on the ground, those who were
+carrying them falling down through the sudden terror and panic that
+had come upon all the following of Heliodorus. Apart from these may be
+seen the holy Onias, the High Priest, dressed in his robes of office,
+with his eyes and hands raised to Heaven, and praying most fervently,
+being seized with pity for the poor innocents who were thus nearly
+losing their possessions, and rejoicing at the help that he feels has
+come down from on high. Besides this, through a beautiful fancy of
+Raffaello's, one sees many who have climbed on to the socles of the
+column-bases, and, clasping the shafts, stand looking in most
+uncomfortable attitudes; with a throng of people showing their
+amazement in many various ways, and awaiting the result of this event.</p>
+
+<p>This work is in every part so stupendous, that even the cartoons are
+held in the greatest veneration; wherefore Messer Francesco Masini, a
+gentleman of Cesena&mdash;who, without the help of any master, but giving
+his attention by himself from his earliest childhood, guided by an
+extraordinary instinct of nature, to drawing and painting, has painted
+pictures that have been much extolled by good judges of
+art&mdash;possesses, among his many drawings and some ancient reliefs in
+marble, certain pieces of the cartoon which Raffaello made for this
+story of Heliodorus, and he holds them in the estimation that they
+truly deserve. Nor will I refrain from saying that Messer Niccolò
+Masini, who has given me information about these matters, is as much a
+true lover of our arts as he is a man of real culture in all other
+things.</p>
+
+<p>But to return to Raffaello; on the ceiling above these works, he then
+executed four scenes, God appearing to Abraham and promising him the
+<span class="pagenum"><a id="Page_228" name="Page_228">[Pg 228]</a></span> multiplication of his seed, the Sacrifice of Isaac, Jacob's
+Ladder, and the Burning Bush of Moses: wherein may be recognized no
+less art, invention, draughtsmanship, and grace, than in the other
+works that he painted.</p>
+
+<p>While the happy genius of this craftsman was producing such marvels,
+the envy of fortune cut short the life of Julius II, who had fostered
+such abilities, and had been a lover of every excellent work.
+Whereupon a new Pope was elected in Leo X, who desired that the work
+begun should be carried on; and Raffaello thereby soared with his
+genius into the heavens, and received endless favours from him,
+fortunate in having come upon a Prince so great, who had by the
+inheritance of blood a strong inclination for such an art. Raffaello,
+therefore, thus encouraged to pursue the work, painted on the other
+wall the Coming of Attila to Rome, and his encounter at the foot of
+Monte Mario with Leo III, who drove him away with his mere
+benediction. In this scene Raffaello made S. Peter and S. Paul in the
+air, with swords in their hands, coming to defend the Church; and
+while the story of Leo III says nothing of this, nevertheless it was
+thus that he chose to represent it, perchance out of fancy, for it
+often happens that painters, like poets, go straying from their
+subject in order to make their work the more ornate, although their
+digressions are not such as to be out of harmony with their first
+intention. In those Apostles may be seen that celestial wrath and
+ardour which the Divine Justice is wont often to impart to the
+features of its ministers, charged with defending the most holy Faith;
+and of this we have proof in Attila, who is to be seen riding a black
+horse with white feet and a star on its forehead, as beautiful as it
+could be, for in an attitude of the utmost terror he throws up his
+head and turns his body in flight. There are other most beautiful
+horses, particularly a dappled jennet, which is ridden by a figure
+that has all the body covered with scales after the manner of a fish;
+which is copied from the Column of Trajan, wherein the figures have
+armour of that kind; and it is thought that such armour is made from
+the skins of crocodiles. There is Monte Mario, all aflame, showing
+that when soldiers march away, their quarters are always left a prey
+to fire. He made portraits from nature, also, in some mace-bearers
+accompanying the Pope, who are marvellously lifelike, as are the
+horses <span class="pagenum"><a id="Page_229" name="Page_229">[Pg 229]</a></span> on which they are riding; and the same is true of the
+retinue of Cardinals, and of some grooms who are holding the palfrey
+on which rides the Pope in full pontificals (a portrait of Leo X, no
+less lifelike than those of the others), with many courtiers; the
+whole being a most pleasing spectacle and well in keeping with such a
+work, and also very useful to our art, particularly for those who have
+no such objects at their command.</p>
+
+<p>At this same time he painted a panel containing Our Lady, S. Jerome
+robed as a Cardinal, and an Angel Raphael accompanying Tobias, which
+was placed in S. Domenico at Naples, in that chapel wherein is the
+Crucifix that spoke to S. Thomas Aquinas. For Signor Leonello da
+Carpi, Lord of Meldola, who is still alive, although more than ninety
+years old, he executed a picture that was most marvellous in
+colouring, and of a singular beauty, for it is painted with such
+force, and also with a delicacy so pleasing, that I do not think it is
+possible to do better. In the countenance of the Madonna may be seen
+such a divine air, and in her attitude such a dignity, that no one
+would be able to improve her; and he made her with the hands clasped,
+adoring her Son, who is seated on her knees, caressing a S. John, a
+little boy, who is adoring Him, in company with S. Elizabeth and
+Joseph. This picture was once in the possession of the very reverend
+Cardinal da Carpi, the son of the said Signor Leonello, and a great
+lover of our arts; and it should be at the present day in the hands of
+his heirs.</p>
+
+<p>Afterwards, Lorenzo Pucci, Cardinal of Santi Quattro, having been
+created Grand Penitentiary, Raffaello was favoured by him with a
+commission to paint a panel for S. Giovanni in Monte at Bologna, which
+is now set up in the chapel wherein lies the body of the Blessed Elena
+dall' Olio: in which work it is evident how much grace, in company
+with art, could accomplish by means of the delicate hands of
+Raffaello. In it is a S. Cecilia, who, entranced by a choir of angels
+on high, stands listening to the sound, wholly absorbed in the
+harmony; and in her countenance is seen that abstraction which is
+found in the faces of those who are in ecstasy. Scattered about the
+ground, moreover, are musical instruments, which have the appearance
+of being, not painted, but real and true; and such, also, are some
+veils that she is wearing, with vestments woven in <span class="pagenum"><a id="Page_230" name="Page_230">[Pg 230]</a></span> silk and
+gold, and, below these, a marvellous hair-shirt. And in a S. Paul, who
+has the right arm leaning on his naked sword, and the head resting on
+the hand, one sees his profound air of knowledge, no less well
+expressed than the transformation of his pride of aspect into dignity.
+He is clothed in a simple red garment by way of mantle, below which is
+a green tunic, after the manner of the Apostles, and his feet are
+bare. There is also S. Mary Magdalene, who is holding in her hands a
+most delicate vase of stone, in an attitude of marvellous grace;
+turning her head, she seems full of joy at her conversion; and indeed,
+in that kind of painting, I do not think that anything better could be
+done. Very beautiful, likewise, are the heads of S. Augustine and S.
+John the Evangelist. Of a truth, other pictures may be said to be
+pictures, but those of Raffaello life itself, for in his figures the
+flesh quivers, the very breath may be perceived, the pulse beats, and
+the true presentment of life is seen in them; on which account this
+picture gave him, in addition to the fame that he had already, an even
+greater name. Wherefore many verses were written in his honour, both
+Latin and in the vulgar tongue, of which, in order not to make my
+story longer than I have set out to do, I will cite only the
+following:</p>
+
+<p class="poem10">
+  Pingant sola alii referantque coloribus ora;<br>
+  Cæciliæ os Raphael atque animum explicuit.</p>
+
+<p>After this he also painted a little picture with small figures, which
+is likewise at Bologna, in the house of Count Vincenzio Ercolano,
+containing a Christ after the manner of Jove in Heaven, surrounded by
+the four Evangelists as Ezekiel describes them, one in the form of a
+man, another as a lion, the third an eagle, and the fourth an ox, with
+a little landscape below to represent the earth: which work, in its
+small proportions, is no less rare and beautiful than his others in
+their greatness.</p>
+
+<div class="figcenter">
+<a name="img067" id="img067"></a>
+<img src="images/img067-tb.jpg" width="400" height="523" alt="Pope Leo X with two Cardinals." title="">
+<p class="caption">POPE LEO X WITH TWO CARDINALS<br>
+(<i>After the panel by</i> Raffaello da Urbino.<br> <i>Florence: Pitti, 40</i>)<br>
+<i>M.S.</i>
+<br><span class="link"><a href="images/img067.jpg">View larger image</a></span></p>
+</div>
+
+<p>To the Counts of Canossa in Verona he sent a large picture of equal
+excellence, in which is a very beautiful Nativity of Our Lord, with a
+daybreak that is much extolled, as is also the S. Anne, and, indeed,
+the whole work, which cannot be more highly praised than by saying
+that it is by the hand of Raffaello da Urbino. Wherefore those Counts
+rightly hold it in supreme veneration, nor have they ever consented,
+for all the <span class="pagenum"><a id="Page_231" name="Page_231">[Pg 231]</a></span> vast prices that have been offered to them by
+many Princes, to sell it to anyone.</p>
+
+<p>For Bindo Altoviti, he made a portrait of him when he was a young man,
+which is held to be extraordinary; and likewise a picture of Our Lady,
+which he sent to Florence, and which is now in the Palace of Duke
+Cosimo, in the chapel of the new apartments, which were built and
+painted by me, where it serves as altar-piece. In it is painted a very
+old S. Anne, seated, and holding out to Our Lady her Son, the features
+of whose countenance, as well as the whole of His nude form, are so
+beautiful that with His smile He rejoices whoever beholds Him; besides
+which, Raffaello depicted, in painting the Madonna, all the beauty
+that can be imparted to the aspect of a Virgin, with the complement of
+chaste humility in the eyes, honour in the brow, grace in the nose,
+and virtue in the mouth; not to mention that her raiment is such as to
+reveal infinite simplicity and dignity. And, indeed, I do not think
+that there is anything better to be seen than this whole work. There
+is a nude S. John, seated, with a female saint, who is likewise very
+beautiful; and for background there is a building, in which he painted
+a linen-covered window that gives light to the room wherein are the
+figures.</p>
+
+<p>In Rome he made a picture of good size, in which he portrayed Pope
+Leo, Cardinal Giulio de' Medici, and Cardinal de' Rossi. In this the
+figures appear to be not painted, but in full relief; there is the
+pile of the velvet, with the damask of the Pope's vestments shining
+and rustling, the fur of the linings soft and natural, and the gold
+and silk so counterfeited that they do not seem to be in colour, but
+real gold and silk. There is an illuminated book of parchment, which
+appears more real than the reality; and a little bell of wrought
+silver, which is more beautiful than words can tell. Among other
+things, also, is a ball of burnished gold on the Pope's chair, wherein
+are reflected, as if it were a mirror (such is its brightness), the
+light from the windows, the shoulders of the Pope, and the walls round
+the room. And all these things are executed with such diligence, that
+one may believe without any manner of doubt that no master is able, or
+is ever likely to be able, to do better. For this work the Pope was
+pleased to reward him very richly; and the picture is still <span class="pagenum"><a id="Page_232" name="Page_232">[Pg 232]</a></span>
+to be seen in Florence, in the guardaroba of the Duke. In like manner
+he executed portraits of Duke Lorenzo and Duke Giuliano, with a
+perfect grace of colouring not achieved by any other than himself,
+which are in the possession of the heirs of Ottaviano de' Medici at
+Florence.</p>
+
+<p>Thereupon there came to Raffaello a great increase of glory, and
+likewise of rewards; and for this reason, in order to leave some
+memorial of himself, he caused a palace to be built in the Borgo Nuovo
+at Rome, which Bramante executed with castings. Now, the fame of this
+most noble craftsman, by reason of the aforesaid works and many
+others, having passed into France and Flanders, Albrecht Dürer, a most
+marvellous German painter, and an engraver of very beautiful
+copperplates, rendered tribute to Raffaello out of his own works, and
+sent to him a portrait of himself, a head, executed by him in gouache
+on a cloth of fine linen, which showed the same on either side, the
+lights being transparent and obtained without lead-white, while the
+only grounding and colouring was done with water-colours, the white of
+the cloth serving for the ground of the bright parts. This work seemed
+to Raffaello to be marvellous, and he sent him, therefore, many
+drawings executed by his own hand, which were received very gladly by
+Albrecht. That head was among the possessions of Giulio Romano, the
+heir of Raffaello, in Mantua.</p>
+
+<p>Raffaello, having thus seen the manner of the engravings of Albrecht
+Dürer, and desiring on his own behalf to show what could be done with
+his work by such an art, caused Marc' Antonio Bolognese to make a very
+thorough study of the method; and that master became so excellent,
+that Raffaello commissioned him to make prints of his first works,
+such as the drawing of the Innocents, a Last Supper, the Neptune, and
+the S. Cecilia being boiled in oil. Marc' Antonio afterwards made for
+Raffaello a number of other engravings, which Raffaello finally gave
+to Baviera, his assistant, who had charge of a mistress whom Raffaello
+loved to the day of his death. Of her he made a very beautiful
+portrait, wherein she seemed wholly alive: and this is now in
+Florence, in the possession of that most gentle of men, Matteo Botti,
+a Florentine merchant, and an intimate friend of every able person,
+and particularly of <span class="pagenum"><a id="Page_233" name="Page_233">[Pg 233]</a></span> painters, who treasures it as a relic,
+on account of the love that he bears to art, and above all to
+Raffaello. And no less esteem is shown to the works of our arts and to
+the craftsmen by his brother, Simon Botti, who, besides being held by
+us all to be one of the most loving spirits that show favour to the
+men of our professions, is held in estimation by me in particular as
+the best and greatest friend that ever man loved after a long
+experience; not to mention the good judgment that he has and shows in
+matters of art.</p>
+
+<p>But to return to the engravings; the favour shown by Raffaello to
+Baviera was the reason that there afterwards sprang up Marco da
+Ravenna and a host of others, insomuch that the dearth of copper
+engravings was changed into that abundance that we see at the present
+day. Thereupon Ugo da Carpi, having a brain inclined to ingenious and
+fanciful things, and showing beautiful invention, discovered the
+method of wood-engraving, whereby, with three blocks, giving the
+middle values, the lights, and the shadows, it is possible to imitate
+drawings in chiaroscuro, which was certainly a thing of beautiful and
+fanciful invention; and from this, also, there afterwards came an
+abundance of prints, as will be related with greater detail in the
+Life of Marc' Antonio Bolognese.</p>
+
+<p>Raffaello then painted for the Monastery of the Monks of Monte
+Oliveto, called S. Maria dello Spasmo, at Palermo, a panel-picture of
+Christ bearing the Cross, which is held to be a marvellous work. In
+this may be seen the impious ministers of the Crucifixion, leading Him
+with wrath and fury to His death on Mount Calvary; and Christ, broken
+with agony at the near approach of death, has fallen to the ground
+under the weight of the Tree of the Cross, and, bathed with sweat and
+blood, turns towards the Maries, who are in a storm of weeping.
+Moreover, there is seen among them Veronica, who stretches out her
+arms and offers Him a cloth, with an expression of the tenderest love,
+not to mention that the work is full of men-at-arms both on horseback
+and on foot, who are pouring forth from the gate of Jerusalem with the
+standards of justice in their hands, in various most beautiful
+attitudes. This panel, when completely finished, but not yet brought
+to its resting-place, was very near coming to an evil end, for the
+story goes that after it had been put <span class="pagenum"><a id="Page_234" name="Page_234">[Pg 234]</a></span> on shipboard, in order
+that it might be carried to Palermo, a terrible storm dashed against a
+rock the ship that was carrying it, in such a manner that the timbers
+broke asunder, and all the men were lost, together with the
+merchandise, save only the panel, which, safely packed in its case,
+was washed by the sea on to the shore of Genoa. There, having been
+fished up and drawn to land, it was found to be a thing divine, and
+was put into safe keeping; for it had remained undamaged and without
+any hurt or blemish, since even the fury of the winds and the waves of
+the sea had respect for the beauty of such a work. The news of this
+being then bruited abroad, the monks took measures to recover it, and
+no sooner had it been restored to them, by the favour of the Pope,
+than they gave satisfaction, and that liberally, to those who had
+rescued it. Thereupon it was once more put on board ship and brought
+at last to Sicily, where they set it up in Palermo; in which place it
+has more fame and reputation than the Mount of Vulcan itself.</p>
+
+<p>While Raffaello was engaged on these works, which, having to gratify
+great and distinguished persons, he could not refuse to undertake&mdash;not
+to mention that his own private interests prevented him from saying
+them nay&mdash;yet for all this he never ceased to carry on the series of
+pictures that he had begun in the Papal apartments and halls; wherein
+he always kept men who pursued the work from his own designs, while he
+himself, continually supervising everything, lent to so vast an
+enterprise the aid of the best efforts of which he was capable. No
+long time passed, therefore, before he threw open that apartment of
+the Borgia Tower in which he had painted a scene on every wall, two
+above the windows, and two others on the unbroken walls. In one was
+the Burning of the Borgo Vecchio of Rome, when, all other methods
+having failed to put out the fire, S. Leo IV presents himself at the
+Loggia of his Palace and extinguishes it completely with his
+benediction. In this scene are represented various perils. On one side
+are women who are bearing vessels filled with water in their hands and
+on their heads, whereby to extinguish the flames; and their hair and
+draperies are blown about by the terrible fury of a tempestuous wind.
+Others, who are seeking to throw water on the fire, are blinded by the
+smoke and wholly bewildered. On the other side, <span class="pagenum"><a id="Page_235" name="Page_235">[Pg 235]</a></span> after the
+manner of Virgil's story of Anchises being carried by Æneas, is shown
+an old sick man, overcome by his infirmity and the flames of the fire;
+and in the figure of the young man are seen courage and strength, and
+great effort in all his limbs under the weight of the old man, who
+lies helpless on the young man's back. He is followed by an old woman
+with bare feet and disordered garments, who is flying from the fire;
+and a little naked boy runs before them. On the top of some ruins,
+likewise, may be seen a naked woman, with hair all dishevelled, who
+has her child in her hands and is throwing him to a man of her house,
+who, having escaped from the flames, is standing in the street on
+tiptoe, with arms outstretched to receive the child wrapped in
+swathing-bands; wherein the eager anxiety of the woman to save her son
+may be recognized no less clearly than her torment in the peril of the
+fierce flames, which are already licking around her. And no less
+suffering is evident in him who is receiving the child, both for its
+sake and on account of his own fear of death. Nor is it possible to
+describe the imagination that this most ingenious and most marvellous
+craftsman showed in a mother with her feet bare, her garments in
+disorder, her girdle unbound, and her hair dishevelled, who has
+gathered her children before her and is driving them on, holding part
+of her clothing in one hand, that they may escape from the ruins and
+from that blazing furnace; not to mention that there are also some
+women who, kneeling before the Pope, appear to be praying to his
+Holiness that he should make the fire cease.</p>
+
+<p>The next scene is from the life of the same S. Leo IV, wherein
+Raffaello depicted the port of Ostia occupied by the fleet of the
+Turks, who had come to take the Pope prisoner. The Christians may be
+seen fighting against that fleet on the sea; and already there has
+come to the harbour an endless number of prisoners, who are
+disembarking from a boat and being dragged by the beard by some
+soldiers, who are very beautiful in features and most spirited in
+their attitudes. The prisoners, dressed in the motley garb of
+galley-slaves, are being led before S. Leo, whose figure is a portrait
+of Pope Leo X. Here Raffaello painted his Holiness in pontificals,
+between Cardinal Santa Maria in Portico, who was Bernardo Divizio of
+Bibbiena, and Cardinal Giulio de' Medici, who afterwards <span class="pagenum"><a id="Page_236" name="Page_236">[Pg 236]</a></span>
+became Pope Clement. Nor is it possible to describe in detail the
+beautiful conceptions that this most ingenious craftsman showed in the
+expressions of the prisoners, wherein one can recognize, without
+speech, their grief and the fear of death.</p>
+
+<p>In the first of the other two scenes is Pope Leo X consecrating the
+most Christian King, Francis I of France, chanting the Mass in his
+pontificals, and blessing the oil for the anointing of the King, and
+likewise the royal crown. There, besides the great number of Cardinals
+and Bishops in their robes, who are assisting, he portrayed from life
+many Ambassadors and other persons, and also some figures dressed in
+the French fashion, according to the style of that time. In the other
+scene he painted the Crowning of the same King, wherein are portraits
+from life of the Pope and of Francis, one in armour and the other in
+his pontificals; besides which, all the Cardinals, Bishops,
+Chamberlains, Esquires, and Grooms of the Chamber are seated in due
+order in their places, as is the custom in the chapel, all in their
+robes and portrayed from life, among them being Giannozzo Pandolfini,
+Bishop of Troia, a close friend of Raffaello, with many others who
+were distinguished at that time. Near the King is a little boy
+kneeling, who is holding the royal crown&mdash;a portrait of Ippolito de'
+Medici, who afterwards became Cardinal and Vice-Chancellor, a man of
+great repute, and much the friend not only of this art, but of all
+others, to whose blessed memory I acknowledge a vast obligation,
+seeing that my first steps, such as they were, were taken under his
+auspices.</p>
+
+<p>It is not possible to write of every detail in the works of this
+craftsman, wherein every least thing, although dumb, appears to have
+speech: save only of the bases executed below these pictures, with
+various figures of defenders and benefactors of the Church, and
+various terminal figures on either side of them, the whole being
+wrought in such a manner that everything reveals spirit, feeling, and
+thought, and with such a harmony and unity of colouring that nothing
+better can be conceived. And since the ceiling of that apartment had
+been painted by Pietro Perugino, his master, Raffaello would not
+destroy it, moved by respect for his memory and by the love that he
+bore to the man who had been the origin of the rank that he held in
+his art.</p>
+
+<p><span class="pagenum"><a id="Page_237" name="Page_237">[Pg 237]</a></span> Such was the greatness of this master, that he kept designers
+all over Italy, at Pozzuolo, and even in Greece; and he was for ever
+searching out everything of the good that might help his art.</p>
+
+<p>Now, continuing his work, he also painted a hall, wherein were some
+figures of the Apostles and other saints in tabernacles, executed in
+terretta; and there he caused to be made by Giovanni da Udine, his
+disciple, who has no equal in the painting of animals, all the animals
+that Pope Leo possessed, such as the chameleon, the civet-cats, the
+apes, the parrots, the lions, the elephants, and other beasts even
+more strange. And besides embellishing the Palace greatly with
+grotesques and varied pavements, he also gave the designs for the
+Papal staircases, as well as for the loggie begun by the architect
+Bramante, but left unfinished on account of his death, and afterwards
+carried out with the new design and architecture of Raffaello, who
+made for this a model of wood with better proportion and adornment
+than had been accomplished by Bramante. The Pope wishing to
+demonstrate the greatness and magnificence of his generous ambition,
+Raffaello made the designs for the ornaments in stucco and for the
+scenes that were painted there, and likewise for the compartments; and
+as for the stucco and the grotesques, he placed at the head of that
+work Giovanni da Udine, and the figures he entrusted to Giulio Romano,
+although that master worked but little at them; and he also employed
+Giovanni Francesco, Il Bologna, Perino del Vaga, Pellegrino da Modena,
+Vincenzio da San Gimignano, and Polidoro da Caravaggio, with many
+other painters, who executed scenes and figures and other things that
+were required throughout that work, which Raffaello caused to be
+completed with such perfection, that he even sent to Florence for
+pavements by the hand of Luca della Robbia. Wherefore it is certain
+that with regard to the paintings, the stucco-ornaments, the
+arrangement, or any of the beautiful inventions, no one would be able
+to execute or even to imagine a more marvellous work; and its beauty
+was the reason that Raffaello received the charge of all the works of
+painting and architecture that were in progress in the Palace.</p>
+
+<p>It is said that the courtesy of Raffaello was such that he prevailed
+upon the masons, in order that he might accommodate his friends, not
+to <span class="pagenum"><a id="Page_238" name="Page_238">[Pg 238]</a></span> build the walls absolutely solid and unbroken, but to
+leave, above the old rooms below, various openings and spaces for the
+storage of barrels, flasks, and wood; which holes and spaces so
+weakened the lower part of the masonry, that afterwards they had to be
+filled in, because the whole was beginning to show cracks. He
+commissioned Gian Barile to adorn all the doors and ceilings of
+woodwork with a good number of carvings, which he executed and
+finished with beautiful grace.</p>
+
+<p>He gave architectural designs for the Vigna<a id="FNanchor26" name="FNanchor26"></a><a href="#Footnote26" title="Go to footnote 26" class="fnanchor">[26]</a> of the Pope, and for
+many houses in the Borgo; in particular, for the Palace of Messer
+Giovanni Battista dall' Aquila, which was a very beautiful work. He
+also designed one for the Bishop of Troia, who had it built in the Via
+di S. Gallo at Florence. For the Black Friars of S. Sisto in Piacenza,
+he painted the picture for their high-altar, containing the Madonna
+with S. Sisto and S. Barbara, a truly rare and extraordinary work. He
+executed many pictures to be sent into France, and in particular, for
+the King, a S. Michael fighting with the Devil, which was held to be a
+marvellous thing. In this work he painted a fire-scarred rock, to
+represent the centre of the earth, from the fissures of which were
+issuing sulphurous flames; and in Lucifer, whose scorched and burned
+limbs are painted with various tints of flesh-colour, could be seen
+all the shades of anger that his venomous and swollen pride calls up
+against Him who overbears the greatness of him who is deprived of any
+kingdom where there might be peace, and doomed to suffer perpetual
+punishment. The opposite may be perceived in the S. Michael, clad in
+armour of iron and gold, who, although he is painted with a celestial
+air, yet has valour, force, and terror in his aspect, and has already
+thrown Lucifer down and hurled him backwards with his spear. In a
+word, this work was of such a kind that he won for it, and rightly, a
+most honourable reward from that King. He made portraits of Beatrice
+of Ferrara and other ladies, and in particular that of his own
+mistress, with an endless number of others.</p>
+
+<p>Raffaello was a very amorous person, delighting much in women, and
+ever ready to serve them; which was the reason that, in the pursuit of
+his carnal pleasures, he found his friends more complacent and
+indulgent <span class="pagenum"><a id="Page_239" name="Page_239">[Pg 239]</a></span> towards him than perchance was right. Wherefore,
+when his dear friend Agostino Chigi commissioned him to paint the
+first loggia in his palace, Raffaello was not able to give much
+attention to his work, on account of the love that he had for his
+mistress; at which Agostino fell into such despair, that he so
+contrived by means of others, by himself, and in other ways, as to
+bring it about, although only with difficulty, that this lady should
+come to live continually with Raffaello in that part of the house
+where he was working; and in this manner the work was brought to
+completion. For this work he made all the cartoons, and he coloured
+many of the figures in fresco with his own hand. And on the ceiling he
+made the Council of the Gods in Heaven, wherein, in the forms of the
+Gods, are seen many vestments and lineaments copied from the antique,
+and executed with very beautiful grace and draughtsmanship. In like
+manner he made the Marriage of Psyche, with ministers serving Jove,
+and the Graces scattering flowers over the table. In the spandrels of
+the vaulting he executed many scenes, in one of which is Mercury with
+his flute, who, as he flies, has all the appearance of descending from
+Heaven; and in another is Jove with an air of celestial dignity,
+kissing Ganymede; and in another, likewise, lower down, is the Car of
+Venus, and the Graces, with Mercury, drawing Psyche up to Heaven; with
+many other scenes from the poets in the other spandrels. And in the
+spherical triangles of the vaulting above the arches, between the
+spandrels, are many most beautiful little boys in foreshortening,
+hovering in the air and carrying all the instruments of the gods;
+Jove's lightnings and thunderbolts, the helmet, sword, and shield of
+Mars, Vulcan's hammers, the club and lion-skin of Hercules, the
+caduceus of Mercury, Pan's pipes, and the agricultural rakes of
+Vertumnus. All are accompanied by animals appropriate to their
+character; and the whole work, both as picture and as poem, is truly
+beautiful. Round these scenes he caused Giovanni da Udine to make a
+border of all kinds of flowers, foliage, and fruits, in festoons,
+which are as beautiful as they could be.</p>
+
+<p>Raffaello made the designs for the architecture of the stables of the
+Chigi, and the design for the chapel of the aforesaid Agostino in S.
+Maria del Popolo, wherein, besides painting it, he made arrangements
+for the <span class="pagenum"><a id="Page_240" name="Page_240">[Pg 240]</a></span> erection of a marvellous tomb, causing Lorenzetto, a
+sculptor of Florence, to execute two figures, which are still in his
+house in the Macello de' Corbi at Rome; but the death of Raffaello,
+followed by that of Agostino, brought it about that this work was
+given to Sebastiano Viniziano.</p>
+
+<p>Meanwhile Raffaello had risen to such greatness, that Leo X ordained
+that he should set to work on the Great Hall on the upper floor,
+wherein are the Victories of Constantine; and with this he made a
+beginning. A fancy likewise took the Pope to have some very rich
+tapestries made in gold and floss-silk; whereupon Raffaello drew and
+coloured with his own hand, of the exact form and size, all the
+cartoons, which were sent to Flanders to be woven; and the tapestries,
+when finished, were brought to Rome. This work was executed so
+marvellously, that it arouses astonishment in whoever beholds it,
+wondering how it could have been possible to weave the hair and beards
+in such detail, and to give softness to the flesh with mere threads;
+and it is truly rather a miracle than the work of human art, seeing
+that in these tapestries are animals, water, and buildings, all made
+in such a way that they seem to be not woven, but really wrought with
+the brush. The work cost 70,000 crowns, and it is still preserved in
+the Papal Chapel.</p>
+
+<p>For Cardinal Colonna he painted a S. John on canvas, for which, on
+account of its beauty, that Cardinal had an extraordinary love; but
+happening to be attacked by illness, he was asked by Messer Jacopo da
+Carpi, the physician who cured him, to give it to him as a present;
+and because of this desire of Messer Jacopo, to whom he felt himself
+very deeply indebted, he gave it up. It is now in the possession of
+Francesco Benintendi, in Florence.</p>
+
+<div class="figcenter">
+<a name="img068" id="img068"></a>
+<img src="images/img068-tb.jpg" width="400" height="594" alt="The Transfiguration." title="">
+<p class="caption">THE TRANSFIGURATION<br>
+(<i>After the panel by</i> Raffaello da Urbino.<br> <i>Rome: The Vatican</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img068.jpg">View larger image</a></span></p>
+</div>
+
+<p>For Giulio de' Medici, Cardinal and Vice-Chancellor, he painted a
+panel-picture, to be sent into France, of the Transfiguration of
+Christ, at which he laboured without ceasing, and brought it to the
+highest perfection with his own hand. In this scene he represented
+Christ Transfigured on Mount Tabor, at the foot of which are the
+eleven Disciples awaiting Him. There may be seen a young man possessed
+by a spirit, who has been brought thither in order that Christ, after
+descending from the mountain, may deliver him; which young man
+stretches himself out <span class="pagenum"><a id="Page_241" name="Page_241">[Pg 241]</a></span> in a distorted attitude, crying and
+rolling his eyes, and reveals his suffering in his flesh, his veins,
+and the beat of his pulse, all infected by that malignant spirit; and
+the colour of his flesh, as he makes those violent and fearsome
+gestures, is very pale. This figure is supported by an old man, who,
+having embraced him and taken heart, with his eyes wide open and the
+light shining in them, is raising his brows and wrinkling his
+forehead, showing at one and the same time both strength and fear;
+gazing intently, however, at the Apostles, he appears to be
+encouraging himself by trusting in them. Among many women is one, the
+principal figure in that panel, who, having knelt down before the
+Apostles, and turning her head towards them, stretches her arms in the
+direction of the maniac and points out his misery; besides which the
+Apostles, some standing, some seated, and others kneeling, show that
+they are moved to very great compassion by such misfortune. And,
+indeed, he made therein figures and heads so fine in their novelty and
+variety, to say nothing of their extraordinary beauty, that it is the
+common opinion of all craftsmen that this work, among the vast number
+that he painted, is the most glorious, the most lovely, and the most
+divine. For whoever wishes to know how Christ Transfigured and made
+Divine should be represented in painting, must look at this work,
+wherein Raffaello made Him in perspective over that mount, in a sky of
+exceeding brightness, with Moses and Elias, who, illumined by a
+dazzling splendour, burst into life in His light. Prostrate on the
+ground, in attitudes of great beauty and variety, are Peter, James,
+and John; one has his head to the earth, and another, shading his eyes
+with his hands, is defending himself from the rays and intense light
+of the splendour of Christ. He, clothed in snow-white raiment, with
+His arms outstretched and His head raised, appears to reveal the
+Divine essence and nature of all the Three Persons united and
+concentrated in Himself by the perfect art of Raffaello, who seems to
+have summoned up all his powers in such a manner, in order to show the
+supreme force of his art in the countenance of Christ, that, after
+finishing this, the last work that he was to do, he never again
+touched a brush, being overtaken by death.</p>
+
+<div class="figcenter">
+<a name="img069" id="img069"></a>
+<img src="images/img069-tb.jpg" width="400" height="394" alt="The Three Graces." title="">
+<p class="caption">RAFFAELLO DA URBINO: THE THREE GRACES<br>
+(<i>Chantilly, 38. Panel</i>)
+<br><span class="link"><a href="images/img069.jpg">View larger image</a></span></p>
+</div>
+
+<p>Now, having described the works of this most excellent craftsman,
+<span class="pagenum"><a id="Page_242" name="Page_242">[Pg 242]</a></span> before I come to relate other particulars of his life and
+death, I do not wish to grudge the labour of saying something, for the
+benefit of the men of our arts, about the various manners of
+Raffaello. He, then, after having imitated in his boyhood the manner
+of his master, Pietro Perugino, which he made much better in
+draughtsmanship, colouring, and invention, believed that he had done
+enough; but he recognized, when he had reached a riper age, that he
+was still too far from the truth. For, after seeing the works of
+Leonardo da Vinci, who had no peer in the expressions of heads both of
+men and of women, and surpassed all other painters in giving grace and
+movement to his figures, he was left marvelling and amazed; and in a
+word, the manner of Leonardo pleasing him more than any other that he
+had ever seen, he set himself to study it, and abandoning little by
+little, although with great difficulty, the manner of Pietro, he
+sought to the best of his power and knowledge to imitate that of
+Leonardo. But for all his diligence and study, in certain difficulties
+he was never able to surpass Leonardo; and although it appears to many
+that he did surpass him in sweetness and in a kind of natural
+facility, nevertheless he was by no means superior to him in that
+sublime groundwork of conceptions and that grandeur of art in which
+few have been the peers of Leonardo. Yet Raffaello came very near to
+him, more than any other painter, and above all in grace of colouring.
+But to return to Raffaello himself; in time he found himself very much
+hindered and impeded by the manner that he had adopted from Pietro
+when he was quite young, which he acquired with ease, since it was
+over-precise, dry, and feeble in draughtsmanship. His being unable to
+forget it was the reason that he had great difficulty in learning the
+beauties of the nude and the methods of difficult foreshortenings from
+the cartoon that Michelagnolo Buonarroti made for the Council Hall in
+Florence; and another might have lost heart, believing that he had
+been previously wasting his time, and would never have achieved,
+however lofty his genius, what Raffaello accomplished. But he, having
+purged himself of Pietro's manner, and having thoroughly freed himself
+of it, in order to learn the manner of Michelagnolo, so full of
+difficulties in every part, was changed, as it were, from a master
+once again into a disciple; and he <span class="pagenum"><a id="Page_243" name="Page_243">[Pg 243]</a></span> forced himself with
+incredible study, when already a man, to do in a few months what might
+have called for the tender age at which all things are best acquired,
+and for a space of many years. For in truth he who does not learn in
+good time right principles and the manner that he wishes to follow,
+and does not proceed little by little to solve the difficulties of the
+arts by means of experience, seeking to understand every part, and to
+put it into practice, can scarcely ever become perfect; and even if he
+does, that can only be after a longer space of time and much greater
+labour.</p>
+
+<p>When Raffaello resolved to set himself to change and improve his
+manner, he had never given his attention to nudes with that zealous
+study which is necessary, and had only drawn them from life in the
+manner that he had seen practised by his master Pietro, imparting to
+them the grace that he had from nature. He then devoted himself to
+studying the nude and to comparing the muscles of anatomical subjects
+and of flayed human bodies with those of the living, which, being
+covered with skin, are not clearly defined, as they are when the skin
+has been removed; and going on to observe in what way they acquire the
+softness of flesh in the proper places, and how certain graceful
+flexures are produced by changing the point of view, and also the
+effect of inflating, lowering, or raising either a limb or the whole
+person, and likewise the concatenation of the bones, nerves, and
+veins, he became excellent in all the points that are looked for in a
+painter of eminence. Knowing, however, that in this respect he could
+never attain to the perfection of Michelagnolo, he reflected, like a
+man of supreme judgment, that painting does not consist only in
+representing the nude human form, but has a wider field; that one can
+enumerate among the perfect painters those who express historical
+inventions well and with facility, and who show fine judgment in their
+fancies; and that he who, in the composition of scenes, can make them
+neither confused with too much detail nor poor with too little, but
+distributed with beautiful invention and order, may also be called an
+able and judicious craftsman. To this, as Raffaello was well aware,
+may be added the enriching those scenes with a bizarre variety of
+perspectives, buildings, and landscapes, the method of clothing
+figures gracefully, the <span class="pagenum"><a id="Page_244" name="Page_244">[Pg 244]</a></span> making them fade away sometimes in
+the shadows, and sometimes come forward into the light, the imparting
+of life and beauty to the heads of women, children, young men and old,
+and the giving them movement and boldness, according to necessity. He
+considered, also, how important is the furious flight of horses in
+battles, fierceness in soldiers, the knowledge how to depict all the
+sorts of animals, and above all the power to give such resemblance to
+portraits that they seem to be alive, and that it is known whom they
+represent; with an endless number of other things, such as the
+adornment of draperies, foot-wear, helmets, armour, women's
+head-dresses, hair, beards, vases, trees, grottoes, rocks, fires,
+skies turbid or serene, clouds, rain, lightning, clear weather, night,
+the light of the moon, the splendour of the sun, and innumerable other
+things, which are called for every moment by the requirements of the
+art of painting. Pondering over these things, I say, Raffaello
+resolved, since he could not approach Michelagnolo in that branch of
+art to which he had set his hand, to seek to equal, and perchance to
+surpass him, in these others; and he devoted himself, therefore, not
+to imitating the manner of that master, but to the attainment of a
+catholic excellence in the other fields of art that have been
+described. And if the same had been done by many craftsmen of our own
+age, who, having determined to pursue the study of Michelagnolo's
+works alone, have failed to imitate him and have not been able to
+reach his extraordinary perfection, they would not have laboured in
+vain nor acquired a manner so hard, so full of difficulty, wanting in
+beauty and colouring, and poor in invention, but would have been able,
+by aiming at catholicity and at imitation in the other fields of art,
+to render service both to themselves and to the world.</p>
+
+<p>Raffaello, then, having made this resolution, and having recognized
+that Fra Bartolommeo di San Marco had a passing good method of
+painting, well-grounded draughtsmanship, and a pleasing manner of
+colouring, although at times, in order to obtain stronger relief, he
+made too much use of darks, took from him what appeared to him to suit
+his need and his fancy&mdash;namely, a middle course, both in drawing and
+in colouring; and mingling with that method certain others selected
+from the best work of other masters, out of many manners he made one,
+which <span class="pagenum"><a id="Page_245" name="Page_245">[Pg 245]</a></span> was looked upon ever afterwards as his own, and which
+was and always will be vastly esteemed by all craftsmen. This was then
+seen perfected in the Sibyls and Prophets of the work that he
+executed, as has been related, in S. Maria della Pace; in the carrying
+out of which work he was greatly assisted by having seen the paintings
+of Michelagnolo in the Chapel of the Pope. And if Raffaello had
+remained content with this same manner, and had not sought to give it
+more grandeur and variety in order to prove that he had as good a
+knowledge of the nude as Michelagnolo, he would not have lost a part
+of the good name that he had acquired; but the nudes that he made in
+that apartment of the Borgia Tower where there is the Burning of the
+Borgo, although they are fine, are not in every way excellent. In like
+manner, those that were painted likewise by him on the ceiling of the
+Palace of Agostino Chigi in the Trastevere did not give complete
+satisfaction, for they are wanting in that grace and sweetness which
+were peculiar to Raffaello; the reason of which, in great part, was
+the circumstance that he had them coloured by others after his design.
+However, repenting of this error, like a man of judgment, he resolved
+afterwards to execute by himself, without assistance from others, the
+panel-picture of the Transfiguration of Christ that is in S. Pietro a
+Montorio, wherein are all those qualities which, as has already been
+described, are looked for and required in a good picture. And if he
+had not employed in this work, as it were from caprice, printer's
+smoke-black, the nature of which, as has been remarked many times, is
+to become ever darker with time, to the injury of the other colours
+with which it is mixed, I believe that the picture would still be as
+fresh as when he painted it; whereas it now appears to be rather a
+mass of shadows than aught else.</p>
+
+<p>I have thought fit, almost at the close of this Life, to make this
+discourse, in order to show with what labour, study, and diligence
+this honoured craftsman always pursued his art; and even more for the
+sake of other painters, to the end that they may learn how to avoid
+those hindrances from which the wisdom and genius of Raffaello were
+able to deliver him. I must add this as well, that every man should be
+satisfied and contented with doing that work to which he feels himself
+drawn by <span class="pagenum"><a id="Page_246" name="Page_246">[Pg 246]</a></span> a natural inclination, and should not seek, out of
+emulation, to put his hand to that for which nature has not adapted
+him; for otherwise he will labour in vain, and often to his own shame
+and loss. Moreover, where striving is enough, no man should aim at
+super-striving,<a id="FNanchor27" name="FNanchor27"></a><a href="#Footnote27" title="Go to footnote 27" class="fnanchor">[27]</a> merely in order to surpass those who, by some
+great gift of nature, or by some special grace bestowed on them by
+God, have performed or are performing miracles in art; for the reason
+that he who is not suited to any particular work, can never reach, let
+him labour as he may, the goal to which another, with the assistance
+of nature, has attained with ease. Of this, among the old craftsmen,
+we may see an example in Paolo Uccello, who, striving against the
+limitations of his powers, in order to advance, did nothing but go
+backwards. The same has been done in our own day, no long time since,
+by Jacopo da Pontormo, and it has been proved by the experience of
+many others, as we have shown before and will point out yet again. And
+this, perchance, happens because Heaven always distributes its
+favours, to the end that every man may rest content with that which
+falls to him.</p>
+
+<p>But now, having discoursed on these matters of art, perchance at
+greater length than was needful, let us return to the life and death
+of Raffaello. He had a strait friendship with Cardinal Bernardo
+Divizio of Bibbiena, who had importuned him for many years to take a
+wife of his choosing; and Raffaello, while not directly refusing to
+obey the wishes of the Cardinal, had yet put the matter off, saying
+that he would rather wait till three or four years had passed. This
+term came upon Raffaello when he was not expecting it, and he was
+reminded by the Cardinal of his promise; whereupon, seeing himself
+bound, like the courteous man that he was, he would not break his
+word, and thus accepted as his wife a niece of that Cardinal. And
+because he was always very ill content with this entanglement, he
+continued to delay the matter in such a way that many months passed
+without the marriage being brought to pass. But it was with no
+dishonourable motive that he did this, for, having been so many years
+in the service of the Court, and being <span class="pagenum"><a id="Page_247" name="Page_247">[Pg 247]</a></span> the creditor of Leo
+for a good sum, it had been hinted to him that when the hall on which
+he was engaged was finished, the Pope proposed to reward him for his
+labours and abilities by giving him a red hat, of which he had already
+determined to distribute a good number, and some of them to men of
+less merit than Raffaello.</p>
+
+<p>Meanwhile, pursuing his amours in secret, Raffaello continued to
+divert himself beyond measure with the pleasures of love; whence it
+happened that, having on one occasion indulged in more than his usual
+excess, he returned to his house in a violent fever. The physicians,
+therefore, believing that he had overheated himself, and receiving
+from him no confession of the excess of which he had been guilty,
+imprudently bled him, insomuch that he was weakened and felt himself
+sinking; for he was in need rather of restoratives. Thereupon he made
+his will: and first, like a good Christian, he sent his mistress out
+of the house, leaving her the means to live honourably. Next, he
+divided his possessions among his disciples, Giulio Romano, whom he
+had always loved dearly, and the Florentine Giovanni Francesco, called
+Il Fattore, with a priest of Urbino, his kinsman, whose name I do not
+know. Then he gave orders that some of his wealth should be used for
+restoring with new masonry one of the ancient tabernacles in S. Maria
+Ritonda, and for making an altar, with a marble statue of Our Lady, in
+that church, which he chose as his place of repose and burial after
+death; and he left all the rest to Giulio and Giovanni Francesco,
+appointing as executor of his will Messer Baldassarre da Pescia, then
+Datary to the Pope. Finally, he confessed and was penitent, and ended
+the course of his life at the age of thirty-seven, on the same day
+that he was born, which was Good Friday. And even as he embellished
+the world with his talents, so, it may be believed, does his soul
+adorn Heaven by its presence.</p>
+
+<p>As he lay dead in the hall where he had been working, there was placed
+at his head the picture of the Transfiguration, which he had executed
+for Cardinal de' Medici; and the sight of that living picture, in
+contrast with the dead body, caused the hearts of all who beheld it to
+burst with sorrow. That work, in memory of the loss of Raffaello, was
+placed by the Cardinal on the high-altar of S. Pietro a Montorio; and
+on account <span class="pagenum"><a id="Page_248" name="Page_248">[Pg 248]</a></span> of the nobility of his every action, it was held
+ever afterwards in great estimation. His body received that honourable
+burial which his noble spirit had deserved, for there was no craftsman
+who did not weep with sorrow and follow him to the grave. His death
+was also a great grief to the whole Court of the Pope, first because
+he had held in his lifetime the office of Groom of the Chamber, and
+likewise because he had been so dear to the Pope that his loss caused
+him to weep bitterly.</p>
+
+<div class="figcenter">
+<a name="img070" id="img070"></a>
+<img src="images/img070-tb.jpg" width="400" height="520" alt="Baldassare Castiglione." title="">
+<p class="caption">RAFAELLO SANZIO: BALDASSARE CASTIGLIONE<br>
+(<i>Paris: Louvre, 1505. Canvas</i>)
+<br><span class="link"><a href="images/img070.jpg">View larger image</a></span></p>
+</div>
+
+<p>O happy and blessed spirit, in that every man is glad to speak of
+thee, to celebrate thy actions, and to admire every drawing that thou
+didst leave to us! When this noble craftsman died, the art of painting
+might well have died also, seeing that when he closed his eyes, she
+was left as it were blind. And now for us who have survived him, it
+remains to imitate the good, nay, the supremely excellent method
+bequeathed to us by him as a pattern, and, as is called for by his
+merit and our obligations, to hold a most grateful remembrance of this
+in our minds, and to pay the highest honour to his memory with our
+lips. For in truth we have from him art, colouring, and invention
+harmonized and brought to such a pitch of perfection as could scarcely
+be hoped for; nor may any intellect ever think to surpass him. And in
+addition to this benefit that he conferred on art, like a true friend
+to her, as long as he lived he never ceased to show how one should
+deal with great men, with those of middle station, and with the
+lowest. And, indeed, among his extraordinary gifts, I perceive one of
+such value that I for my part am amazed at it, in that Heaven gave him
+the power to produce in our art an effect wholly contrary to the
+nature of us painters, which was that our craftsmen&mdash;I do not mean
+only the lesser, but also those whose humour it was to be great
+persons; and of this humour art creates a vast number&mdash;while working
+in company with Raffaello, felt themselves naturally united and in
+such accord, that all evil humours vanished at the sight of him, and
+every vile and base thought fell away from their minds. Such unity was
+never greater at any other time than his; and this happened because
+they were overcome both by his courtesy and by his art, and even more
+by the good disposition of his nature, which was so full of gentleness
+and so overflowing with loving-kindness, that it was seen that the
+very animals, <span class="pagenum"><a id="Page_249" name="Page_249">[Pg 249]</a></span> not to speak of men, honoured him. It is
+said that if any painter who knew him, and even any who did not know
+him, asked him for some drawing that he needed, Raffaello would leave
+his own work in order to assist him. And he always kept a vast number
+of them employed, aiding them and teaching them with such a love as
+might have been the due rather of his own children than of
+fellow-craftsmen; for which reason he was never seen to go to Court
+without having with him, as he left his house, some fifty painters,
+all able and excellent, who kept him company in order to do him
+honour. In short, he lived not like a painter, but like a prince.
+Wherefore, O art of painting, thou couldst then esteem thyself indeed
+most blessed, in possessing a craftsman who, both with his genius and
+his virtues, exalted thee higher than Heaven! Truly happy mightest
+thou call thyself, in that thy disciples, following in the footsteps
+of so great a man, have seen how life should be lived, and how
+important is the union of art and virtue, which, wedded in Raffaello,
+had strength to prevail on the magnificent Julius II and the
+magnanimous Leo X, exalted as they were in rank and dignity, to make
+him their most intimate friend and show him all possible generosity,
+insomuch that by their favour and by the wealth that they bestowed
+upon him, he was enabled to do vast honour both to himself and to art.
+Blessed, also, may be called all those who, employed in his service,
+worked under him, since whoever imitated him found that he had reached
+an honourable haven; and in like manner all those who imitate his
+labours in art will be honoured by the world, even as, by resembling
+him in uprightness of life, they will win rewards from Heaven.</p>
+
+<p>Raffaello received from Bembo the following epitaph:</p>
+
+<p class="center">
+  D. O. M.<br>
+  RAPHAELLI SANCTIO JOAN. F. URBINAT.<br>
+  PICTORI EMINENTISS. VETERUMQUE ÆMULO,<br>
+  CUJUS SPIRANTEIS PROPE IMAGINEIS<br>
+  SI CONTEMPLERE,<br>
+  NATURÆ ATQUE ARTIS F&OElig;DUS<br>
+  FACILE INSPEXERIS.<br>
+  JULII II ET LEONIS X PONTT. MAXX.<br>
+  PICTURÆ ET ARCHITECT. OPERIBUS<br>
+  GLORIAM AUXIT.<br>
+  <span class="pagenum"><a id="Page_250" name="Page_250">[Pg 250]</a></span> VIXIT AN. XXXVII, INTEGER, INTEGROS.<br>
+  QUO DIE NATUS EST, EO ESSE DESIIT,<br>
+  VIII ID. APRIL. MDXX.</p>
+
+<p class="center">ILLE HIC EST RAPHAEL, TIMUIT QUO SOSPITE VINCI<br>
+  RERUM MAGNA PARENS, ET MORIENTE MORI.</p>
+
+<p>And Count Baldassarre Castiglione wrote of his death in the following
+manner:</p>
+
+<p class="poem10">
+  Quod lacerum corpus medica sanaverit arte,<br>
+<span class="add1em">Hyppolitum Stygiis et revocarit aquis,</span><br>
+  Ad Stygias ipse est raptus Epidaurius undas;<br>
+<span class="add1em">Sic precium vitæ mors fuit artifici.</span><br>
+  Tu quoque dum toto laniatam corpore Romam<br>
+<span class="add1em">Componis miro, Raphael, ingenio,</span><br>
+  Atque urbis lacerum ferro, igni, annisque cadaver,<br>
+<span class="add1em">Ad vitam antiquum jam revocasque decus,</span><br>
+  Movisti superum invidiam, indignataque mors est<br>
+<span class="add1em">Te dudum extinctis reddere posse animam,</span><br>
+  Et quod longa dies paulatim aboleverat, hoc te<br>
+<span class="add1em">Mortali spreta lege parare iterum.</span><br>
+  Sic, miser, heu, prima cadis intercepte juventa,<br>
+<span class="add1em">Deberi et morti nostraque nosque mones.</span></p>
+
+
+<hr style="width: 65%;">
+<h2><a name="damarcilla" id="damarcilla"></a><span class="pagenum"><a id="Page_251" name="Page_251">[Pg 251]</a></span> GUGLIELMO DA MARCILLA</h2>
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_damarcilla" id="life_of_damarcilla"></a><span class="pagenum"><a id="Page_253" name="Page_253">[Pg 253]</a></span> LIFE OF GUGLIELMO DA MARCILLA</h2>
+
+<h3>[<i>GUILLAUME DE MARCILLAC, OR THE FRENCH PRIOR</i>]</h3>
+
+<h3>FRENCH PAINTER AND MASTER OF GLASS WINDOWS</h3>
+
+
+<p>At this same time, wherein our arts were endowed by God with the
+greatest felicity that they could possibly enjoy, there flourished one
+Guglielmo da Marcilla, a Frenchman, who, from his constant residence
+in Arezzo, and from the affection that he bore to that city, may be
+said to have chosen it for his country, insomuch that all men
+considered and called him an Aretine. And, in truth, among the
+benefits that are derived from ability, one is that from whatever
+strange and distant region and from however barbarous and unknown a
+race a man may come, be he who he may, if only he has a mind adorned
+with ability and practises some ingenious craft with his hands, no
+sooner does he make his first appearance in each city to which he
+turns his steps, demonstrating his worth, than the skill of his hand
+works so powerfully, that his name, passing from lip to lip, in a
+short time waxes great, and his qualities become very highly prized
+and honoured. And it happens often to a great number of men, who have
+left their country far behind them, that they chance upon nations that
+are lovers of ability and of foreigners, where, by reason of their
+upright walk of life, they find themselves recognized and cherished in
+such a manner, that they forget the country of their birth and choose
+a new one for their last resting-place.</p>
+
+<p>Even so was Arezzo chosen as a final home by Guglielmo, who, as a
+youth in France, applied himself to the art of design, and together
+with that gave attention to glass windows, in which he made figures no
+less harmonious in colouring than if they had been painted with the
+greatest beauty and harmony in oils. While in his own country,
+persuaded by <span class="pagenum"><a id="Page_254" name="Page_254">[Pg 254]</a></span> the entreaties of certain of his friends, he
+was present at the slaying of one who was their enemy: on which
+account he was forced to assume the habit of a monk in the Order of S.
+Dominic in France, in order to escape the courts and the hand of
+justice. But although he remained in that Order, yet he never
+abandoned the study of art; nay, continuing it, he arrived at the
+highest perfection.</p>
+
+<p>Now, by order of Pope Julius II, a commission was given to Bramante da
+Urbino to have a number of glass windows made for the Palace;
+whereupon he, making inquiries about the most excellent craftsmen,
+received information of many who were working at that craft, and among
+them of some who were executing marvellous works in France; and of
+these he saw a specimen through the French Ambassador who was then at
+the Court of his Holiness, and who had in the frame of a window in his
+study a figure executed on a piece of white glass with a vast number
+of colours, fixed on the glass by the action of fire. Wherefore, by
+order of Bramante, a letter was written to France, inviting them to
+come to Rome, and offering them good payments. Thereupon Maestro
+Claudio, a Frenchman, the head of that art, having received the
+intelligence, and knowing the excellence of Guglielmo, so went to work
+with money and fair promises, that it was no difficult matter to draw
+him out of the convent, particularly because Guglielmo, on account of
+the discourtesy shown to him and the jealousies that there always are
+among monks, was even more eager to leave it than was Maestro Claudio
+to get him out. They went, therefore, to Rome, where the habit of S.
+Dominic was changed for that of S. Peter.</p>
+
+<p>Bramante at that time had caused two windows of travertine to be made
+in the Palace of the Pope, which were in the hall in front of the
+chapel, now embellished by a vaulted ceiling by Antonio da San Gallo,
+and by marvellous stucco-work from the hand of Perino del Vaga of
+Florence. These windows were executed by Maestro Claudio and
+Guglielmo, although afterwards, during the sack of Rome, they were
+broken to pieces, in order to extract the lead to make
+harquebus-balls; and they were truly marvellous. In addition to these,
+they made an endless number of them for the apartments of the Pope,
+which met with the same <span class="pagenum"><a id="Page_255" name="Page_255">[Pg 255]</a></span> fate as the other two. And even now
+there is one to be seen in the room containing Raffaello's Burning of
+the Borgo, in the Borgia Tower; in which are angels who are holding
+the escutcheon of Leo X. They also made two windows for the chapel
+behind the Madonna in S. Maria del Popolo, with the stories of her
+life, which were highly praiseworthy examples of that craft.</p>
+
+<p>These works brought them no less fame and renown than comfort in life.
+But Maestro Claudio, being very intemperate in eating and drinking,
+according to the custom of his race, which is a deadly thing in the
+air of Rome, fell sick of so violent a fever, that in six days he
+passed to the other life. Whereupon Guglielmo, left alone, and almost
+like one lost without his companion, painted by himself a window,
+likewise of glass, in S. Maria de Anima, the church of the Germans in
+Rome; which was the reason that Cardinal Silvio of Cortona made him an
+offer, and made a contract with him that he should execute some
+windows and other works in his native city of Cortona. Wherefore the
+Cardinal took him in his company to take up his abode in Cortona; and
+the first work that he executed was the façade of the Cardinal's house
+on the side towards the Piazza, which he painted in chiaroscuro,
+depicting therein Croton and the other original founders of that city.
+Thereupon the Cardinal, who saw that Guglielmo was no less upright as
+a man than excellent as a master of that art, caused him to execute,
+for the Pieve of Cortona, the window of the principal chapel, in which
+he made the Nativity of Christ and the Magi adoring Him.</p>
+
+<p>Guglielmo was a man of fine spirit and intelligence, and of very great
+mastery in handling glass, and particularly in so distributing the
+colours that the brightest should come in the foremost figures, those
+in the other figures being darker in proportion as they receded; in
+which point he was a rare and truly excellent master. Moreover, he
+showed very good judgment in the painting of his figures; whereby he
+executed them with such unity, that they fell back into the distance
+little by little, in such a way that they did not cling either to the
+buildings or to the landscapes, and had the appearance of being
+painted on panel, or rather in relief. He showed invention and variety
+in the composition of scenes, <span class="pagenum"><a id="Page_256" name="Page_256">[Pg 256]</a></span> making them rich and well
+grouped; and he rendered easy the process of making such pictures as
+are put together out of pieces of glass, which was held to be very
+difficult, as indeed it is for one who has not his skill and
+dexterity. He designed the pictures for his windows with such good
+method and order, that the mountings of lead and iron, which cross
+them in certain places, were so well fitted into the joinings of the
+figures and the folds of the draperies, that they cannot be seen&mdash;nay,
+they gave the whole such grace, that the brush could not have done
+more&mdash;and thus he was able to make a virtue of necessity.</p>
+
+<p>Guglielmo used only two kinds of colour for the shading of such glass
+as he proposed to subject to the action of fire; one was scale of
+iron, and the other scale of copper. That of iron, which is dark,
+served to shade draperies, hair, and buildings; and the other, that of
+copper, which produces a tawny tint, served for flesh colours. He also
+made much use of a hard stone that comes from Flanders and France,
+called at the present day hematite, which is red in colour and is much
+employed for burnishing gold. This, having first been pounded in a
+bronze mortar, and then ground with an iron brazing instrument on a
+plate of copper or yellow brass, and tempered with gum, works divinely
+well on glass.</p>
+
+<p>When Guglielmo first arrived in Rome, he was no great draughtsman,
+although he was well practised in every other respect. But having
+recognized the need of this, he applied himself to the study of
+drawing, in spite of his being well advanced in years; and thus little
+by little he achieved the improvement that is evident in the windows
+that he afterwards made for the Palace of the said Cardinal at
+Cortona, and for the other without the city, in a round window that is
+in the aforesaid Pieve, over the façade, on the right hand as one
+enters the church, wherein are the arms of Pope Leo X, and likewise in
+two little windows that are in the Company of Gesù, in one of which is
+a Christ, and in the other a S. Onofrio. These are no little different
+from his early works, and much better.</p>
+
+<p>Now while Guglielmo, as has been related, was living in Cortona, there
+died at Arezzo one Fabiano di Stagio Sassoli, an Aretine, who had been
+a very good master of the making of large windows. Thereupon the
+Wardens of Works for the Vescovado gave the commission for three
+<span class="pagenum"><a id="Page_257" name="Page_257">[Pg 257]</a></span> windows in the principal chapel, each twenty braccia in
+height, to Stagio, the son of the said Fabiano, and to the painter
+Domenico Pecori; but when these were finished and fixed in their
+places, they gave no great satisfaction to the Aretines, although they
+were passing good and rather worthy of praise than otherwise. It
+happened at this time that Messer Lodovico Belichini, an excellent
+physician, and one of the first men in the government of the city of
+Arezzo, went to Cortona to cure the mother of the aforesaid Cardinal;
+and there he became well acquainted with our Guglielmo, with whom,
+when he had time, he was very willing to converse. And Guglielmo, who
+was then called the Prior, from his having received about that time
+the benefice of a priory, likewise conceived an affection for that
+physician, who asked him one day whether, with the good will of the
+Cardinal, he would go to Arezzo to execute some windows; at which
+Guglielmo promised that he would, and with the permission and good
+will of the Cardinal he made his way to that city. Now Stagio, of whom
+we have spoken above, having parted from the company of Domenico,
+received Guglielmo into his house; and the latter, for his first work,
+executed for a window of the Chapel of S. Lucia, belonging to the
+Albergotti, in the Vescovado of Arezzo, that Saint and a S. Sylvester,
+in so good a manner that the work may truly be said to be made with
+living figures, and not of coloured and transparent glass, or at least
+to be a picture worthy of praise and marvellous. For besides the
+mastery shown in the flesh-colours, the glasses are flashed; that is,
+in some places the first skin has been removed, and the glass then
+coloured with another tint; by which is meant, for example, the
+placing of yellow over red flashed glass, or the application of white
+and green over blue; which is a difficult and even miraculous thing in
+this craft. The first or true colour, then, such as red, blue, or
+green, covers the whole of one side; and the other part, which is as
+thick as the blade of a knife, or a little more, is white. Many, being
+afraid that they might break the glasses, on account of their lack of
+skill in handling them, do not employ a pointed iron for removing that
+layer, but in place of this, for greater safety, set about grinding
+the glasses with a copper wheel fixed on the end of an iron
+instrument; and thus, little by little, by the use of emery, they
+contrive to leave only a layer of <span class="pagenum"><a id="Page_258" name="Page_258">[Pg 258]</a></span> white glass, which turns
+out very clear. Then, if a yellow colour has to be applied to the
+piece of glass thus left white, at the moment when it is to be placed
+into the furnace for firing, it is painted by means of a brush with
+calcined silver, which is a colour similar to bole, but somewhat
+thick; and in the fire this melts over the glass, fuses, and takes a
+firm hold, penetrating into the glass and making a very beautiful
+yellow. These methods of working no one used better, or with more
+ingenuity and art, than Prior Guglielmo; and it is in these things
+that the difficulty consists, for painting the glass with oil-colours
+or in any other manner is little or nothing, and that it should be
+diaphanous or transparent is not a matter of much importance, whereas
+firing it in the furnace and making it such that it will withstand the
+action of water and remain fresh for ever, is a difficult work and
+well worthy of praise. Wherefore this excellent master deserves the
+highest praise, since there is not a man of his profession who has
+done as much, whether in design, or invention, or colouring, or
+general excellence.</p>
+
+<p>He then made the great round-window of the same church, containing the
+Descent of the Holy Spirit, and likewise the Baptism of Christ by S.
+John, wherein he represented Christ in the Jordan, awaiting S. John,
+who has taken a cup of water in order to baptize Him, while a nude old
+man is taking off his shoes, and some angels are preparing Christ's
+raiment, and on high is the Father, sending down the Holy Spirit upon
+His Son. This window is over the baptismal font of that Duomo, for
+which he also executed the window containing the Resurrection of
+Lazarus on the fourth day after death; wherein it seems impossible
+that he could have included in so small a space such a number of
+figures, in which may be recognized the terror and amazement of the
+people, with the stench from the body of Lazarus, whose resurrection
+causes his two sisters to rejoice amid their tears. In this work are
+innumerable colours, flashed one over the other in the glass, and
+every least thing truly appears most natural in its own kind.</p>
+
+<p>And whoever wishes to learn how much the hand of the Prior was able to
+effect in this art, should study the window of S. Matthew over the
+Chapel of that Apostle, and observe the marvellous invention of that
+scene, <span class="pagenum"><a id="Page_259" name="Page_259">[Pg 259]</a></span> wherein he can see a living figure of Christ calling
+Matthew from his tables, while Matthew, following Him and stretching
+out his arms to receive Him, abandons the riches and treasures that he
+has acquired. And at the same time an Apostle may be seen in a very
+spirited attitude, awaking another who has fallen asleep on some
+steps; and in like manner there may also be perceived a S. Peter
+speaking with S. John, both being so beautiful that they seem truly
+divine. In this same window are temples in perspective, staircases,
+and figures so well grouped, and landscapes so natural, that one would
+never think it was glass, but rather a thing rained down from Heaven
+for the consolation of mankind. In the same place he made the window
+of S. Anthony and that of S. Nicholas, both most beautiful, with two
+others, one containing the scene of Christ driving the traders from
+the Temple, and the other that of the woman taken in adultery; all
+these works being held to be truly excellent and marvellous.</p>
+
+<p>So fully were the labours and abilities of the Prior recognized by the
+Aretines, what with praises, favours, and rewards, and so satisfied
+and contented was he by this result, that he resolved to adopt that
+city as his home, and to change himself from a Frenchman into an
+Aretine. Afterwards, reflecting in his own mind that the art of
+glass-painting, on account of the destruction that takes place every
+moment in such works, was no lasting one, there came to him a desire
+to devote himself to painting, and he therefore undertook to execute
+for the Wardens of Works of the Vescovado in that city three very
+large vaults in fresco, thinking thus to leave a memorial of himself
+behind him. The Aretines, in return for this, presented to him a farm
+that belonged to the Confraternity of S. Maria della Misericordia,
+near their city, with some excellent houses, for his enjoyment during
+his lifetime. And they ordained that when the work was finished, its
+value should be estimated by some distinguished craftsman, and that
+the Wardens should make this good to him in full. Whereupon he made up
+his mind to show his worth in this undertaking, and he made his
+figures very large on account of the height, after the manner of the
+works in Michelagnolo's chapel. And so mightily did his wish to become
+excellent in such an art avail in him, that although he was fifty
+years of age, he improved little by little in such a manner, <span class="pagenum"><a id="Page_260" name="Page_260">[Pg 260]</a></span>
+that he showed that his knowledge and comprehension of the beautiful
+were not less than his delight in imitating the good in the execution
+of his work. He went on to represent the earlier events of the New
+Testament, even as in the three large works he had depicted the
+beginning of the Old. For this reason, therefore, I am inclined to
+believe that any man of genius who has the desire to attain to
+perfection, is able, if he will but take the pains, to make naught of
+the limits of any science. At the beginning of those works, indeed, he
+was alarmed by their size, and because he had never executed any
+before; which was the reason that he sent to Rome for Maestro
+Giovanni, a French miniaturist, who, coming to Arezzo, painted over S.
+Antonio an arch with a Christ in fresco, and for that Company the
+banner that is carried in processions, which he executed with great
+diligence, having received the commission for them from the Prior.</p>
+
+<p>At the same time Guglielmo made the round window for the façade of the
+Church of S. Francesco, a great work, in which he represented the Pope
+in Consistory, with the Conclave of Cardinals, and S. Francis going to
+Rome for the confirmation of his Rule and bearing the roses of
+January. In this work he proved what a master of composition he was,
+so that it may be said with truth that he was born for that
+profession; nor may any craftsman ever think to equal him in beauty,
+in abundance of figures, or in grace. There are innumerable windows
+executed by him throughout that city, all most beautiful, such as the
+great round window in the Madonna delle Lacrime, containing the
+Assumption of Our Lady and the Apostles, and a very beautiful window
+with an Annunciation; a round window with the Marriage of the Virgin,
+and another containing a S. Jerome executed for the Spadari, and
+likewise three other windows below, in various parts of the church;
+with a most beautiful round window with the Nativity of Christ in the
+Church of S. Girolamo, and another in S. Rocco. He sent some, also, to
+various places, such as Castiglione del Lago, and one to Florence for
+Lodovico Capponi, to be set up in S. Felicita, where there is the
+panel by Jacopo da Pontormo, a most excellent painter, and the chapel
+adorned by him with mural paintings in oils and in fresco and with
+panel-pictures; which window came into the <span class="pagenum"><a id="Page_261" name="Page_261">[Pg 261]</a></span> hands of the
+Frati Ingesuati in Florence, who worked at that craft, and they took
+it all to pieces in order to learn how it was made, removing many
+pieces as specimens and replacing them with new ones, so that in the
+end they made quite a different window.</p>
+
+<p>He also conceived the wish to paint in oils, and for the Chapel of the
+Conception in S. Francesco at Arezzo he executed a panel-picture
+wherein are some vestments very well painted, and many heads most
+lifelike, and so beautiful that he was honoured thereby ever
+afterwards, seeing that this was the first work that he had ever done
+in oils.</p>
+
+<p>The Prior was a very honourable person, and delighted in agriculture
+and in making alterations in buildings; wherefore, having bought a
+most beautiful house, he made in it a vast number of improvements. As
+a man of religion, he was always most upright in his ways; and the
+remorse of conscience, on account of his departure from his convent,
+kept him sorely afflicted. For which reason he made a very beautiful
+window for the Chapel of the High-altar in S. Domenico, a convent of
+his Order at Arezzo; wherein he depicted a vine that issues from the
+body of S. Dominic and embraces a great number of sanctified friars,
+who constitute the tree of the Order; and at the highest point is Our
+Lady, with Christ, who is marrying S. Catherine of Siena&mdash;a work much
+extolled and of great mastery, for which he would accept no payment,
+believing himself to be much indebted to that Order. He sent a very
+beautiful window to S. Lorenzo in Perugia, and an endless number of
+others to many places round Arezzo.</p>
+
+<p>And because he took much pleasure in matters of architecture, he made
+for the citizens of that country a number of designs of buildings and
+adornments for their city, such as the two doors of S. Rocco in stone,
+and the ornament of grey-stone that was added to the panel-picture of
+Maestro Luca in S. Girolamo; and he designed an ornament in the Abbey
+of Cipriano d' Anghiari, and another for the Company of the Trinità in
+the Chapel of the Crocifisso, and a very rich lavatory for the
+sacristy; which were all executed with great perfection by the
+stone-cutter Santi.</p>
+
+<p>Finally, ever delighting in labour, and continually working both
+winter and summer at his mural painting, which breaks down the
+<span class="pagenum"><a id="Page_262" name="Page_262">[Pg 262]</a></span> healthiest of men, he became so afflicted by the damp and so
+swollen with dropsy, that his physicians had to tap him, and in a few
+days he rendered up his soul to Him who had given it. First, like a
+good Christian, he partook of the Sacraments of the Church, and made
+his will. Then, having a particular devotion for the Hermits of
+Camaldoli, who have their seat on the summit of the Apennines, twenty
+miles distant from Arezzo, he bequeathed to them his property and his
+body, and to Pastorino da Siena, his assistant, who had been with him
+many years, he left his glasses, his working-instruments, and his
+designs, of which there is one in our book, a scene of the Submersion
+of Pharaoh in the Red Sea.</p>
+
+<p>This Pastorino afterwards applied himself to many other fields of art,
+and also to glass windows, although the works that he produced in that
+craft were but few. Guglielmo was much imitated, also, by one Maso
+Porro of Cortona, who was more able in firing and putting together the
+glass than in painting it. One of the pupils of Guglielmo was Battista
+Borro of Arezzo, who continues to imitate him greatly in the making of
+windows; and he also taught the first rudiments to Benedetto Spadari
+and to Giorgio Vasari of Arezzo.</p>
+
+<p>The Prior lived sixty-two years, and died in the year 1537. He
+deserves infinite praise, in that by him there was brought into
+Tuscany the art of working in glass with the greatest mastery and
+delicacy that could be desired. Wherefore, since he conferred such
+great benefits upon us, we also will pay him honour, exalting him
+continually with loving and unceasing praise both for his life and for
+his works.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="simone" id="simone"></a><span class="pagenum"><a id="Page_263" name="Page_263">[Pg 263]</a></span> SIMONE</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_simone" id="life_of_simone"></a><span class="pagenum"><a id="Page_265" name="Page_265">[Pg 265]</a></span> LIFE OF SIMONE, CALLED IL CRONACA</h2>
+
+<h3>[<i>SIMONE DEL POLLAIUOLO</i>]</h3>
+
+<h3>ARCHITECT OF FLORENCE</h3>
+
+
+<p>Many intellects are lost that would make rare and worthy works, if, on
+coming into the world, they were to hit upon persons able and willing
+to set them to work on those labours for which they are fitted. But it
+often happens that he who has the means is neither capable nor
+willing; and if, indeed, there chances to be one willing to erect some
+worthy building, he often takes no manner of care to seek out an
+architect of real merit or of any loftiness of spirit. Nay, he puts
+his honour and glory into the keeping of certain thievish creatures,
+who generally disgrace the name and fame of such memorials; and in
+order to thrust forward into greatness those who depend entirely upon
+him (so great is the power of ambition), he often rejects the good
+designs that are offered to him, and puts into execution the very
+worst; wherefore his own fame is left besmirched by the clumsiness of
+the work, since it is considered by all men of judgment that the
+craftsman and the patron who employs him, in that they are conjoined
+in their works, are of one and the same mind. And on the other hand,
+how many Princes of little understanding have there been, who, through
+having chanced upon persons of excellence and judgment, have obtained
+after death no less fame from the memory of their buildings than they
+enjoyed when alive from their sovereignty over their people.</p>
+
+<p>Truly fortunate, however, in his day, was Cronaca, in that he not only
+had the knowledge, but also found those who kept him continually
+employed, and that always on great and magnificent works. Of him it is
+related that while Antonio Pollaiuolo was in Rome, working at the
+tombs of bronze that are in S. Pietro, there came to his house a young
+<span class="pagenum"><a id="Page_266" name="Page_266">[Pg 266]</a></span> lad, his relative, whose proper name was Simone, and who had
+fled from Florence on account of some brawl. This Simone, having
+worked with a master in woodwork, and being much inclined to the art
+of architecture, began to observe the beautiful antiquities of that
+city, and, delighting in them, went about measuring them with the
+greatest diligence. And, going on with this, he had not been long in
+Rome before he showed that he had made much proficience, both in
+taking measurements and in carrying one or two things into execution.</p>
+
+<p>Thereupon he conceived the idea of returning to Florence, and departed
+from Rome; and on arriving in his native city, having become a passing
+good master of words, he described the marvels of Rome and of other
+places with such accuracy, that from that time onwards he was called
+Il Cronaca, every man thinking that he was truly a chronicle of
+information in his discourse. Now he had become such that he was held
+to be the most excellent of the modern architects in the city of
+Florence, seeing that he had good judgment in choosing sites, and
+showed that he had an intellect more lofty than that of many others
+who were engaged in that profession; for it was evident from his works
+how good an imitator he was of antiquities, and how closely he had
+observed the rules of Vitruvius and the works of Filippo di Ser
+Brunellesco.</p>
+
+<div class="figcenter">
+<a name="img071" id="img071"></a>
+<img src="images/img071-tb.jpg" width="400" height="312" alt="Detail of Cornice." title="">
+<p class="caption">DETAIL OF CORNICE<br>
+(<i>After</i> Simone [Il Cronaca],<br> <i>Florence: Palazzo Strozzi</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img071.jpg">View larger image</a></span></p>
+</div>
+
+<p>There was then in Florence that Filippo Strozzi who is now called "the
+elder," to distinguish him from his son; and he, being very rich,
+wished to leave to his native city and to his children, among other
+memorials of himself, one in the form of a beautiful palace. Wherefore
+Benedetto da Maiano, having been called upon by him for this purpose,
+made him a model entirely isolated, which was afterwards put into
+execution, although not in all its extent, as will be related below,
+for some of his neighbours would not give up their houses to
+accommodate him. Benedetto began the palace, therefore, in the best
+way that he could, and brought the outer shell almost to completion
+before the death of Filippo: which outer shell is in the Rustic Order,
+with varying degrees of rustication, as may be seen, since the
+boss-covered part from the first range of windows downwards, together
+with the doors, is very much Rustic, and the part from the first range
+of windows to the second is much less Rustic. <span class="pagenum"><a id="Page_267" name="Page_267">[Pg 267]</a></span> Now it
+happened that at the very moment when Benedetto was leaving Florence,
+Cronaca returned from Rome; whereupon, Simone being presented to
+Filippo, the latter was so pleased with the model that he made for the
+courtyard and for the great cornice which goes round the outer side of
+the palace, that, having recognized the excellence of his intellect,
+he decided that thenceforward the whole work should pass through his
+hands, and availed himself of his services ever afterwards. Cronaca,
+then, in addition to the beautiful exterior in the Tuscan Order, made
+at the top a very magnificent Corinthian cornice, which serves to
+complete the roof; and half of it is seen finished at the present day,
+with such extraordinary grace that nothing could be added to it, nor
+could anything more beautiful be desired. This cornice was taken by
+Cronaca, who copied it in Rome with exact measurements, from an
+ancient one that is to be found at Spoglia Cristo, which is held to be
+the most beautiful among the many that are in that city; although it
+is true that it was enlarged by Cronaca to the proportions required by
+the palace, to the end that it might make a suitable finish, and might
+also complete the roof of that palace by means of its projection.
+Thus, then, the genius of Cronaca was able to make use of the works of
+others and to transform them almost into his own; which does not
+succeed with many, since the difficulty lies not in merely having
+drawings and copies of beautiful things, but in accommodating them to
+the purpose which they have to serve, with grace, true measurement,
+proportion, and fitness. But just as much as this cornice of Cronaca's
+was and always will be extolled, so was that one censured which was
+made for the Palace of the Bartolini in the same city by Baccio d'
+Agnolo, who, seeking to imitate Cronaca, placed over a small façade,
+delicate in detail, a great ancient cornice copied with the exact
+measurements from the frontispiece of Monte Cavallo; which resulted in
+such ugliness, from his not having known how to adapt it with
+judgment, that it could not look worse, for it seems like an enormous
+cap on a small head. It is not enough for craftsmen, when they have
+executed their works, to excuse themselves, as many do, by saying that
+they were taken with exact measurements from the antique and copied
+from good masters, seeing that good judgment and the eye play a
+greater <span class="pagenum"><a id="Page_268" name="Page_268">[Pg 268]</a></span> part in all such matters than measuring with
+compasses. Cronaca, then, executed half of the said cornice with great
+art right round that palace, together with dentils and ovoli, and
+finished it completely on two sides, counterpoising the stones in such
+a way, in order that they might turn out well bound and balanced, that
+there is no better masonry to be seen, nor any carried to perfection
+with more diligence. In like manner, all the other stones are so well
+put together, and with so high a finish, that the whole does not
+appear to be of masonry, but rather all of one piece. And to the end
+that everything might be in keeping, he caused beautiful pieces of
+iron-work to be made for all parts of the palace, as adornments for
+it, and the lanterns that are at the corners, which were all executed
+with supreme diligence by Niccolò Grosso, called Il Caparra, a smith
+of Florence. In those marvellous lanterns may be seen cornices,
+columns, capitals, and brackets of iron, fixed together with wonderful
+craftsmanship; nor has any modern ever executed in iron works so large
+and so difficult, and with such knowledge and mastery.</p>
+
+<div class="figcenter">
+<a name="img072" id="img072"></a>
+<img src="images/img072-tb.jpg" width="300" height="532" alt="Iron Link-holder." title="">
+<p class="caption">IRON LINK-HOLDER<br>
+(<i>After</i> Niccolò Grosso.<br> <i>Florence: Palazzo Strozzi</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img072.jpg">View larger image</a></span></p>
+</div>
+
+<p>Niccolò Grosso was an eccentric and self-willed person, claiming
+justice for himself and giving it to others, and never covetous of
+what was not his own. He would never give anyone credit in the payment
+of his works, and always insisted on having his earnest-money. For
+this reason Lorenzo de' Medici called him Il Caparra,<a id="FNanchor28" name="FNanchor28"></a><a href="#Footnote28" title="Go to footnote 28" class="fnanchor">[28]</a> and he was
+known to many others by that name. He had a sign fixed over his shop,
+wherein were books burning; wherefore, when one asked for time to make
+his payment, he would say, "I cannot give it, for my books are
+burning, and I can enter no more debtors in them." He was commissioned
+by the honourable Captains of the Guelph party to make a pair of
+andirons, which, when he had finished them, were sent for several
+times. But he kept saying, "On this anvil do I sweat and labour, and
+on it will I have my money paid down." Whereupon they sent to him once
+more for the work, with a message that he should come for his money,
+for he would straightway be paid; but he, still obstinate, answered
+that they must first bring the money. The provveditore, therefore,
+knowing that the Captains wished to see the work, fell into a rage,
+and sent to him saying <span class="pagenum"><a id="Page_269" name="Page_269">[Pg 269]</a></span> that he had received half the
+money, and that when he had dispatched the andirons, he would pay him
+the rest. On which account Caparra, recognizing that this was true,
+gave one of the andirons to the messenger, saying: "Take them this
+one, for it is theirs; and if it pleases them, bring me the rest of
+the money, and I will hand over the other; but at present it is mine."
+The officials, seeing the marvellous work that he had put into it,
+sent the money to his shop; and he sent them the other andiron. It is
+related, also, that Lorenzo de' Medici resolved to have some pieces of
+iron-work made, to be sent abroad as presents, in order that the
+excellence of Caparra might be made known. He went, therefore, to his
+shop, and happened to find him working at some things for certain poor
+people, from whom he had received part of the price as earnest-money.
+On Lorenzo making his request, Niccolò would in no way promise to
+serve him before having satisfied the others, saying that they had
+come to his shop before Lorenzo, and that he valued their money as
+much as his. To the same master some young men of the city brought a
+design, from which he was to make for them an iron instrument for
+breaking and forcing open other irons by means of a screw, but he
+absolutely refused to serve them; nay, he upbraided them, and said:
+"Nothing will induce me to serve you in such a matter; for these
+things are nothing but thieves' tools, or instruments for abducting
+and dishonouring young girls. Such things are not for me, I tell you,
+nor for you, who seem to me to be honest men." And they, perceiving
+that Caparra would not do their will, asked him who there was in
+Florence who might serve them; whereupon, flying into a rage, he drove
+them away with a torrent of abuse. He would never work for Jews, and
+was wont, indeed, to say that their money was putrid and stinking. He
+was a good man and a religious, but whimsical in brain and obstinate:
+and he would never leave Florence, for all the offers that were made
+to him, but lived and died in that city. Of him I have thought it
+right to make this record, because he was truly unique in his craft,
+and has never had and never will have an equal, as may be seen best
+from the iron-work and the beautiful lanterns of the Palace of the
+Strozzi.</p>
+
+<div class="figcenter">
+<a name="img073" id="img073"></a>
+<img src="images/img073-tb.jpg" width="400" height="589" alt="Iron Lantern." title="">
+<p class="caption">IRON LANTERN<br>
+(<i>After</i> Niccolò Grosso.<br> <i>Florence: Palazzo Strozzi</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img073.jpg">View larger image</a></span></p>
+</div>
+
+<p>This palace was brought to completion by Cronaca, and adorned
+<span class="pagenum"><a id="Page_270" name="Page_270">[Pg 270]</a></span> with a very rich courtyard in the Corinthian and Doric
+Orders, with ornaments in the form of columns, capitals, cornices,
+windows, and doors, all most beautiful. And if it should appear to
+anyone that the interior of this palace is not in keeping with the
+exterior, he must know that the fault is not Cronaca's, for the reason
+that he was forced to adapt his interior to an outer shell begun by
+others, and to follow in great measure what had been laid down by
+those before him; and it was no small feat for him to have given it
+such beauty as it displays. The same answer may be made to any who say
+that the ascent of the stairs is not easy, nor correct in proportion,
+but too steep and sudden; and likewise, also, to such as say that the
+rooms and apartments of the interior in general are out of keeping, as
+has been described, with the grandeur and magnificence of the
+exterior. Nevertheless this palace will never be held as other than
+truly magnificent, and equal to any private building whatsoever that
+has been erected in Italy in our own times; wherefore Cronaca rightly
+obtained, as he still does, infinite commendation for this work.</p>
+
+<p>The same master built the Sacristy of S. Spirito in Florence, which is
+in the form of an octagonal temple, beautiful in proportions, and
+executed with a high finish; and among other things to be seen in this
+work are some capitals fashioned by the happy hand of Andrea dal Monte
+Sansovino, which are wrought with supreme perfection; and such,
+likewise, is the antechamber of that sacristy, which is held to be
+very beautiful in invention, although the coffered ceiling, as will be
+described, is not well distributed over the columns. The same Cronaca
+also erected the Church of S. Francesco dell' Osservanza on the hill
+of S. Miniato, without Florence; and likewise the whole of the Convent
+of the Servite Friars, which is a highly extolled work.</p>
+
+<div class="figcenter">
+<a name="img074" id="img074"></a>
+<img src="images/img074-tb.jpg" width="450" height="343" alt="Interior of Sacristy." title="">
+<p class="caption">INTERIOR OF SACRISTY<br>
+(<i>After</i> Simone [Il Cronaca].<br> <i>Florence: S. Spirito</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img074.jpg">View larger image</a></span></p>
+</div>
+
+<p>At this same time there was about to be built, by the advice of Fra
+Girolamo Savonarola, a most famous preacher of that day, the Great
+Council Chamber of the Palace of the Signoria in Florence; and for
+this opinions were taken from Leonardo da Vinci, Michelagnolo
+Buonarroti, although he was a mere lad, Giuliano da San Gallo, Baccio
+d' Agnolo, and Simone del Pollaiuolo, called Il Cronaca, who was the
+devoted friend and follower of Savonarola. These men, after many
+disputes, came to <span class="pagenum"><a id="Page_271" name="Page_271">[Pg 271]</a></span> an agreement, and decided that the Hall
+should be made in that form which it retained down to our own times,
+when, as has been mentioned and will be related yet again in another
+place, it was almost rebuilt. The charge of the whole work was given
+to Cronaca, as a man of talent and also as the friend of the aforesaid
+Fra Girolamo; and he executed it with great promptitude and diligence,
+showing the beauty of his genius particularly in the making of the
+roof, since the structure is of vast extent in every direction. He
+made the tie-beams of the roof-truss, which are thirty-eight braccia
+in length from wall to wall, of a number of timbers well scarfed and
+fastened together, since it was not possible to find beams of
+sufficient size for the purpose; and whereas the tie-beams of other
+roof-trusses have only one king-post, all those of this Hall have
+three each, a king-post in the middle, and a queen-post on either
+side. The rafters are long in proportion, and so are the struts of
+each king-post and queen-post; nor must I omit to say that the struts
+of the queen-posts, on the side nearest the wall, thrust against the
+rafters, and, towards the centre, against the struts of the king-post.
+I have thought it right to describe how this roof-truss is made,
+because it was constructed with beautiful design, and I have seen
+drawings made of it by many for sending to various places. When these
+tie-beams, thus contrived, had been drawn up and placed at intervals
+of six braccia, and the roof had been likewise laid down in a very
+short space of time, Cronaca attended to the fixing of the ceiling,
+which was then made of plain wood and divided into panels, each of
+which was four braccia square and surrounded by an ornamental cornice
+of few members; and a flat moulding was made of the same width as the
+planks, which enclosed the panels and the whole work, with large
+bosses at the intersections and the corners of the whole ceiling. And
+although the end walls of this Hall, one on either side, were eight
+braccia out of the square, they did not make up their minds, as they
+might have done, to thicken the walls so as to make it square, but
+carried them up to the roof just as they were, making three large
+windows on each of those end walls. But when the whole was finished,
+the Hall, on account of its extraordinary size, turned out to be too
+dark, and also stunted and wanting in height in relation to its great
+<span class="pagenum"><a id="Page_272" name="Page_272">[Pg 272]</a></span> length and breadth; in short, almost wholly out of
+proportion. They sought, therefore, but with little success, to
+improve it by making two windows in the middle of the eastern side of
+the Hall, and four on the western side. After this, in order to give
+it its final completion, they made on the level of the brick floor,
+with great rapidity, being much pressed by the citizens, a wooden
+tribune right round the walls of the Hall, three braccia both in
+breadth and height, with seats after the manner of a theatre, and with
+a balustrade in front; on which tribune all the magistrates of the
+city were to sit. In the middle of the eastern side was a more
+elevated daïs, on which the Signori sat with the Gonfalonier of
+Justice; and on either side of this more prominent place was a door,
+one of them leading to the Segreto<a id="FNanchor29" name="FNanchor29"></a><a href="#Footnote29" title="Go to footnote 29" class="fnanchor">[29]</a> and the other to the
+Specchio.<a id="FNanchor30" name="FNanchor30"></a><a href="#Footnote30" title="Go to footnote 30" class="fnanchor">[30]</a> Opposite to this, on the west side, was an altar at
+which Mass was read, with a panel by the hand of Fra Bartolommeo, as
+has been mentioned; and beside the altar was the pulpit for making
+speeches. In the middle of the Hall, then, were benches in rows laid
+crossways, for the citizens; while in the centre and at the corners of
+the tribune were some gangways with six steps, providing a convenient
+ascent for the ushers in the collection of votes. In this Hall, which
+was much extolled at that day for its many beautiful features and the
+rapidity with which it was erected, time has since served to reveal
+such errors as that it is low, dark, gloomy, and out of the square.
+Nevertheless Cronaca and the others deserve to be excused, both on
+account of the haste with which it was executed at the desire of the
+citizens, who intended in time to have it adorned with pictures and
+the ceiling overlaid with gold, and because up to that day there had
+been no greater hall built in Italy; although there are others very
+large, such as that of the Palace of S. Marco in Rome, that of the
+Vatican, erected by Pius II and Innocent VIII, that of the Castle of
+Naples, that of the Palace of Milan, and those of Urbino, Venice, and
+Padua.</p>
+
+<p>After this, to provide an ascent to this Hall, Cronaca, with the
+advice <span class="pagenum"><a id="Page_273" name="Page_273">[Pg 273]</a></span> of the same masters, made a great staircase six
+braccia wide and curving in two flights, richly adorned with
+grey-stone, and with Corinthian pilasters and capitals, double
+cornices, and arches, of the same stone; and with barrel-shaped
+vaulting, and windows with columns of variegated marble and carved
+marble capitals. But although this work was much extolled, it would
+have won even greater praise if the staircase had not turned out
+inconvenient and too steep; for it is a sure fact that it could have
+been made more gentle, as has been done in the time of Duke Cosimo,
+within the same amount of space and no more, in the new staircase
+made, opposite to that of Cronaca, by Giorgio Vasari, which is so
+gentle in ascent and so convenient, that going up it is almost like
+walking on the level. This has been the work of the aforesaid Lord
+Duke Cosimo, who, being a man of most happy genius and most profound
+judgment both in the government of his people and in all other things,
+grudges neither expense nor anything else in his desire to make all
+the fortifications and other buildings, both public and private,
+correspond to the greatness of his own mind, and not less beautiful
+than useful or less useful than beautiful.</p>
+
+<p>His Excellency, then, reflecting that the body of this Hall is the
+largest, the most magnificent, and the most beautiful in all Europe,
+has resolved to have it improved in such parts as are defective, and
+to have it made in every other part more ornate than any other
+structure in Italy, by the design and hand of Giorgio Vasari of
+Arezzo. And thus, the walls having been raised twelve braccia above
+their former height, in such a manner that the height from the
+pavement to the ceiling is thirty-two braccia, the roof-truss made by
+Cronaca to support the roof has been restored and replaced on high
+after a new arrangement; and the old ceiling, which was simple and
+commonplace, and by no means worthy of that Hall, has been remodelled
+with a system of compartments of great variety, rich in mouldings,
+full of carvings, and all overlaid with gold, together with
+thirty-nine painted panels, square, round, and octagonal, the greater
+number of which are each nine braccia in extent, and some even more,
+and all containing scenes painted in oils, with the largest figures
+seven or eight braccia high. In these stories, commencing with the
+very beginning, may be seen the rise, the honours, the victories,
+<span class="pagenum"><a id="Page_274" name="Page_274">[Pg 274]</a></span> and the glorious deeds of the city and state of Florence,
+and in particular the wars of Pisa and Siena, together with an endless
+number of other things, which it would take too long to describe. And
+on each of the side walls there has been left a convenient space of
+sixty braccia, in each of which are to be painted three scenes in
+keeping with the ceiling and embracing the space of seven pictures on
+either side, which represent events from the wars of Pisa and Siena.
+These compartments on the walls are so large, that no greater spaces
+for the painting of historical pictures have ever been seen either by
+the ancients or by the moderns. And the said compartments are adorned
+by some vast stone ornaments which meet at the ends of the Hall, at
+one side of which, namely, the northern side, the Lord Duke has caused
+to be finished a work begun and carried nearly to completion by Baccio
+Bandinelli, that is, a façade filled with columns and pilasters and
+with niches containing statues of marble; which space is to serve as a
+public audience chamber, as will be related in the proper place. On
+the other side, opposite to this, there is to be, in a similar façade
+that is being made by the sculptor and architect Ammanati, a fountain
+to throw up water in the Hall, with a rich and most beautiful
+adornment of columns and statues of marble and bronze. Nor will I
+forbear to say that this Hall, in consequence of the roof having been
+raised twelve braccia, has gained not only height, but also an ample
+supply of windows, since, in addition to the others that are higher
+up, in each of those end walls are to be made three large windows,
+which will be over the level of a corridor that is to form a loggia
+within the Hall and to extend on one side over the work of Bandinelli,
+whence there will be revealed a most beautiful view of the whole
+Piazza. But of this Hall, and of the other improvements that have been
+or are being made in the Palace, there will be a longer account in
+another place. This only let me say at present, that if Cronaca and
+those other ingenious craftsmen who gave the design for the Hall could
+return to life, in my belief they would not recognize either the
+Palace, or the Hall, or any other thing that is there. The Hall,
+namely, that part which is rectangular, without counting the works of
+Bandinelli and Ammanati, is ninety braccia in length and thirty-eight
+braccia in breadth.</p>
+
+<p><span class="pagenum"><a id="Page_275" name="Page_275">[Pg 275]</a></span> But returning to Cronaca: in the last years of his life there
+entered into his head such a frenzy for the cause of Fra Girolamo
+Savonarola, that he would talk of nothing else but that. Living thus,
+in the end he died after a passing long illness, at the age of
+fifty-five, and was buried honourably in the Church of S. Ambrogio at
+Florence, in the year 1509; and after no long space of time the
+following epitaph was written for him by Messer Giovan Battista
+Strozzi:</p>
+
+<p class="center">
+  CRONACA<br>
+  VIVO, E MILLE E MILLE ANNI E MILLE ANCORA,<br>
+  MERCÈ DE' VIVI MIEI PALAZZI E TEMPI,<br>
+  BELLA ROMA, VIVRÀ L' ALMA MIA FLORA.</p>
+
+<p>Cronaca had a brother called Matteo, who gave himself to sculpture and
+worked under the sculptor Antonio Rossellino; but although he was a
+man of good and beautiful intelligence, a fine draughtsman, and well
+practised in working marble, he left no finished work, because, being
+snatched from the world by death at the age of nineteen, he was not
+able to accomplish that which was expected from him by all who knew
+him.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="puligo" id="puligo"></a><span class="pagenum"><a id="Page_277" name="Page_277">[Pg 277]</a></span> DOMENICO PULIGO</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_puligo" id="life_of_puligo"></a><span class="pagenum"><a id="Page_279" name="Page_279">[Pg 279]</a></span> LIFE OF DOMENICO PULIGO</h2>
+
+<h3>PAINTER OF FLORENCE</h3>
+
+
+<p>It is a marvellous and almost incredible thing, that many followers of
+the art of painting, through continual practice and handling of
+colours, either by an instinct of nature or by the trick of a good
+manner, acquired without any draughtsmanship or grounding, carry their
+works to such thorough completion, and very often contrive to make
+them so good, that, although the craftsmen themselves may be none of
+the rarest, their pictures force the world to extol them and to hold
+them in supreme veneration. And it has been perceived in the past from
+many examples, and in many of our painters, that the most vivacious
+and perfect works are produced by those who have a beautiful manner
+from nature, although they must exercise it with continual study and
+labour; while this gift of nature has such power, that even if they
+neglect or abandon the studies of art, and pay attention to nothing
+save the mere practice of painting and of handling colours with a
+grace infused in them by nature, at the first glance their works have
+the appearance of displaying all the excellent and marvellous
+qualities that are wont to appear after a close inspection in the
+works of those masters whom we hold to be the best. And that this is
+true, is demonstrated to us in our own day by experience, from the
+works of Domenico Puligo, a painter of Florence; wherein what has been
+said above may be clearly recognized by one who has knowledge of the
+matters of art.</p>
+
+<div class="figcenter">
+<a name="img075" id="img075"></a>
+<img src="images/img075-tb.jpg" width="400" height="460" alt="Madonna and Child, with Saints." title="">
+<p class="caption">MADONNA AND CHILD, WITH SAINTS<br>
+(<i>After the panel by</i> Domenico Puligo (?).<br> <i>Florence: S. Maria
+Maddalena de' Pazzi</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img075.jpg">View larger image</a></span></p>
+</div>
+
+<p>While Ridolfo, the son of Domenico Ghirlandajo, was executing a number
+of works in painting at Florence, as will be related, he followed his
+father's habit of always keeping many young men painting in his
+<span class="pagenum"><a id="Page_280" name="Page_280">[Pg 280]</a></span> workshop: which was the reason that not a few of them,
+through competing one with another, became very good masters, some at
+making portraits from life, some at working in fresco, others in
+distemper, and others at painting readily on cloth. Making these lads
+execute pictures, panels, and canvases, in the course of a few years
+Ridolfo, with great profit for himself, sent an endless number of
+these to England, to Germany, and to Spain. Baccio Gotti and Toto del
+Nunziata, disciples of Ridolfo, were summoned, one to France by King
+Francis, and the other to England by the King of that country, each of
+whom invited them after having seen some of their work. Two other
+disciples of the same master remained with him, working under him for
+many years, because, although they had many invitations into Spain and
+Hungary from merchants and others, they were never induced either by
+promises or by money to tear themselves away from the delights of
+their country, in which they had more work to do than they were able
+to execute. One of these two was Antonio del Ceraiuolo, a Florentine,
+who, having been many years with Lorenzo di Credi, had learnt from
+him, above all, to draw so well from nature, that with supreme
+facility he gave his portraits an extraordinary likeness to the life,
+although otherwise he was no great draughtsman. And I have seen some
+heads portrayed from life by his hand, which, although they have, for
+example, the nose crooked, one lip small and the other large, and
+other suchlike deformities, nevertheless resemble the life, through
+his having well caught the expression of the subject; whereas, on the
+other hand, many excellent masters have made pictures and portraits of
+absolute perfection with regard to art, but with no resemblance
+whatever to those that they are supposed to represent. And to tell the
+truth, he who executes portraits must contrive, without thinking of
+what is looked for in a perfect figure, to make them like those for
+whom they are intended. When portraits are like and also beautiful,
+then may they be called rare works, and their authors truly excellent
+craftsmen. This Antonio, then, besides many portraits, executed a
+number of panel-pictures in Florence; but for the sake of brevity I
+will make mention only of two. One of these, wherein he painted a
+Crucifixion, with S. Mary Magdalene and S. Francis, is in S. Jacopo
+tra Fossi, on the Canto degli <span class="pagenum"><a id="Page_281" name="Page_281">[Pg 281]</a></span> Alberti; and in the other,
+which is in the Nunziata, is a S. Michael who is weighing souls.</p>
+
+<p>The other of the two aforesaid disciples was Domenico Puligo, who was
+more excellent in draughtsmanship and more pleasing and gracious in
+colouring than any of the others mentioned above. He, considering that
+his method of painting with softness, without overloading his works
+with colour or making them hard, but causing the distances to recede
+little by little as though veiled with a kind of mist, gave his
+pictures both relief and grace, and that although the outlines of the
+figures that he made were lost in such a way that his errors were
+concealed and hidden from view in the dark grounds into which the
+figures merged, nevertheless his colouring and the beautiful
+expressions of his heads made his works pleasing, always kept to the
+same method of working and to the same manner, which caused him to be
+held in esteem as long as he lived. But omitting to give an account of
+the pictures and portraits that he made while in the workshop of
+Ridolfo, some of which were sent abroad and some remained in the city,
+I shall speak only of those which he painted when he was rather the
+friend and rival of Ridolfo than his disciple, and of those that he
+executed when he was so much the friend of Andrea del Sarto, that
+nothing was more dear to him than to see that master in his workshop,
+in order to learn from him, showing him his works and asking his
+opinion of them, so as to avoid such errors and defects as those men
+often fall into who do not show their work to any other craftsman, but
+trust so much in their own judgment that they would rather incur the
+censure of all the world when those works are finished, than correct
+them by means of the suggestions of loving friends.</p>
+
+<p>One of the first things that Domenico executed was a very beautiful
+picture of Our Lady for Messer Agnolo della Stufa, who has it in his
+Abbey of Capalona in the district of Arezzo, and holds it very dear
+for the great diligence of its execution and the beauty of its
+colouring. He painted another picture of Our Lady, no less beautiful
+than that one, for Messer Agnolo Niccolini, now Archbishop of Pisa and
+a Cardinal, who keeps it in his house on the Canto de' Pazzi in
+Florence; and likewise another, of equal size and excellence, which is
+now in the possession of <span class="pagenum"><a id="Page_282" name="Page_282">[Pg 282]</a></span> Filippo dell' Antella, at Florence.
+In another, which is about three braccia in height, Domenico made a
+full-length Madonna with the Child between her knees, a little S.
+John, and another head; and this picture, which is held to be one of
+the best works that he executed, since there is no sweeter colouring
+to be seen, is at the present day in the possession of Messer Filippo
+Spini, Treasurer to the most Illustrious Prince of Florence, and a
+gentleman of magnificent spirit, who takes much delight in works of
+painting.</p>
+
+<p>Among other portraits that Domenico made from the life, which are all
+beautiful and also good likenesses, the most beautiful is the one
+which he painted of Monsignore Messer Piero Carnesecchi, at that time
+a marvellously handsome youth, for whom he also made some other
+pictures, all very beautiful and executed with much diligence. In like
+manner, he portrayed in a picture the Florentine Barbara, a famous and
+most lovely courtesan of that day, much beloved by many no less for
+her fine culture than for her beauty, and particularly because she was
+an excellent musician and sang divinely. But the best work that
+Domenico ever executed was a large picture wherein he made a life-size
+Madonna, with some angels and little boys, and a S. Bernard who is
+writing; which picture is now in the hands of Giovanni Gualberto del
+Giocondo, and of his brother Messer Niccolò, a Canon of S. Lorenzo in
+Florence.</p>
+
+<p>The same master made many other pictures, which are dispersed among
+the houses of citizens, and in particular some wherein may be seen a
+half-length figure of Cleopatra, causing an asp to bite her on the
+breast, and others wherein is the Roman Lucretia killing herself with
+a dagger. There are also some very beautiful portraits from life and
+pictures by the same hand at the Porta a Pinti, in the house of Giulio
+Scali, a man whose judgment is as fine in the matters of our arts as
+it is in those of every other most noble and most honourable
+profession. Domenico executed for Francesco del Giocondo, in a panel
+for his chapel in the great tribune of the Church of the Servi at
+Florence, a S. Francis who is receiving the Stigmata; which work is
+very sweet and soft in colouring, and wrought with much diligence. In
+the Church of Cestello, round the Tabernacle of the Sacrament, he
+painted two angels in fresco, and on the panel of a <span class="pagenum"><a id="Page_283" name="Page_283">[Pg 283]</a></span> chapel
+in the same church he made a Madonna with her Son in her arms, S. John
+the Baptist, S. Bernard, and other saints. And since it appeared to
+the monks of that place that he had acquitted himself very well in
+those works, they caused him to paint in a cloister of their Abbey of
+Settimo, without Florence, the Visions of Count Ugo, who built seven
+abbeys. And no long time after, Puligo painted, in a shrine at the
+corner of the Via Mozza da S. Catarina, a Madonna standing, with her
+Son in her arms marrying S. Catherine, and a figure of S. Peter
+Martyr. For a Company in the township of Anghiari he executed a
+Deposition from the Cross, which may be numbered among his best works.</p>
+
+<p>But since it was his profession to attend rather to pictures of Our
+Lady, portraits, and other heads, than to great works, he gave up
+almost all his time to such things. Now if he had devoted himself not
+so much to the pleasures of the world, as he did, and more to the
+labours of art, there is no doubt that he would have made great
+proficience in painting, and especially as Andrea del Sarto, who was
+much his friend, assisted him on many occasions both with advice and
+with drawings; for which reason many of his works reveal a
+draughtsmanship as fine as the good and beautiful manner of the
+colouring. But the circumstance that Domenico was unwilling to endure
+much fatigue, and accustomed to labour rather in order to get through
+work and make money than for the sake of fame, prevented him from
+reaching a greater height. And thus, associating with gay spirits and
+lovers of good cheer, and with musicians and women, he died at the age
+of fifty-two, in the year 1527, in the pursuit of a love-affair,
+having caught the plague at the house of his mistress.</p>
+
+<p>Colour was handled by him in so good and harmonious a manner, that it
+is for that reason, rather than for any other, that he deserves
+praise. Among his disciples was Domenico Beceri of Florence, who,
+giving a high finish to his colouring, executed his works in an
+excellent manner.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="index" id="index"></a><span class="pagenum"><a id="Page_285" name="Page_285">[Pg 285]</a></span> INDEX</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="index_name_vol_4" id="index_name_vol_4"></a><span class="pagenum"><a id="Page_287" name="Page_287">[Pg 287]</a></span> INDEX OF NAMES
+
+OF THE CRAFTSMEN MENTIONED IN VOLUME IV</h2>
+
+<ul class="none">
+<li>Abbot of S. Clemente (Don Bartolommeo della Gatta),
+<a href="#Page_41"><b>41</b></a>,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_216"><b>216</b></a>,
+<a href="#Page_217"><b>217</b></a></li>
+
+<li>Agnolo, Baccio d',
+<a href="#Page_101"><b>101</b></a>,
+<a href="#Page_204"><b>204</b></a>,
+<a href="#Page_267"><b>267</b></a>,
+<a href="#Page_270"><b>270</b></a></li>
+
+<li>Agnolo Gaddi,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_54"><b>54</b></a></li>
+
+<li>Agostino Busto,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Albertinelli, Biagio di Bindo,
+<a href="#Page_165"><b>165</b></a></li>
+
+<li>Albertinelli, Mariotto, <i>Life</i>,
+<a href="#Page_165"><b>165</b></a>-171.
+<a href="#Page_151"><b>151</b></a>,
+<a href="#Page_154"><b>154</b></a></li>
+
+<li>Albrecht Dürer,
+<a href="#Page_232"><b>232</b></a></li>
+
+<li>Aldigieri (Altichiero) da Zevio,
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_54"><b>54</b></a>,
+<a href="#Page_55"><b>55</b></a></li>
+
+<li>Alessandro Filipepi (Sandro Botticelli, or Sandro di Botticello),
+<a href="#Page_3"><b>3</b></a>,
+<a href="#Page_4"><b>4</b></a>,
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Alessandro Moretto,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Alesso Baldovinetti,
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Alonzo Berughetta,
+<a href="#Page_8"><b>8</b></a></li>
+
+<li>Alunno, Niccolò,
+<a href="#Page_18"><b>18</b></a>,
+<a href="#Page_19"><b>19</b></a></li>
+
+<li>Ammanati,
+<a href="#Page_274"><b>274</b></a></li>
+
+<li>Andrea Contucci (Andrea Sansovino, or Andrea dal Monte Sansovino),
+<a href="#Page_5"><b>5</b></a>,
+<a href="#Page_144"><b>144</b></a>,
+<a href="#Page_186"><b>186</b></a>,
+<a href="#Page_223"><b>223</b></a>,
+<a href="#Page_270"><b>270</b></a></li>
+
+<li>Andrea dal Castagno (Andrea degl' Impiccati),
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Andrea dal Monte Sansovino (Andrea Sansovino, or Andrea Contucci),
+<a href="#Page_5"><b>5</b></a>,
+<a href="#Page_144"><b>144</b></a>,
+<a href="#Page_186"><b>186</b></a>,
+<a href="#Page_223"><b>223</b></a>,
+<a href="#Page_270"><b>270</b></a></li>
+
+<li>Andrea degl' Impiccati (Andrea dal Castagno),
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Andrea del Gobbo,
+<a href="#Page_122"><b>122</b></a></li>
+
+<li>Andrea del Sarto,
+<a href="#Page_83"><b>83</b></a>,
+<a href="#Page_129"><b>129</b></a>,
+<a href="#Page_134"><b>134</b></a>,
+<a href="#Page_281"><b>281</b></a>,
+<a href="#Page_283"><b>283</b></a></li>
+
+<li>Andrea di Cosimo,
+<a href="#Page_129"><b>129</b></a></li>
+
+<li>Andrea Luigi (L'Ingegno),
+<a href="#Page_47"><b>47</b></a></li>
+
+<li>Andrea Mantegna,
+<a href="#Page_24"><b>24</b></a>,
+<a href="#Page_55"><b>55</b></a>,
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Andrea Sansovino (Andrea Contucci, or Andrea dal Monte Sansovino),
+<a href="#Page_5"><b>5</b></a>,
+<a href="#Page_144"><b>144</b></a>,
+<a href="#Page_186"><b>186</b></a>,
+<a href="#Page_223"><b>223</b></a>,
+<a href="#Page_270"><b>270</b></a></li>
+
+<li>Andrea Verrocchio,
+<a href="#Page_35"><b>35</b></a>,
+<a href="#Page_39"><b>39</b></a>,
+<a href="#Page_81"><b>81</b></a>,
+<a href="#Page_90"><b>90</b></a>,
+<a href="#Page_92"><b>92</b></a>,
+<a href="#Page_112"><b>112</b></a></li>
+
+<li>Angelico, Fra (Fra Giovanni da Fiesole),
+<a href="#Page_73"><b>73</b></a>,
+<a href="#Page_154"><b>154</b></a>,
+<a href="#Page_185"><b>185</b></a></li>
+
+<li>Angelo, Battista d',
+<a href="#Page_61"><b>61</b></a></li>
+
+<li>Antonio (Antoniasso),
+<a href="#Page_6"><b>6</b></a>,
+<a href="#Page_7"><b>7</b></a></li>
+
+<li>Antonio da Correggio, <i>Life</i>,
+<a href="#Page_117"><b>117</b></a>-122.
+<a href="#Page_83"><b>83</b></a>,
+<a href="#Page_125"><b>125</b></a></li>
+
+<li>Antonio da San Gallo, <i>Life</i>,
+<a href="#Page_191"><b>191</b></a>-205.
+<a href="#Page_145"><b>145</b></a>,
+<a href="#Page_254"><b>254</b></a></li>
+
+<li>Antonio del Ceraiuolo,
+<a href="#Page_280"><b>280</b></a></li>
+
+<li>Antonio di Giorgio,
+<a href="#Page_36"><b>36</b></a></li>
+
+<li>Antonio Filarete,
+<a href="#Page_56"><b>56</b></a></li>
+
+<li>Antonio Montecavallo,
+<a href="#Page_140"><b>140</b></a></li>
+
+<li>Antonio Pollaiuolo,
+<a href="#Page_4"><b>4</b></a>,
+<a href="#Page_81"><b>81</b></a>,
+<a href="#Page_265"><b>265</b></a></li>
+
+<li>Antonio Rossellino,
+<a href="#Page_275"><b>275</b></a></li>
+
+<li>Apelles,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_83"><b>83</b></a>,
+<a href="#Page_105"><b>105</b></a></li>
+
+<li>Arezzo, Niccolò d',
+<a href="#Page_55"><b>55</b></a></li>
+
+<li>Aristotile da San Gallo,
+<a href="#Page_212"><b>212</b></a></li>
+
+<li>Avanzi, Jacopo (Jacopo Davanzo),
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_55"><b>55</b></a></li>
+</ul>
+
+<ul class="none p2">
+<li>Bacchiaccha, Il (Francesco),
+<a href="#Page_46"><b>46</b></a></li>
+
+<li>Baccio Bandinelli,
+<a href="#Page_204"><b>204</b></a>,
+<a href="#Page_274"><b>274</b></a></li>
+
+<li>Baccio d' Agnolo,
+<a href="#Page_101"><b>101</b></a>,
+<a href="#Page_204"><b>204</b></a>,
+<a href="#Page_267"><b>267</b></a>,
+<a href="#Page_270"><b>270</b></a></li>
+
+<li>Baccio da Montelupo,
+<a href="#Page_186"><b>186</b></a></li>
+
+<li>Baccio della Porta (Fra Bartolommeo di San Marco), <i>Life</i>,
+<a href="#Page_151"><b>151</b></a>-162.
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_151"><b>151</b></a>-162,
+<a href="#Page_165"><b>165</b></a>-167,
+<a href="#Page_215"><b>215</b></a>,
+<a href="#Page_244"><b>244</b></a>,
+<a href="#Page_272"><b>272</b></a></li>
+
+<li>Baccio Gotti,
+<a href="#Page_280"><b>280</b></a></li>
+
+<li>Baccio Ubertino,
+<a href="#Page_46"><b>46</b></a></li>
+
+<li>Baldassarre Peruzzi,
+<a href="#Page_145"><b>145</b></a>,
+<a href="#Page_146"><b>146</b></a>,
+<a href="#Page_200"><b>200</b></a></li>
+
+<li>Baldovinetti, Alesso,
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Bandinelli, Baccio,
+<a href="#Page_204"><b>204</b></a>,
+<a href="#Page_274"><b>274</b></a></li>
+
+<li>Barile, Gian,
+<a href="#Page_238"><b>238</b></a></li>
+
+<li>Bartolommeo, Fra (Fra Carnovale da Urbino),
+<a href="#Page_138"><b>138</b></a></li>
+
+<li>Bartolommeo Clemente of Reggio,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Bartolommeo della Gatta, Don (Abbot of S. Clemente),
+<a href="#Page_41"><b>41</b></a>,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_216"><b>216</b></a>,
+<a href="#Page_217"><b>217</b></a></li>
+
+<li>Bartolommeo di San Marco, Fra (Baccio della Porta), <i>Life</i>,
+<a href="#Page_151"><b>151</b></a>-162.
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_151"><b>151</b></a>-162,
+<a href="#Page_165"><b>165</b></a>-167,
+<a href="#Page_215"><b>215</b></a>,
+<a href="#Page_244"><b>244</b></a>,
+<a href="#Page_272"><b>272</b></a></li>
+
+<li>Bartolommeo Montagna,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Bartolommeo Vivarini,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_59"><b>59</b></a></li>
+
+<li>Basaiti, Marco (Il Bassiti, or Marco Basarini),
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_58"><b>58</b></a></li>
+
+<li>Bastiani, Lazzaro (Sebastiano Scarpaccia, or Lazzaro Scarpaccia),
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_57"><b>57</b></a>,
+<a href="#Page_58"><b>58</b></a></li>
+
+<li>Bastiano da Monte Carlo,
+<a href="#Page_179"><b>179</b></a></li>
+
+<li>Battista Borro,
+<a href="#Page_262"><b>262</b></a></li>
+
+<li>Battista d' Angelo,
+<a href="#Page_61"><b>61</b></a></li>
+
+<li>Baviera,
+<a href="#Page_232"><b>232</b></a>,
+<a href="#Page_233"><b>233</b></a></li>
+
+<li>Bazzi, Giovanni Antonio (Sodoma),
+<a href="#Page_72"><b>72</b></a>,
+<a href="#Page_218"><b>218</b></a></li>
+
+<li>Beceri, Domenico,
+<a href="#Page_283"><b>283</b></a></li>
+
+<li>Bellini, Gentile,
+<a href="#Page_57"><b>57</b></a>,
+<a href="#Page_59"><b>59</b></a>,
+<a href="#Page_109"><b>109</b></a></li>
+
+<li>Bellini, Giovanni,
+<a href="#Page_57"><b>57</b></a>,
+<a href="#Page_58"><b>58</b></a>,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_109"><b>109</b></a></li>
+
+<li>Bellini, Vittore (Belliniano),
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_59"><b>59</b></a>,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Benedetto Buglioni,
+<a href="#Page_155"><b>155</b></a></li>
+
+<li>Benedetto Buonfiglio,
+<a href="#Page_17"><b>17</b></a>,
+<a href="#Page_18"><b>18</b></a></li>
+
+<li>Benedetto (Giovan Battista) Caporali,
+<a href="#Page_48"><b>48</b></a>,
+<a href="#Page_75"><b>75</b></a>,
+<a href="#Page_76"><b>76</b></a></li>
+
+<li>Benedetto Cianfanini,
+<a href="#Page_162"><b>162</b></a></li>
+
+<li>Benedetto da Maiano,
+<a href="#Page_36"><b>36</b></a>,
+<a href="#Page_151"><b>151</b></a>,
+<a href="#Page_266"><b>266</b></a>,
+<a href="#Page_267"><b>267</b></a></li>
+
+<li>Benedetto da Rovezzano,
+<a href="#Page_155"><b>155</b></a></li>
+
+<li>Benedetto Diana,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Benedetto Spadari,
+<a href="#Page_262"><b>262</b></a></li>
+
+<li>Bernardino da Trevio,
+<a href="#Page_138"><b>138</b></a></li>
+
+<li>Bernardino Pinturicchio, <i>Life</i>,
+<a href="#Page_13"><b>13</b></a>-19.
+<a href="#Page_46"><b>46</b></a>,
+<a href="#Page_65"><b>65</b></a>,
+<a href="#Page_211"><b>211</b></a>,
+<a href="#Page_212"><b>212</b></a></li>
+
+<li>Bertoldo,
+<a href="#Page_185"><b>185</b></a></li>
+
+<li>Berughetta, Alonzo,
+<a href="#Page_8"><b>8</b></a></li>
+
+<li>Biagio di Bindo Albertinelli,
+<a href="#Page_165"><b>165</b></a></li>
+
+<li>Bianco, Simon,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Bologna, Il,
+<a href="#Page_237"><b>237</b></a></li>
+
+<li>Bolognese, Marc' Antonio,
+<a href="#Page_232"><b>232</b></a>,
+<a href="#Page_233"><b>233</b></a></li>
+
+<li>Boltraffio, Giovanni Antonio,
+<a href="#Page_105"><b>105</b></a></li>
+
+<li>Bonsignori, Francesco,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Borgo a San Sepolcro, Piero dal (Piero della Francesca),
+<a href="#Page_71"><b>71</b></a>,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_216"><b>216</b></a></li>
+
+<li>Borro, Battista,
+<a href="#Page_262"><b>262</b></a></li>
+
+<li>Botticelli, Sandro (Alessandro Filipepi, or Sandro di Botticello),
+<a href="#Page_3"><b>3</b></a>,
+<a href="#Page_4"><b>4</b></a>,
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Bramante da Urbino, <i>Life</i>,
+<a href="#Page_137"><b>137</b></a>-148.
+<a href="#Page_199"><b>199</b></a>-202,
+<a href="#Page_216"><b>216</b></a>,
+<a href="#Page_217"><b>217</b></a>,
+<a href="#Page_223"><b>223</b></a>,
+<a href="#Page_232"><b>232</b></a>,
+<a href="#Page_237"><b>237</b></a>,
+<a href="#Page_254"><b>254</b></a></li>
+
+<li>Bramantino,
+<a href="#Page_217"><b>217</b></a></li>
+
+<li>Bresciano, Vincenzio (Vincenzio Zoppa or Foppa),
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_56"><b>56</b></a></li>
+
+<li>Bronzino,
+<a href="#Page_179"><b>179</b></a></li>
+
+<li>Brunelleschi, Filippo (Filippo di Ser Brunellesco),
+<a href="#Page_137"><b>137</b></a>,
+<a href="#Page_185"><b>185</b></a>,
+<a href="#Page_266"><b>266</b></a></li>
+
+<li>Bugiardini, Giuliano,
+<a href="#Page_154"><b>154</b></a>,
+<a href="#Page_161"><b>161</b></a>,
+<a href="#Page_170"><b>170</b></a>,
+<a href="#Page_186"><b>186</b></a></li>
+
+<li>Buglioni, Benedetto,
+<a href="#Page_155"><b>155</b></a></li>
+
+<li>Buonarroti, Michelagnolo,
+<a href="#Page_41"><b>41</b></a>,
+<a href="#Page_43"><b>43</b></a>,
+<a href="#Page_48"><b>48</b></a>,
+<a href="#Page_65"><b>65</b></a>,
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_74"><b>74</b></a>,
+<a href="#Page_84"><b>84</b></a>,
+<a href="#Page_85"><b>85</b></a>,
+<a href="#Page_101"><b>101</b></a>,
+<a href="#Page_104"><b>104</b></a>,
+<a href="#Page_145"><b>145</b></a>,
+<a href="#Page_157"><b>157</b></a>,
+<a href="#Page_186"><b>186</b></a>,
+<a href="#Page_187"><b>187</b></a>,
+<a href="#Page_199"><b>199</b></a>,
+<a href="#Page_201"><b>201</b></a>,
+<a href="#Page_204"><b>204</b></a>,
+<a href="#Page_209"><b>209</b></a>,
+<a href="#Page_212"><b>212</b></a>,
+<a href="#Page_215"><b>215</b></a>,
+<a href="#Page_223"><b>223</b></a>,
+<a href="#Page_224"><b>224</b></a>,
+<a href="#Page_242"><b>242</b></a>-245,
+<a href="#Page_259"><b>259</b></a>,
+<a href="#Page_270"><b>270</b></a></li>
+
+<li>Buonconsigli, Giovanni,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Buonfiglio, Benedetto,
+<a href="#Page_17"><b>17</b></a>,
+<a href="#Page_18"><b>18</b></a></li>
+
+<li>Busto, Agostino,
+<a href="#Page_60"><b>60</b></a></li>
+</ul>
+
+<ul class="none p2">
+<li>Cadore, Tiziano da,
+<a href="#Page_114"><b>114</b></a></li>
+
+<li>Campagnola, Girolamo,
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_55"><b>55</b></a>,
+<a href="#Page_56"><b>56</b></a></li>
+
+<li>Campagnola, Giulio,
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_56"><b>56</b></a>,
+<a href="#Page_57"><b>57</b></a></li>
+
+<li>Caparra, Il (Niccolò Grosso),
+<a href="#Page_268"><b>268</b></a>,
+<a href="#Page_269"><b>269</b></a></li>
+
+<li>Caporali, Benedetto (Giovan Battista),
+<a href="#Page_48"><b>48</b></a>,
+<a href="#Page_75"><b>75</b></a>,
+<a href="#Page_76"><b>76</b></a></li>
+
+<li>Caporali, Giulio,
+<a href="#Page_48"><b>48</b></a></li>
+
+<li>Caradosso,
+<a href="#Page_23"><b>23</b></a>,
+<a href="#Page_144"><b>144</b></a></li>
+
+<li>Caravaggio, Polidoro da,
+<a href="#Page_83"><b>83</b></a>,
+<a href="#Page_237"><b>237</b></a></li>
+
+<li>Carnovale da Urbino, Fra (Fra Bartolommeo),
+<a href="#Page_138"><b>138</b></a></li>
+
+<li>Caroto, Francesco,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Carpaccio (Scarpaccia), Vittore, <i>Life</i>,
+<a href="#Page_51"><b>51</b></a>-61</li>
+
+<li>Carpi, Ugo da,
+<a href="#Page_233"><b>233</b></a></li>
+
+<li>Cartoni, Niccolò (Niccolò Zoccolo),
+<a href="#Page_9"><b>9</b></a>,
+<a href="#Page_10"><b>10</b></a></li>
+
+<li>Castagno, Andrea dal (Andrea degl' Impiccati),
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Castel Bolognese, Giovanni da,
+<a href="#Page_111"><b>111</b></a></li>
+
+<li>Castel della Pieve, Pietro da (Pietro Vannucci, or Pietro Perugino), <i>Life</i>,
+<a href="#Page_33"><b>33</b></a>-48.
+<a href="#Page_13"><b>13</b></a>,
+<a href="#Page_15"><b>15</b></a>,
+<a href="#Page_18"><b>18</b></a>,
+<a href="#Page_33"><b>33</b></a>-48,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_159"><b>159</b></a>,
+<a href="#Page_169"><b>169</b></a>,
+<a href="#Page_210"><b>210</b></a>-212,
+<a href="#Page_236"><b>236</b></a>,
+<a href="#Page_242"><b>242</b></a>,
+<a href="#Page_243"><b>243</b></a></li>
+
+<li>Castelfranco, Giorgione da, <i>Life</i>,
+<a href="#Page_109"><b>109</b></a>-114.
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_125"><b>125</b></a></li>
+
+<li>Catena, Vincenzio,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_58"><b>58</b></a></li>
+
+<li>Cecchino del Frate,
+<a href="#Page_162"><b>162</b></a></li>
+
+<li>Ceraiuolo, Antonio del,
+<a href="#Page_280"><b>280</b></a></li>
+
+<li>Cesare Cesariano,
+<a href="#Page_138"><b>138</b></a></li>
+
+<li>Cianfanini, Benedetto,
+<a href="#Page_162"><b>162</b></a></li>
+
+<li>Cimabue, Giovanni,
+<a href="#Page_77"><b>77</b></a></li>
+
+<li>Claudio, Maestro,
+<a href="#Page_254"><b>254</b></a>,
+<a href="#Page_255"><b>255</b></a></li>
+
+<li>Conigliano, Giovan Battista da,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_58"><b>58</b></a></li>
+
+<li>Contucci, Andrea (Andrea Sansovino, or Andrea dal Monte Sansovino),
+<a href="#Page_5"><b>5</b></a>,
+<a href="#Page_144"><b>144</b></a>,
+<a href="#Page_186"><b>186</b></a>,
+<a href="#Page_223"><b>223</b></a>,
+<a href="#Page_270"><b>270</b></a></li>
+
+<li>Cordegliaghi, Giovanetto,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_58"><b>58</b></a>,
+<a href="#Page_59"><b>59</b></a></li>
+
+<li>Correggio, Antonio da, <i>Life</i>,
+<a href="#Page_117"><b>117</b></a>-122.
+<a href="#Page_83"><b>83</b></a>,
+<a href="#Page_125"><b>125</b></a></li>
+
+<li>Cortona, Luca da (Luca Signorelli), <i>Life</i>,
+<a href="#Page_71"><b>71</b></a>-76.
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_216"><b>216</b></a>,
+<a href="#Page_261"><b>261</b></a></li>
+
+<li>Cosimo, Andrea di,
+<a href="#Page_129"><b>129</b></a></li>
+
+<li>Cosimo, Piero di, <i>Life</i>,
+<a href="#Page_125"><b>125</b></a>-134</li>
+
+<li>Cosimo Rosselli,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_125"><b>125</b></a>,
+<a href="#Page_126"><b>126</b></a>,
+<a href="#Page_151"><b>151</b></a>,
+<a href="#Page_165"><b>165</b></a></li>
+
+<li>Credi, Lorenzo di,
+<a href="#Page_153"><b>153</b></a>,
+<a href="#Page_186"><b>186</b></a>,
+<a href="#Page_280"><b>280</b></a></li>
+
+<li>Cristofano,
+<a href="#Page_55"><b>55</b></a></li>
+
+<li>Cronaca, Il (Simone, or Simone del Pollaiuolo), <i>Life</i>,
+<a href="#Page_265"><b>265</b></a>-275.
+<a href="#Page_101"><b>101</b></a></li>
+</ul>
+
+<ul class="none p2">
+<li>Davanzo, Jacopo (Jacopo Avanzi),
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_55"><b>55</b></a></li>
+
+<li>Davanzo, Jacopo (of Milan),
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Diamante, Fra,
+<a href="#Page_3"><b>3</b></a></li>
+
+<li>Diana, Benedetto,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Domenico Beceri,
+<a href="#Page_283"><b>283</b></a></li>
+
+<li>Domenico di Paris,
+<a href="#Page_47"><b>47</b></a></li>
+
+<li>Domenico Ghirlandajo,
+<a href="#Page_36"><b>36</b></a>,
+<a href="#Page_65"><b>65</b></a>,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_279"><b>279</b></a></li>
+
+<li>Domenico Pecori,
+<a href="#Page_257"><b>257</b></a></li>
+
+<li>Domenico Puligo, <i>Life</i>,
+<a href="#Page_279"><b>279</b></a>-283</li>
+
+<li>Don Bartolommeo della Gatta (Abbot of S. Clemente),
+<a href="#Page_41"><b>41</b></a>,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_216"><b>216</b></a>,
+<a href="#Page_217"><b>217</b></a></li>
+
+<li>Donato (Donatello),
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_152"><b>152</b></a>,
+<a href="#Page_185"><b>185</b></a></li>
+
+<li>Dürer, Albrecht,
+<a href="#Page_232"><b>232</b></a></li>
+</ul>
+
+<ul class="none p2">
+<li>Ercole Ferrarese (Ercole da Ferrara),
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Eusebio San Giorgio,
+<a href="#Page_47"><b>47</b></a></li>
+</ul>
+
+<ul class="none p2">
+<li>Fabiano di Stagio Sassoli,
+<a href="#Page_256"><b>256</b></a>,
+<a href="#Page_257"><b>257</b></a></li>
+
+<li>Ferrara, Stefano da,
+<a href="#Page_56"><b>56</b></a></li>
+
+<li>Ferrarese, Ercole (Ercole da Ferrara),
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Ferrarese, Galasso (Galasso Galassi),
+<a href="#Page_55"><b>55</b></a></li>
+
+<li>Fiesole, Fra Giovanni da (Fra Angelico),
+<a href="#Page_73"><b>73</b></a>,
+<a href="#Page_154"><b>154</b></a>,
+<a href="#Page_185"><b>185</b></a></li>
+
+<li>Filarete, Antonio,
+<a href="#Page_56"><b>56</b></a></li>
+
+<li>Filipepi, Alessandro (Sandro Botticelli, or Sandro di Botticello),
+<a href="#Page_3"><b>3</b></a>,
+<a href="#Page_4"><b>4</b></a>,
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Filippo Brunelleschi (Filippo di Ser Brunellesco),
+<a href="#Page_137"><b>137</b></a>,
+<a href="#Page_185"><b>185</b></a>,
+<a href="#Page_266"><b>266</b></a></li>
+
+<li>Filippo Lippi (Filippino), <i>Life</i>,
+<a href="#Page_3"><b>3</b></a>-10.
+<a href="#Page_44"><b>44</b></a>,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_99"><b>99</b></a>,
+<a href="#Page_100"><b>100</b></a>,
+<a href="#Page_176"><b>176</b></a>,
+<a href="#Page_177"><b>177</b></a></li>
+
+<li>Filippo Lippi, Fra,
+<a href="#Page_3"><b>3</b></a>,
+<a href="#Page_5"><b>5</b></a>,
+<a href="#Page_9"><b>9</b></a>,
+<a href="#Page_185"><b>185</b></a></li>
+
+<li>Fivizzano,
+<a href="#Page_29"><b>29</b></a></li>
+
+<li>Flore, Jacobello de,
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_55"><b>55</b></a></li>
+
+<li>Foppa, Vincenzio (Vincenzio Zoppa, or Vincenzio Bresciano),
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_56"><b>56</b></a></li>
+
+<li>Fra Angelico (Fra Giovanni da Fiesole),
+<a href="#Page_73"><b>73</b></a>,
+<a href="#Page_154"><b>154</b></a>,
+<a href="#Page_185"><b>185</b></a></li>
+
+<li>Fra Bartolommeo (Fra Carnovale da Urbino),
+<a href="#Page_138"><b>138</b></a></li>
+
+<li>Fra Bartolommeo di San Marco (Baccio della Porta), <i>Life</i>,
+<a href="#Page_151"><b>151</b></a>-162.
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_151"><b>151</b></a>-162,
+<a href="#Page_165"><b>165</b></a>-167,
+<a href="#Page_215"><b>215</b></a>,
+<a href="#Page_244"><b>244</b></a>,
+<a href="#Page_272"><b>272</b></a></li>
+
+<li>Fra Carnovale da Urbino (Fra Bartolommeo),
+<a href="#Page_138"><b>138</b></a>.</li>
+
+<li>Fra Diamante,
+<a href="#Page_3"><b>3</b></a></li>
+
+<li>Fra Filippo Lippi,
+<a href="#Page_3"><b>3</b></a>,
+<a href="#Page_5"><b>5</b></a>,
+<a href="#Page_9"><b>9</b></a>,
+<a href="#Page_185"><b>185</b></a></li>
+
+<li>Fra Giocondo of Verona,
+<a href="#Page_145"><b>145</b></a></li>
+
+<li>Fra Giovanni da Fiesole (Fra Angelico),
+<a href="#Page_73"><b>73</b></a>,
+<a href="#Page_154"><b>154</b></a>,
+<a href="#Page_185"><b>185</b></a></li>
+
+<li>Fra Giovanni da Verona,
+<a href="#Page_222"><b>222</b></a></li>
+
+<li>Fra Paolo Pistoiese,
+<a href="#Page_162"><b>162</b></a></li>
+
+<li>Fra Sebastiano del Piombo,
+<a href="#Page_84"><b>84</b></a>,
+<a href="#Page_114"><b>114</b></a>,
+<a href="#Page_240"><b>240</b></a></li>
+
+<li>Francesca, Piero della (Piero dal Borgo a San Sepolcro),
+<a href="#Page_71"><b>71</b></a>,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_216"><b>216</b></a></li>
+
+<li>Francesco (Il Bacchiaccha),
+<a href="#Page_46"><b>46</b></a></li>
+
+<li>Francesco (L'Indaco),
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_67"><b>67</b></a></li>
+
+<li>Francesco, Maestro,
+<a href="#Page_142"><b>142</b></a></li>
+
+<li>Francesco Bonsignori,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Francesco Caroto,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Francesco da Melzo,
+<a href="#Page_99"><b>99</b></a></li>
+
+<li>Francesco da San Gallo,
+<a href="#Page_134"><b>134</b></a>,
+<a href="#Page_203"><b>203</b></a>,
+<a href="#Page_204"><b>204</b></a></li>
+
+<li>Francesco Francia, <i>Life</i>,
+<a href="#Page_23"><b>23</b></a>-29.
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Francesco Giamberti,
+<a href="#Page_134"><b>134</b></a>,
+<a href="#Page_191"><b>191</b></a></li>
+
+<li>Francesco Granacci (Il Granaccio),
+<a href="#Page_4"><b>4</b></a>,
+<a href="#Page_169"><b>169</b></a>,
+<a href="#Page_186"><b>186</b></a></li>
+
+<li>Francesco Masini, Messer,
+<a href="#Page_227"><b>227</b></a></li>
+
+<li>Francesco Mazzuoli (Parmigiano),
+<a href="#Page_83"><b>83</b></a></li>
+
+<li>Francesco Turbido (Il Moro),
+<a href="#Page_61"><b>61</b></a></li>
+
+<li>Francia, Francesco, <i>Life</i>,
+<a href="#Page_23"><b>23</b></a>-29.
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Franciabigio,
+<a href="#Page_170"><b>170</b></a></li>
+
+<li>Francione,
+<a href="#Page_191"><b>191</b></a>,
+<a href="#Page_192"><b>192</b></a></li>
+
+<li>Frate, Cecchino del,
+<a href="#Page_162"><b>162</b></a></li>
+</ul>
+
+<ul class="none p2">
+<li>Gabriele Rustici,
+<a href="#Page_162"><b>162</b></a></li>
+
+<li>Gaddi, Agnolo,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_54"><b>54</b></a></li>
+
+<li>Galasso Ferrarese (Galasso Galassi),
+<a href="#Page_55"><b>55</b></a></li>
+
+<li>Galieno,
+<a href="#Page_179"><b>179</b></a></li>
+
+<li>Garbo, Raffaellino del, <i>Life</i>,
+<a href="#Page_175"><b>175</b></a>-179.
+<a href="#Page_6"><b>6</b></a>,
+<a href="#Page_9"><b>9</b></a></li>
+
+<li>Gasparo Misceroni,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Gatta, Don Bartolommeo della (Abbot of S. Clemente),
+<a href="#Page_41"><b>41</b></a>,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_216"><b>216</b></a>,
+<a href="#Page_217"><b>217</b></a></li>
+
+<li>Gentile Bellini,
+<a href="#Page_57"><b>57</b></a>,
+<a href="#Page_59"><b>59</b></a>,
+<a href="#Page_109"><b>109</b></a></li>
+
+<li>Gerino Pistoiese (Gerino da Pistoia),
+<a href="#Page_18"><b>18</b></a>,
+<a href="#Page_46"><b>46</b></a></li>
+
+<li>Gherardo,
+<a href="#Page_36"><b>36</b></a></li>
+
+<li>Ghirlandajo, Domenico,
+<a href="#Page_36"><b>36</b></a>,
+<a href="#Page_65"><b>65</b></a>,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_279"><b>279</b></a></li>
+
+<li>Ghirlandajo, Ridolfo,
+<a href="#Page_169"><b>169</b></a>,
+<a href="#Page_212"><b>212</b></a>,
+<a href="#Page_216"><b>216</b></a>,
+<a href="#Page_279"><b>279</b></a>-281</li>
+
+<li>Giamberti, Francesco,
+<a href="#Page_134"><b>134</b></a>,
+<a href="#Page_191"><b>191</b></a></li>
+
+<li>Gian Barile,
+<a href="#Page_238"><b>238</b></a></li>
+
+<li>Gian Niccola,
+<a href="#Page_47"><b>47</b></a>,
+<a href="#Page_48"><b>48</b></a></li>
+
+<li>Giocondo of Verona, Fra,
+<a href="#Page_145"><b>145</b></a></li>
+
+<li>Giorgio, Antonio di,
+<a href="#Page_36"><b>36</b></a></li>
+
+<li>Giorgio Vasari. See Vasari (Giorgio)</li>
+
+<li>Giorgione da Castelfranco, <i>Life</i>,
+<a href="#Page_109"><b>109</b></a>-114.
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_125"><b>125</b></a></li>
+
+<li>Giotto,
+<a href="#Page_80"><b>80</b></a></li>
+
+<li>Giovan Battista da Conigliano,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_58"><b>58</b></a></li>
+
+<li>Giovan Battista (Benedetto) Caporali,
+<a href="#Page_48"><b>48</b></a>,
+<a href="#Page_75"><b>75</b></a>,
+<a href="#Page_76"><b>76</b></a></li>
+
+<li>Giovan Francesco Penni,
+<a href="#Page_237"><b>237</b></a>,
+<a href="#Page_247"><b>247</b></a></li>
+
+<li>Giovan Francesco Rustici,
+<a href="#Page_105"><b>105</b></a>,
+<a href="#Page_186"><b>186</b></a></li>
+
+<li>Giovanetto Cordegliaghi,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_58"><b>58</b></a>,
+<a href="#Page_59"><b>59</b></a></li>
+
+<li>Giovanni (Lo Spagna),
+<a href="#Page_46"><b>46</b></a>,
+<a href="#Page_47"><b>47</b></a></li>
+
+<li>Giovanni, Maestro,
+<a href="#Page_260"><b>260</b></a></li>
+
+<li>Giovanni Antonio Bazzi (Sodoma),
+<a href="#Page_72"><b>72</b></a>,
+<a href="#Page_218"><b>218</b></a></li>
+
+<li>Giovanni Antonio Boltraffio,
+<a href="#Page_105"><b>105</b></a></li>
+
+<li>Giovanni Bellini,
+<a href="#Page_57"><b>57</b></a>,
+<a href="#Page_58"><b>58</b></a>,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_109"><b>109</b></a></li>
+
+<li>Giovanni Buonconsigli.
+<a href="#Page_52"><b>52</b></a>.
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Giovanni Cimabue,
+<a href="#Page_77"><b>77</b></a></li>
+
+<li>Giovanni da Castel Bolognese,
+<a href="#Page_111"><b>111</b></a></li>
+
+<li>Giovanni da Fiesole, Fra (Fra Angelico),
+<a href="#Page_73"><b>73</b></a>,
+<a href="#Page_154"><b>154</b></a>,
+<a href="#Page_185"><b>185</b></a></li>
+
+<li>Giovanni da Udine,
+<a href="#Page_237"><b>237</b></a>,
+<a href="#Page_239"><b>239</b></a></li>
+
+<li>Giovanni da Verona, Fra,
+<a href="#Page_222"><b>222</b></a></li>
+
+<li>Giovanni de' Santi,
+<a href="#Page_46"><b>46</b></a>,
+<a href="#Page_210"><b>210</b></a>,
+<a href="#Page_213"><b>213</b></a>,
+<a href="#Page_249"><b>249</b></a></li>
+
+<li>Giovanni Mansueti,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_59"><b>59</b></a></li>
+
+<li>Giovanni Pisano,
+<a href="#Page_142"><b>142</b></a></li>
+
+<li>Giovanni Rosto,
+<a href="#Page_46"><b>46</b></a></li>
+
+<li>Girolamo Campagnola,
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_55"><b>55</b></a>,
+<a href="#Page_56"><b>56</b></a></li>
+
+<li>Girolamo Misceroni,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Girolamo Romanino,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Giromin Morzone,
+<a href="#Page_55"><b>55</b></a>,
+<a href="#Page_56"><b>56</b></a></li>
+
+<li>Giuliano Bugiardini,
+<a href="#Page_154"><b>154</b></a>,
+<a href="#Page_161"><b>161</b></a>,
+<a href="#Page_170"><b>170</b></a>,
+<a href="#Page_186"><b>186</b></a></li>
+
+<li>Giuliano da Maiano,
+<a href="#Page_197"><b>197</b></a></li>
+
+<li>Giuliano da San Gallo, <i>Life</i>,
+<a href="#Page_191"><b>191</b></a>-205.
+<a href="#Page_101"><b>101</b></a>,
+<a href="#Page_134"><b>134</b></a>,
+<a href="#Page_145"><b>145</b></a>,
+<a href="#Page_191"><b>191</b></a>-205,
+<a href="#Page_270"><b>270</b></a></li>
+
+<li>Giuliano Leno,
+<a href="#Page_147"><b>147</b></a></li>
+
+<li>Giulio Campagnola,
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_56"><b>56</b></a>,
+<a href="#Page_57"><b>57</b></a></li>
+
+<li>Giulio Caporali,
+<a href="#Page_48"><b>48</b></a></li>
+
+<li>Giulio Romano,
+<a href="#Page_76"><b>76</b></a>,
+<a href="#Page_84"><b>84</b></a>,
+<a href="#Page_119"><b>119</b></a>,
+<a href="#Page_232"><b>232</b></a>,
+<a href="#Page_237"><b>237</b></a>,
+<a href="#Page_247"><b>247</b></a></li>
+
+<li>Giusto (of Padua),
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_56"><b>56</b></a></li>
+
+<li>Gobbo, Andrea del,
+<a href="#Page_122"><b>122</b></a></li>
+
+<li>Gotti, Baccio,
+<a href="#Page_280"><b>280</b></a></li>
+
+<li>Granacci, Francesco (Il Granaccio),
+<a href="#Page_4"><b>4</b></a>,
+<a href="#Page_169"><b>169</b></a>,
+<a href="#Page_186"><b>186</b></a></li>
+
+<li>Grosso, Niccolò (Il Caparra),
+<a href="#Page_268"><b>268</b></a>,
+<a href="#Page_269"><b>269</b></a></li>
+
+<li>Guerriero da Padova,
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_56"><b>56</b></a></li>
+
+<li>Guglielmo da Marcilla (Guillaume de Marcillac), <i>Life</i>,
+<a href="#Page_253"><b>253</b></a>-262</li>
+</ul>
+
+<ul class="none p2">
+<li>Il Bacchiaccha (Francesco),
+<a href="#Page_46"><b>46</b></a></li>
+
+<li>Il Bassiti (Marco Basarini, or Marco Basaiti),
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_58"><b>58</b></a></li>
+
+<li>Il Bologna,
+<a href="#Page_237"><b>237</b></a></li>
+
+<li>Il Caparra (Niccolò Grosso),
+<a href="#Page_268"><b>268</b></a>,
+<a href="#Page_269"><b>269</b></a></li>
+
+<li>Il Cronaca (Simone, or Simone del Pollaiuolo), <i>Life</i>,
+<a href="#Page_265"><b>265</b></a>-275.
+<a href="#Page_101"><b>101</b></a></li>
+
+<li>Il Granaccio (Francesco Granacci),
+<a href="#Page_4"><b>4</b></a>,
+<a href="#Page_169"><b>169</b></a>,
+<a href="#Page_186"><b>186</b></a></li>
+
+<li>Il Moro (Francesco Turbido),
+<a href="#Page_61"><b>61</b></a></li>
+
+<li>Il Rosso,
+<a href="#Page_84"><b>84</b></a></li>
+
+<li>Imola, Innocenzio da,
+<a href="#Page_170"><b>170</b></a></li>
+
+<li>Impiccati, Andrea degl' (Andrea dal Castagno),
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Indaco, L' (Francesco),
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_67"><b>67</b></a></li>
+
+<li>Indaco, L' (Jacopo), <i>Life</i>,
+<a href="#Page_65"><b>65</b></a>-67</li>
+
+<li>Innocenzio da Imola,
+<a href="#Page_170"><b>170</b></a></li>
+</ul>
+
+<ul class="none p2">
+<li>Jacobello de Flore,
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_55"><b>55</b></a></li>
+
+<li>Jacopo (L'Indaco), <i>Life</i>,
+<a href="#Page_65"><b>65</b></a>-67</li>
+
+<li>Jacopo Avanzi (Jacopo Davanzo),
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_55"><b>55</b></a></li>
+
+<li>Jacopo Davanzo (of Milan),
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Jacopo da Pontormo,
+<a href="#Page_179"><b>179</b></a>,
+<a href="#Page_246"><b>246</b></a>,
+<a href="#Page_260"><b>260</b></a></li>
+</ul>
+
+<ul class="none p2">
+<li>Lanzilago, Maestro,
+<a href="#Page_6"><b>6</b></a>,
+<a href="#Page_7"><b>7</b></a></li>
+
+<li>Lazzaro Scarpaccia (Sebastiano Scarpaccia, or Lazzaro Bastiani),
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_57"><b>57</b></a>,
+<a href="#Page_58"><b>58</b></a></li>
+
+<li>Lazzaro Vasari (the elder),
+<a href="#Page_71"><b>71</b></a>,
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Leno, Giuliano,
+<a href="#Page_147"><b>147</b></a></li>
+
+<li>Leonardo da Vinci, <i>Life</i>.
+<a href="#Page_89"><b>89</b></a>-105.
+<a href="#Page_44"><b>44</b></a>,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_85"><b>85</b></a>,
+<a href="#Page_89"><b>89</b></a>-105,
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_127"><b>127</b></a>,
+<a href="#Page_138"><b>138</b></a>,
+<a href="#Page_151"><b>151</b></a>,
+<a href="#Page_156"><b>156</b></a>,
+<a href="#Page_196"><b>196</b></a>,
+<a href="#Page_212"><b>212</b></a>,
+<a href="#Page_215"><b>215</b></a>,
+<a href="#Page_242"><b>242</b></a>,
+<a href="#Page_270"><b>270</b></a></li>
+
+<li>Liberale, Maestro,
+<a href="#Page_54"><b>54</b></a></li>
+
+<li>L'Indaco (Francesco),
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_67"><b>67</b></a></li>
+
+<li>L'Indaco (Jacopo), <i>Life</i>,
+<a href="#Page_65"><b>65</b></a>-67</li>
+
+<li>L'Ingegno (Andrea Luigi),
+<a href="#Page_47"><b>47</b></a></li>
+
+<li>Lippi, Filippo (Filippino), <i>Life</i>,
+<a href="#Page_3"><b>3</b></a>-10.
+<a href="#Page_44"><b>44</b></a>,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_99"><b>99</b></a>,
+<a href="#Page_100"><b>100</b></a>,
+<a href="#Page_176"><b>176</b></a>,
+<a href="#Page_177"><b>177</b></a></li>
+
+<li>Lippi, Fra Filippo,
+<a href="#Page_3"><b>3</b></a>,
+<a href="#Page_5"><b>5</b></a>,
+<a href="#Page_9"><b>9</b></a>,
+<a href="#Page_185"><b>185</b></a></li>
+
+<li>Lo Spagna (Giovanni),
+<a href="#Page_46"><b>46</b></a>,
+<a href="#Page_47"><b>47</b></a></li>
+
+<li>Lombardo, Tullio,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Lorenzetto,
+<a href="#Page_240"><b>240</b></a></li>
+
+<li>Lorenzo (father of Piero di Cosimo),
+<a href="#Page_125"><b>125</b></a></li>
+
+<li>Lorenzo di Credi,
+<a href="#Page_153"><b>153</b></a>,
+<a href="#Page_186"><b>186</b></a>,
+<a href="#Page_280"><b>280</b></a></li>
+
+<li>Luca da Cortona (Luca Signorelli), <i>Life</i>,
+<a href="#Page_71"><b>71</b></a>-76.
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_216"><b>216</b></a>,
+<a href="#Page_261"><b>261</b></a></li>
+
+<li>Luca della Robbia (the younger),
+<a href="#Page_237"><b>237</b></a></li>
+
+<li>Luca Signorelli (Luca da Cortona), <i>Life</i>,
+<a href="#Page_71"><b>71</b></a>-76.
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_216"><b>216</b></a>,
+<a href="#Page_261"><b>261</b></a></li>
+
+<li>Luigi, Andrea (L'Ingegno),
+<a href="#Page_47"><b>47</b></a></li>
+
+<li>Luigi Vivarini,
+<a href="#Page_52"><b>52</b></a></li>
+</ul>
+
+<ul class="none p2">
+<li>Maestro Claudio,
+<a href="#Page_254"><b>254</b></a>,
+<a href="#Page_255"><b>255</b></a></li>
+
+<li>Maestro Francesco,
+<a href="#Page_142"><b>142</b></a></li>
+
+<li>Maestro Giovanni,
+<a href="#Page_260"><b>260</b></a></li>
+
+<li>Maestro Lanzilago,
+<a href="#Page_6"><b>6</b></a>,
+<a href="#Page_7"><b>7</b></a></li>
+
+<li>Maestro Liberale,
+<a href="#Page_54"><b>54</b></a></li>
+
+<li>Maestro Zeno,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Maiano, Benedetto da,
+<a href="#Page_36"><b>36</b></a>,
+<a href="#Page_151"><b>151</b></a>,
+<a href="#Page_266"><b>266</b></a>,
+<a href="#Page_267"><b>267</b></a></li>
+
+<li>Maiano, Giuliano da,
+<a href="#Page_197"><b>197</b></a></li>
+
+<li>Mansueti, Giovanni,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_59"><b>59</b></a></li>
+
+<li>Mantegna, Andrea,
+<a href="#Page_24"><b>24</b></a>,
+<a href="#Page_55"><b>55</b></a>,
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Marc' Antonio Bolognese,
+<a href="#Page_232"><b>232</b></a>,
+<a href="#Page_233"><b>233</b></a></li>
+
+<li>Marcilla, Guglielmo da (Guillaume de Marcillac), <i>Life</i>,
+<a href="#Page_253"><b>253</b></a>-262</li>
+
+<li>Marco Basaiti (Il Bassiti, or Marco Basarini),
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_58"><b>58</b></a></li>
+
+<li>Marco da Ravenna,
+<a href="#Page_233"><b>233</b></a></li>
+
+<li>Marco Oggioni,
+<a href="#Page_105"><b>105</b></a></li>
+
+<li>Mariotto Albertinelli, <i>Life</i>,
+<a href="#Page_165"><b>165</b></a>-171.
+<a href="#Page_151"><b>151</b></a>,
+<a href="#Page_154"><b>154</b></a></li>
+
+<li>Masaccio,
+<a href="#Page_3"><b>3</b></a>,
+<a href="#Page_185"><b>185</b></a>,
+<a href="#Page_215"><b>215</b></a></li>
+
+<li>Masini, Messer Francesco,
+<a href="#Page_227"><b>227</b></a></li>
+
+<li>Maso Papacello,
+<a href="#Page_76"><b>76</b></a></li>
+
+<li>Maso Porro,
+<a href="#Page_262"><b>262</b></a></li>
+
+<li>Masolino da Panicale,
+<a href="#Page_3"><b>3</b></a></li>
+
+<li>Matteo (brother of Cronaca),
+<a href="#Page_275"><b>275</b></a></li>
+
+<li>Maturino,
+<a href="#Page_83"><b>83</b></a></li>
+
+<li>Mazzuoli, Francesco (Parmigiano),
+<a href="#Page_83"><b>83</b></a></li>
+
+<li>Melzo, Francesco da,
+<a href="#Page_99"><b>99</b></a></li>
+
+<li>Messer Francesco Masini,
+<a href="#Page_227"><b>227</b></a></li>
+
+<li>Michelagnolo Buonarroti,
+<a href="#Page_41"><b>41</b></a>,
+<a href="#Page_43"><b>43</b></a>,
+<a href="#Page_48"><b>48</b></a>,
+<a href="#Page_65"><b>65</b></a>,
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_74"><b>74</b></a>,
+<a href="#Page_84"><b>84</b></a>,
+<a href="#Page_85"><b>85</b></a>,
+<a href="#Page_101"><b>101</b></a>,
+<a href="#Page_104"><b>104</b></a>,
+<a href="#Page_145"><b>145</b></a>,
+<a href="#Page_157"><b>157</b></a>,
+<a href="#Page_186"><b>186</b></a>,
+<a href="#Page_187"><b>187</b></a>,
+<a href="#Page_199"><b>199</b></a>,
+<a href="#Page_201"><b>201</b></a>,
+<a href="#Page_204"><b>204</b></a>,
+<a href="#Page_209"><b>209</b></a>,
+<a href="#Page_212"><b>212</b></a>,
+<a href="#Page_215"><b>215</b></a>,
+<a href="#Page_223"><b>223</b></a>,
+<a href="#Page_224"><b>224</b></a>,
+<a href="#Page_242"><b>242</b></a>-245.
+<a href="#Page_259"><b>259</b></a>,
+<a href="#Page_270"><b>270</b></a></li>
+
+<li>Misceroni, Gasparo,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Misceroni, Girolamo,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Modena, Pellegrino da,
+<a href="#Page_237"><b>237</b></a></li>
+
+<li>Montagna, Bartolommeo,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Monte Carlo, Bastiano da,
+<a href="#Page_179"><b>179</b></a></li>
+
+<li>Montecavallo, Antonio,
+<a href="#Page_140"><b>140</b></a></li>
+
+<li>Montelupo, Baccio da,
+<a href="#Page_186"><b>186</b></a></li>
+
+<li>Montevarchi,
+<a href="#Page_46"><b>46</b></a></li>
+
+<li>Monte Sansovino, Andrea dal (Andrea Contucci, or Andrea Sansovino),
+<a href="#Page_5"><b>5</b></a>,
+<a href="#Page_144"><b>144</b></a>,
+<a href="#Page_186"><b>186</b></a>,
+<a href="#Page_223"><b>223</b></a>,
+<a href="#Page_270"><b>270</b></a></li>
+
+<li>Moreto, Niccolò,
+<a href="#Page_57"><b>57</b></a></li>
+
+<li>Moretto, Alessandro,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Moro, Il (Francesco Turbido),
+<a href="#Page_61"><b>61</b></a></li>
+
+<li>Morzone, Giromin,
+<a href="#Page_55"><b>55</b></a>,
+<a href="#Page_56"><b>56</b></a></li>
+</ul>
+
+<ul class="none p2">
+<li>Niccola Pisano,
+<a href="#Page_142"><b>142</b></a></li>
+
+<li>Niccolò Alunno,
+<a href="#Page_18"><b>18</b></a>,
+<a href="#Page_19"><b>19</b></a></li>
+
+<li>Niccolò Cartoni (Niccolò Zoccolo),
+<a href="#Page_9"><b>9</b></a>,
+<a href="#Page_10"><b>10</b></a></li>
+
+<li>Niccolò d' Arezzo,
+<a href="#Page_55"><b>55</b></a></li>
+
+<li>Niccolò Grosso (Il Caparra),
+<a href="#Page_268"><b>268</b></a>,
+<a href="#Page_269"><b>269</b></a></li>
+
+<li>Niccolò Moreto,
+<a href="#Page_57"><b>57</b></a></li>
+
+<li>Niccolò Soggi,
+<a href="#Page_186"><b>186</b></a></li>
+
+<li>Niccolò Zoccolo (Niccolò Cartoni),
+<a href="#Page_9"><b>9</b></a>,
+<a href="#Page_10"><b>10</b></a></li>
+
+<li>Nunziata, Toto del,
+<a href="#Page_280"><b>280</b></a></li>
+</ul>
+
+<ul class="none p2">
+<li>Oggioni, Marco,
+<a href="#Page_105"><b>105</b></a></li>
+
+<li>Orazio di Paris,
+<a href="#Page_47"><b>47</b></a></li>
+</ul>
+
+<ul class="none p2">
+<li>Padova, Guerriero da,
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_56"><b>56</b></a></li>
+
+<li>Panicale, Masolino da,
+<a href="#Page_3"><b>3</b></a></li>
+
+<li>Paolo da Verona,
+<a href="#Page_179"><b>179</b></a></li>
+
+<li>Paolo Pistoiese, Fra,
+<a href="#Page_162"><b>162</b></a></li>
+
+<li>Paolo Uccello,
+<a href="#Page_185"><b>185</b></a>,
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Papacello, Maso,
+<a href="#Page_76"><b>76</b></a></li>
+
+<li>Paris, Domenico di,
+<a href="#Page_47"><b>47</b></a></li>
+
+<li>Paris, Orazio di,
+<a href="#Page_47"><b>47</b></a></li>
+
+<li>Parmigiano (Francesco Mazzuoli),
+<a href="#Page_83"><b>83</b></a></li>
+
+<li>Pastorino da Siena,
+<a href="#Page_262"><b>262</b></a></li>
+
+<li>Pecori, Domenico,
+<a href="#Page_257"><b>257</b></a></li>
+
+<li>Pellegrino da Modena,
+<a href="#Page_237"><b>237</b></a></li>
+
+<li>Penni, Giovan Francesco,
+<a href="#Page_237"><b>237</b></a>,
+<a href="#Page_247"><b>247</b></a></li>
+
+<li>Perino del Vaga,
+<a href="#Page_84"><b>84</b></a>,
+<a href="#Page_237"><b>237</b></a>,
+<a href="#Page_254"><b>254</b></a></li>
+
+<li>Perugino, Pietro (Pietro Vannucci, or Pietro da Castel della Pieve), <i>Life</i>,
+<a href="#Page_33"><b>33</b></a>-48.
+<a href="#Page_13"><b>13</b></a>,
+<a href="#Page_15"><b>15</b></a>,
+<a href="#Page_18"><b>18</b></a>,
+<a href="#Page_33"><b>33</b></a>-48,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_159"><b>159</b></a>,
+<a href="#Page_169"><b>169</b></a>,
+<a href="#Page_210"><b>210</b></a>-212,
+<a href="#Page_236"><b>236</b></a>,
+<a href="#Page_242"><b>242</b></a>,
+<a href="#Page_243"><b>243</b></a></li>
+
+<li>Peruzzi, Baldassarre,
+<a href="#Page_145"><b>145</b></a>,
+<a href="#Page_146"><b>146</b></a>,
+<a href="#Page_200"><b>200</b></a></li>
+
+<li>Pesello,
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Pheidias,
+<a href="#Page_105"><b>105</b></a></li>
+
+<li>Piero della Francesca (Piero dal Borgo a San Sepolcro),
+<a href="#Page_71"><b>71</b></a>,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_216"><b>216</b></a></li>
+
+<li>Piero di Cosimo, <i>Life</i>,
+<a href="#Page_125"><b>125</b></a>-134</li>
+
+<li>Pietro Perugino (Pietro Vannucci, or Pietro da Castel della Pieve), <i>Life</i>,
+<a href="#Page_33"><b>33</b></a>-48.
+<a href="#Page_13"><b>13</b></a>,
+<a href="#Page_15"><b>15</b></a>,
+<a href="#Page_18"><b>18</b></a>,
+<a href="#Page_33"><b>33</b></a>-48,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_159"><b>159</b></a>,
+<a href="#Page_169"><b>169</b></a>,
+<a href="#Page_210"><b>210</b></a>-212,
+<a href="#Page_236"><b>236</b></a>,
+<a href="#Page_242"><b>242</b></a>,
+<a href="#Page_243"><b>243</b></a></li>
+
+<li>Pietro Rosselli,
+<a href="#Page_159"><b>159</b></a></li>
+
+<li>Pinturicchio, Bernardino, <i>Life</i>,
+<a href="#Page_13"><b>13</b></a>-19.
+<a href="#Page_46"><b>46</b></a>,
+<a href="#Page_65"><b>65</b></a>,
+<a href="#Page_211"><b>211</b></a>,
+<a href="#Page_212"><b>212</b></a></li>
+
+<li>Piombo, Fra Sebastiano del,
+<a href="#Page_84"><b>84</b></a>,
+<a href="#Page_114"><b>114</b></a>,
+<a href="#Page_240"><b>240</b></a></li>
+
+<li>Pisano, Giovanni,
+<a href="#Page_142"><b>142</b></a></li>
+
+<li>Pisano, Niccola,
+<a href="#Page_142"><b>142</b></a></li>
+
+<li>Pistoiese, Fra Paolo,
+<a href="#Page_162"><b>162</b></a></li>
+
+<li>Pistoiese, Gerino (Gerino da Pistoia),
+<a href="#Page_18"><b>18</b></a>,
+<a href="#Page_46"><b>46</b></a></li>
+
+<li>Polidoro da Caravaggio,
+<a href="#Page_83"><b>83</b></a>,
+<a href="#Page_237"><b>237</b></a></li>
+
+<li>Pollaiuolo, Antonio,
+<a href="#Page_4"><b>4</b></a>,
+<a href="#Page_81"><b>81</b></a>,
+<a href="#Page_265"><b>265</b></a></li>
+
+<li>Pollaiuolo, Simone del (Simone, or Il Cronaca), <i>Life</i>,
+<a href="#Page_265"><b>265</b></a>-275.
+<a href="#Page_101"><b>101</b></a></li>
+
+<li>Pontormo, Jacopo da,
+<a href="#Page_179"><b>179</b></a>,
+<a href="#Page_246"><b>246</b></a>,
+<a href="#Page_260"><b>260</b></a></li>
+
+<li>Porro, Maso,
+<a href="#Page_262"><b>262</b></a></li>
+
+<li>Porta, Baccio della (Fra Bartolommeo di San Marco), <i>Life</i>,
+<a href="#Page_151"><b>151</b></a>-162.
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_151"><b>151</b></a>-162,
+<a href="#Page_165"><b>165</b></a>-167,
+<a href="#Page_215"><b>215</b></a>,
+<a href="#Page_244"><b>244</b></a>,
+<a href="#Page_272"><b>272</b></a></li>
+
+<li>Puligo, Domenico, <i>Life</i>,
+<a href="#Page_279"><b>279</b></a>-283</li>
+</ul>
+
+<ul class="none p2">
+<li>Raffaellino del Garbo, <i>Life</i>,
+<a href="#Page_175"><b>175</b></a>-179.
+<a href="#Page_6"><b>6</b></a>,
+<a href="#Page_9"><b>9</b></a></li>
+
+<li>Raffaello da Urbino (Raffaello Sanzio), <i>Life</i>,
+<a href="#Page_209"><b>209</b></a>-250.
+<a href="#Page_13"><b>13</b></a>,
+<a href="#Page_28"><b>28</b></a>,
+<a href="#Page_29"><b>29</b></a>,
+<a href="#Page_44"><b>44</b></a>-47,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_83"><b>83</b></a>,
+<a href="#Page_143"><b>143</b></a>,
+<a href="#Page_145"><b>145</b></a>,
+<a href="#Page_146"><b>146</b></a>,
+<a href="#Page_155"><b>155</b></a>-158,
+<a href="#Page_200"><b>200</b></a>,
+<a href="#Page_201"><b>201</b></a>,
+<a href="#Page_203"><b>203</b></a>,
+<a href="#Page_209"><b>209</b></a>-250,
+<a href="#Page_255"><b>255</b></a></li>
+
+<li>Raggio,
+<a href="#Page_4"><b>4</b></a></li>
+
+<li>Ravenna, Marco da,
+<a href="#Page_233"><b>233</b></a></li>
+
+<li>Ridolfo Ghirlandajo,
+<a href="#Page_169"><b>169</b></a>,
+<a href="#Page_212"><b>212</b></a>,
+<a href="#Page_216"><b>216</b></a>,
+<a href="#Page_279"><b>279</b></a>-281</li>
+
+<li>Robbia, Luca della (the younger),
+<a href="#Page_237"><b>237</b></a></li>
+
+<li>Rocco Zoppo,
+<a href="#Page_46"><b>46</b></a></li>
+
+<li>Romanino, Girolamo,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Romano, Giulio,
+<a href="#Page_76"><b>76</b></a>,
+<a href="#Page_84"><b>84</b></a>,
+<a href="#Page_119"><b>119</b></a>,
+<a href="#Page_232"><b>232</b></a>,
+<a href="#Page_237"><b>237</b></a>,
+<a href="#Page_247"><b>247</b></a></li>
+
+<li>Rosselli, Cosimo,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_125"><b>125</b></a>,
+<a href="#Page_126"><b>126</b></a>,
+<a href="#Page_151"><b>151</b></a>,
+<a href="#Page_165"><b>165</b></a></li>
+
+<li>Rosselli, Pietro,
+<a href="#Page_159"><b>159</b></a></li>
+
+<li>Rossellino, Antonio,
+<a href="#Page_275"><b>275</b></a></li>
+
+<li>Rosso, Il,
+<a href="#Page_84"><b>84</b></a></li>
+
+<li>Rosto, Giovanni,
+<a href="#Page_46"><b>46</b></a></li>
+
+<li>Rovezzano, Benedetto da,
+<a href="#Page_155"><b>155</b></a></li>
+
+<li>Rustici, Gabriele,
+<a href="#Page_162"><b>162</b></a></li>
+
+<li>Rustici, Giovan Francesco,
+<a href="#Page_105"><b>105</b></a>,
+<a href="#Page_186"><b>186</b></a></li>
+</ul>
+
+<ul class="none p2">
+<li>Salai,
+<a href="#Page_99"><b>99</b></a></li>
+
+<li>S. Clemente, Abbot of (Don Bartolommeo della Gatta),
+<a href="#Page_41"><b>41</b></a>,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_216"><b>216</b></a>,
+<a href="#Page_217"><b>217</b></a></li>
+
+<li>San Gallo, Antonio da, <i>Life</i>,
+<a href="#Page_191"><b>191</b></a>-205.
+<a href="#Page_145"><b>145</b></a>,
+<a href="#Page_254"><b>254</b></a></li>
+
+<li>San Gallo, Aristotile da,
+<a href="#Page_212"><b>212</b></a></li>
+
+<li>San Gallo, Francesco da,
+<a href="#Page_134"><b>134</b></a>,
+<a href="#Page_203"><b>203</b></a>,
+<a href="#Page_204"><b>204</b></a></li>
+
+<li>San Gallo, Giuliano da, <i>Life</i>,
+<a href="#Page_191"><b>191</b></a>-205.
+<a href="#Page_101"><b>101</b></a>,
+<a href="#Page_134"><b>134</b></a>,
+<a href="#Page_145"><b>145</b></a>,
+<a href="#Page_191"><b>191</b></a>-205,
+<a href="#Page_270"><b>270</b></a></li>
+
+<li>San Gimignano, Vincenzio da,
+<a href="#Page_237"><b>237</b></a></li>
+
+<li>San Giorgio, Eusebio,
+<a href="#Page_47"><b>47</b></a></li>
+
+<li>San Marco, Fra Bartolommeo di (Baccio della Porta), <i>Life</i>,
+<a href="#Page_151"><b>151</b></a>-162.
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_151"><b>151</b></a>-162,
+<a href="#Page_165"><b>165</b></a>-167,
+<a href="#Page_215"><b>215</b></a>,
+<a href="#Page_244"><b>244</b></a>,
+<a href="#Page_272"><b>272</b></a></li>
+
+<li>Sandro Botticelli (Alessandro Filipepi, or Sandro di Botticello),
+<a href="#Page_3"><b>3</b></a>,
+<a href="#Page_4"><b>4</b></a>,
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Sansovino, Andrea (Andrea Contucci, or Andrea dal Monte Sansovino),
+<a href="#Page_5"><b>5</b></a>,
+<a href="#Page_144"><b>144</b></a>,
+<a href="#Page_186"><b>186</b></a>,
+<a href="#Page_223"><b>223</b></a>,
+<a href="#Page_270"><b>270</b></a></li>
+
+<li>Santi,
+<a href="#Page_261"><b>261</b></a></li>
+
+<li>Santi, Giovanni de',
+<a href="#Page_46"><b>46</b></a>,
+<a href="#Page_210"><b>210</b></a>,
+<a href="#Page_213"><b>213</b></a>,
+<a href="#Page_249"><b>249</b></a></li>
+
+<li>Sanzio, Raffaello (Raffaello da Urbino), <i>Life</i>,
+<a href="#Page_209"><b>209</b></a>-250.
+<a href="#Page_13"><b>13</b></a>,
+<a href="#Page_28"><b>28</b></a>,
+<a href="#Page_29"><b>29</b></a>,
+<a href="#Page_44"><b>44</b></a>-47,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_83"><b>83</b></a>,
+<a href="#Page_143"><b>143</b></a>,
+<a href="#Page_145"><b>145</b></a>,
+<a href="#Page_146"><b>146</b></a>,
+<a href="#Page_155"><b>155</b></a>-158,
+<a href="#Page_200"><b>200</b></a>,
+<a href="#Page_201"><b>201</b></a>,
+<a href="#Page_203"><b>203</b></a>,
+<a href="#Page_209"><b>209</b></a>-250,
+<a href="#Page_255"><b>255</b></a></li>
+
+<li>Sarto, Andrea del,
+<a href="#Page_83"><b>83</b></a>,
+<a href="#Page_129"><b>129</b></a>,
+<a href="#Page_134"><b>134</b></a>,
+<a href="#Page_281"><b>281</b></a>,
+<a href="#Page_283"><b>283</b></a></li>
+
+<li>Sassoli, Fabiano di Stagio,
+<a href="#Page_256"><b>256</b></a>,
+<a href="#Page_257"><b>257</b></a></li>
+
+<li>Sassoli, Stagio,
+<a href="#Page_73"><b>73</b></a>,
+<a href="#Page_257"><b>257</b></a></li>
+
+<li>Scarpaccia, Lazzaro (Sebastiano Scarpaccia, or Lazzaro Bastiani),
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_57"><b>57</b></a>,
+<a href="#Page_58"><b>58</b></a></li>
+
+<li>Scarpaccia, Sebastiano (Lazzaro Scarpaccia, or Lazzaro Bastiani),
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_57"><b>57</b></a>,
+<a href="#Page_58"><b>58</b></a></li>
+
+<li>Scarpaccia (Carpaccio), Vittore, <i>Life</i>,
+<a href="#Page_51"><b>51</b></a>-61</li>
+
+<li>Sebastiano del Piombo, Fra,
+<a href="#Page_84"><b>84</b></a>,
+<a href="#Page_114"><b>114</b></a>,
+<a href="#Page_240"><b>240</b></a></li>
+
+<li>Sebastiano Scarpaccia (Lazzaro Scarpaccia, or Lazzaro Bastiani),
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_57"><b>57</b></a>,
+<a href="#Page_58"><b>58</b></a></li>
+
+<li>Sebeto da Verona,
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_55"><b>55</b></a></li>
+
+<li>Siena, Pastorino da,
+<a href="#Page_262"><b>262</b></a></li>
+
+<li>Signorelli, Luca (Luca da Cortona), <i>Life</i>,
+<a href="#Page_71"><b>71</b></a>-76.
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_216"><b>216</b></a>,
+<a href="#Page_261"><b>261</b></a></li>
+
+<li>Simon Bianco,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Simone,
+<a href="#Page_55"><b>55</b></a></li>
+
+<li>Simone (Simone del Pollaiuolo, or Il Cronaca), <i>Life</i>,
+<a href="#Page_265"><b>265</b></a>-275.
+<a href="#Page_101"><b>101</b></a></li>
+
+<li>Sodoma (Giovanni Antonio Bazzi),
+<a href="#Page_72"><b>72</b></a>,
+<a href="#Page_218"><b>218</b></a></li>
+
+<li>Soggi, Niccolò,
+<a href="#Page_186"><b>186</b></a></li>
+
+<li>Spadari, Benedetto,
+<a href="#Page_262"><b>262</b></a></li>
+
+<li>Spagna, Lo (Giovanni),
+<a href="#Page_46"><b>46</b></a>,
+<a href="#Page_47"><b>47</b></a></li>
+
+<li>Squarcione,
+<a href="#Page_56"><b>56</b></a></li>
+
+<li>Stagio Sassoli,
+<a href="#Page_73"><b>73</b></a>,
+<a href="#Page_257"><b>257</b></a></li>
+
+<li>Stefano da Ferrara,
+<a href="#Page_56"><b>56</b></a></li>
+
+<li>Stefano da Zevio (Stefano Veronese),
+<a href="#Page_51"><b>51</b></a>-54</li>
+
+<li>Stefano Veronese (Stefano da Zevio),
+<a href="#Page_51"><b>51</b></a>-54</li>
+</ul>
+
+<ul class="none p2">
+<li>Tiziano da Cadore,
+<a href="#Page_114"><b>114</b></a></li>
+
+<li>Tommaso,
+<a href="#Page_76"><b>76</b></a></li>
+
+<li>Torrigiano, <i>Life</i>,
+<a href="#Page_183"><b>183</b></a>-188</li>
+
+<li>Toto del Nunziata,
+<a href="#Page_280"><b>280</b></a></li>
+
+<li>Trevio, Bernardino da,
+<a href="#Page_138"><b>138</b></a></li>
+
+<li>Tullio Lombardo,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Turbido, Francesco (Il Moro),
+<a href="#Page_61"><b>61</b></a></li>
+</ul>
+
+<ul class="none p2">
+<li>Ubertino, Baccio,
+<a href="#Page_46"><b>46</b></a></li>
+
+<li>Uccello, Paolo,
+<a href="#Page_185"><b>185</b></a>,
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Udine, Giovanni da,
+<a href="#Page_237"><b>237</b></a>,
+<a href="#Page_239"><b>239</b></a></li>
+
+<li>Ugo da Carpi,
+<a href="#Page_233"><b>233</b></a></li>
+
+<li>Urbino, Bramante da, <i>Life</i>,
+<a href="#Page_137"><b>137</b></a>-148.
+<a href="#Page_199"><b>199</b></a>-202,
+<a href="#Page_216"><b>216</b></a>,
+<a href="#Page_217"><b>217</b></a>,
+<a href="#Page_223"><b>223</b></a>,
+<a href="#Page_232"><b>232</b></a>,
+<a href="#Page_237"><b>237</b></a>,
+<a href="#Page_254"><b>254</b></a></li>
+
+<li>Urbino, Fra Carnovale da (Fra Bartolommeo),
+<a href="#Page_138"><b>138</b></a></li>
+
+<li>Urbino, Raffaello da (Raffaello Sanzio), <i>Life</i>,
+<a href="#Page_209"><b>209</b></a>-250.
+<a href="#Page_13"><b>13</b></a>,
+<a href="#Page_28"><b>28</b></a>,
+<a href="#Page_29"><b>29</b></a>,
+<a href="#Page_44"><b>44</b></a>-47,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_83"><b>83</b></a>,
+<a href="#Page_143"><b>143</b></a>,
+<a href="#Page_145"><b>145</b></a>,
+<a href="#Page_146"><b>146</b></a>,
+<a href="#Page_155"><b>155</b></a>-158,
+<a href="#Page_200"><b>200</b></a>,
+<a href="#Page_201"><b>201</b></a>,
+<a href="#Page_203"><b>203</b></a>,
+<a href="#Page_209"><b>209</b></a>-250,
+<a href="#Page_255"><b>255</b></a></li>
+</ul>
+
+<ul class="none p2">
+<li>Vaga, Perino del,
+<a href="#Page_84"><b>84</b></a>,
+<a href="#Page_237"><b>237</b></a>,
+<a href="#Page_254"><b>254</b></a></li>
+
+<li>Vannucci, Pietro (Pietro Perugino, or Pietro da Castel della Pieve), <i>Life</i>,
+<a href="#Page_33"><b>33</b></a>-48.
+<a href="#Page_13"><b>13</b></a>,
+<a href="#Page_15"><b>15</b></a>,
+<a href="#Page_18"><b>18</b></a>,
+<a href="#Page_33"><b>33</b></a>-48,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_159"><b>159</b></a>,
+<a href="#Page_169"><b>169</b></a>,
+<a href="#Page_210"><b>210</b></a>-212,
+<a href="#Page_236"><b>236</b></a>,
+<a href="#Page_242"><b>242</b></a>,
+<a href="#Page_243"><b>243</b></a></li>
+
+<li>Vasari, Giorgio&mdash;</li>
+<li><span class="add1em">as art-collector,</span>
+<a href="#Page_6"><b>6</b></a>,
+<a href="#Page_13"><b>13</b></a>,
+<a href="#Page_46"><b>46</b></a>,
+<a href="#Page_58"><b>58</b></a>,
+<a href="#Page_67"><b>67</b></a>,
+<a href="#Page_90"><b>90</b></a>,
+<a href="#Page_91"><b>91</b></a>,
+<a href="#Page_95"><b>95</b></a>,
+<a href="#Page_113"><b>113</b></a>,
+<a href="#Page_118"><b>118</b></a>,
+<a href="#Page_132"><b>132</b></a>,
+<a href="#Page_138"><b>138</b></a>,
+<a href="#Page_143"><b>143</b></a>,
+<a href="#Page_161"><b>161</b></a>,
+<a href="#Page_170"><b>170</b></a>,
+<a href="#Page_175"><b>175</b></a>,
+<a href="#Page_187"><b>187</b></a>,
+<a href="#Page_262"><b>262</b></a></li>
+<li><span class="add1em">as author,</span>
+<a href="#Page_7"><b>7</b></a>,
+<a href="#Page_9"><b>9</b></a>,
+<a href="#Page_17"><b>17</b></a>,
+<a href="#Page_19"><b>19</b></a>,
+<a href="#Page_26"><b>26</b></a>,
+<a href="#Page_28"><b>28</b></a>,
+<a href="#Page_33"><b>33</b></a>,
+<a href="#Page_36"><b>36</b></a>,
+<a href="#Page_38"><b>38</b></a>,
+<a href="#Page_39"><b>39</b></a>,
+<a href="#Page_46"><b>46</b></a>,
+<a href="#Page_48"><b>48</b></a>,
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_54"><b>54</b></a>-56,
+<a href="#Page_61"><b>61</b></a>,
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_67"><b>67</b></a>,
+<a href="#Page_71"><b>71</b></a>,
+<a href="#Page_74"><b>74</b></a>-77,
+<a href="#Page_79"><b>79</b></a>,
+<a href="#Page_82"><b>82</b></a>-85,
+<a href="#Page_91"><b>91</b></a>,
+<a href="#Page_98"><b>98</b></a>,
+<a href="#Page_99"><b>99</b></a>,
+<a href="#Page_111"><b>111</b></a>-114,
+<a href="#Page_117"><b>117</b></a>,
+<a href="#Page_118"><b>118</b></a>,
+<a href="#Page_121"><b>121</b></a>,
+<a href="#Page_126"><b>126</b></a>-132,
+<a href="#Page_134"><b>134</b></a>,
+<a href="#Page_137"><b>137</b></a>,
+<a href="#Page_145"><b>145</b></a>,
+<a href="#Page_151"><b>151</b></a>,
+<a href="#Page_154"><b>154</b></a>,
+<a href="#Page_155"><b>155</b></a>,
+<a href="#Page_159"><b>159</b></a>,
+<a href="#Page_162"><b>162</b></a>,
+<a href="#Page_170"><b>170</b></a>,
+<a href="#Page_176"><b>176</b></a>,
+<a href="#Page_177"><b>177</b></a>,
+<a href="#Page_185"><b>185</b></a>,
+<a href="#Page_186"><b>186</b></a>,
+<a href="#Page_204"><b>204</b></a>,
+<a href="#Page_214"><b>214</b></a>,
+<a href="#Page_219"><b>219</b></a>,
+<a href="#Page_222"><b>222</b></a>,
+<a href="#Page_223"><b>223</b></a>,
+<a href="#Page_227"><b>227</b></a>,
+<a href="#Page_229"><b>229</b></a>-231,
+<a href="#Page_233"><b>233</b></a>,
+<a href="#Page_236"><b>236</b></a>,
+<a href="#Page_242"><b>242</b></a>,
+<a href="#Page_244"><b>244</b></a>-248,
+<a href="#Page_257"><b>257</b></a>,
+<a href="#Page_260"><b>260</b></a>,
+<a href="#Page_262"><b>262</b></a>,
+<a href="#Page_269"><b>269</b></a>,
+<a href="#Page_271"><b>271</b></a>,
+<a href="#Page_274"><b>274</b></a>,
+<a href="#Page_280"><b>280</b></a>,
+<a href="#Page_281"><b>281</b></a></li>
+<li><span class="add1em">as painter,</span>
+<a href="#Page_231"><b>231</b></a>,
+<a href="#Page_262"><b>262</b></a>,
+<a href="#Page_273"><b>273</b></a>,
+<a href="#Page_274"><b>274</b></a></li>
+<li><span class="add1em">as architect,</span>
+<a href="#Page_148"><b>148</b></a>,
+<a href="#Page_231"><b>231</b></a>,
+<a href="#Page_273"><b>273</b></a>,
+<a href="#Page_274"><b>274</b></a></li>
+
+<li>Vasari, Lazzaro (the elder),
+<a href="#Page_71"><b>71</b></a>,
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Ventura,
+<a href="#Page_147"><b>147</b></a>,
+<a href="#Page_148"><b>148</b></a></li>
+
+<li>Verchio, Vincenzio,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Verona, Fra Giovanni da,
+<a href="#Page_222"><b>222</b></a></li>
+
+<li>Verona, Paolo da,
+<a href="#Page_179"><b>179</b></a></li>
+
+<li>Verona, Sebeto da,
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_55"><b>55</b></a></li>
+
+<li>Veronese, Stefano (Stefano da Zevio),
+<a href="#Page_51"><b>51</b></a>-54</li>
+
+<li>Verrocchio, Andrea,
+<a href="#Page_35"><b>35</b></a>,
+<a href="#Page_39"><b>39</b></a>,
+<a href="#Page_81"><b>81</b></a>,
+<a href="#Page_90"><b>90</b></a>,
+<a href="#Page_92"><b>92</b></a>,
+<a href="#Page_112"><b>112</b></a></li>
+
+<li>Vincenzio Bresciano (Vincenzio Zoppa, or Foppa),
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_56"><b>56</b></a></li>
+
+<li>Vincenzio Catena,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_58"><b>58</b></a></li>
+
+<li>Vincenzio da San Gimignano,
+<a href="#Page_237"><b>237</b></a></li>
+
+<li>Vincenzio Foppa (Vincenzio Bresciano, or Vincenzio Zoppa),
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_56"><b>56</b></a></li>
+
+<li>Vincenzio Verchio,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Vincenzio Zoppa (Vincenzio Bresciano, or Vincenzio Foppa),
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_56"><b>56</b></a></li>
+
+<li>Vinci, Leonardo da, <i>Life</i>,
+<a href="#Page_89"><b>89</b></a>-105.
+<a href="#Page_44"><b>44</b></a>,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_85"><b>85</b></a>,
+<a href="#Page_89"><b>89</b></a>-105,
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_127"><b>127</b></a>,
+<a href="#Page_138"><b>138</b></a>,
+<a href="#Page_151"><b>151</b></a>,
+<a href="#Page_156"><b>156</b></a>,
+<a href="#Page_196"><b>196</b></a>,
+<a href="#Page_212"><b>212</b></a>,
+<a href="#Page_215"><b>215</b></a>,
+<a href="#Page_242"><b>242</b></a>,
+<a href="#Page_270"><b>270</b></a></li>
+
+<li>Visino,
+<a href="#Page_170"><b>170</b></a>,
+<a href="#Page_171"><b>171</b></a></li>
+
+<li>Vitruvius,
+<a href="#Page_48"><b>48</b></a>,
+<a href="#Page_75"><b>75</b></a>,
+<a href="#Page_138"><b>138</b></a>,
+<a href="#Page_205"><b>205</b></a>,
+<a href="#Page_266"><b>266</b></a></li>
+
+<li>Vittore Scarpaccia (Carpaccio), <i>Life</i>,
+<a href="#Page_51"><b>51</b></a>-61</li>
+
+<li>Vittore Bellini (Belliniano),
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_59"><b>59</b></a>,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Vivarini, Bartolommeo,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_59"><b>59</b></a></li>
+
+<li>Vivarini, Luigi,
+<a href="#Page_52"><b>52</b></a></li>
+</ul>
+
+<ul class="none p2">
+<li>Zeno, Maestro,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Zeuxis,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_83"><b>83</b></a></li>
+
+<li>Zevio, Aldigieri (Altichiero) da,
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_54"><b>54</b></a>,
+<a href="#Page_55"><b>55</b></a></li>
+
+<li>Zevio, Stefano da (Stefano Veronese),
+<a href="#Page_51"><b>51</b></a>-54</li>
+
+<li>Zoccolo, Niccolò (Niccolò Cartoni),
+<a href="#Page_9"><b>9</b></a>,
+<a href="#Page_10"><b>10</b></a></li>
+
+<li>Zoppa, Vincenzio (Vincenzio Foppa, or Vincenzio Bresciano),
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_56"><b>56</b></a></li>
+
+<li>Zoppo, Rocco,
+<a href="#Page_46"><b>46</b></a></li>
+</ul>
+
+
+<h4>END OF VOL. IV.</h4>
+
+
+<p class="center">PRINTED UNDER THE SUPERVISION OF CHAS. T. JACOBI
+  OF THE CHISWICK PRESS, LONDON. THE COLOURED
+  REPRODUCTIONS ENGRAVED AND PRINTED BY
+  HENRY STONE AND SON, LTD., BANBURY</p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote1" id="Footnote1"></a><a href="#FNanchor1"><span class="label">[1]</span></a> Pietro Perugino.</p></div>
+
+<div class="footnote"><p><a name="Footnote2" id="Footnote2"></a><a href="#FNanchor2"><span class="label">[2]</span></a> This seems to be an error for Calistus III.</p></div>
+
+<div class="footnote"><p><a name="Footnote3" id="Footnote3"></a><a href="#FNanchor3"><span class="label">[3]</span></a> The text says "Messer Bart...."</p></div>
+
+<div class="footnote"><p><a name="Footnote4" id="Footnote4"></a><a href="#FNanchor4"><span class="label">[4]</span></a> Exchange or Bank.</p></div>
+
+<div class="footnote"><p><a name="Footnote5" id="Footnote5"></a><a href="#FNanchor5"><span class="label">[5]</span></a> It is now generally accepted that these two men are one,
+under the name of Lazzaro Bastiani.</p></div>
+
+<div class="footnote"><p><a name="Footnote6" id="Footnote6"></a><a href="#FNanchor6"><span class="label">[6]</span></a> This master has been identified with Il Bassiti, under
+the name of Basaiti.</p></div>
+
+<div class="footnote"><p><a name="Footnote7" id="Footnote7"></a><a href="#FNanchor7"><span class="label">[7]</span></a> See note on p. 57, Vol. I.</p></div>
+
+<div class="footnote"><p><a name="Footnote8" id="Footnote8"></a><a href="#FNanchor8"><span class="label">[8]</span></a> See note on p. 57, Vol. I.</p></div>
+
+<div class="footnote"><p><a name="Footnote9" id="Footnote9"></a><a href="#FNanchor9"><span class="label">[9]</span></a> A judicial court, the members of which sat in rotation.</p></div>
+
+<div class="footnote"><p><a name="Footnote10" id="Footnote10"></a><a href="#FNanchor10"><span class="label">[10]</span></a> Two accurate literal translations of the same original
+must often coincide; and in dealing with this beautiful Life, the
+translator has had to take the risk either of seeming to copy the
+almost perfect rendering of Mr. H. P. Horne, or of introducing
+unsatisfactory variants for mere variety's sake. Having rejected the
+latter course, he feels doubly bound to record once more his deep
+obligation to Mr. Horne's example.</p></div>
+
+<div class="footnote"><p><a name="Footnote11" id="Footnote11"></a><a href="#FNanchor11"><span class="label">[11]</span></a> This name is missing in the text.</p></div>
+
+<div class="footnote"><p><a name="Footnote12" id="Footnote12"></a><a href="#FNanchor12"><span class="label">[12]</span></a> Signet-office, for the sealing of Papal Bulls and other
+papers of the Papal Court.</p></div>
+
+<div class="footnote"><p><a name="Footnote13" id="Footnote13"></a><a href="#FNanchor13"><span class="label">[13]</span></a> See note on p. 57, Vol. I.</p></div>
+
+<div class="footnote"><p><a name="Footnote14" id="Footnote14"></a><a href="#FNanchor14"><span class="label">[14]</span></a> The word "calavano" has been substituted here for the
+"cavavano" of the text, which gives no sense.</p></div>
+
+<div class="footnote"><p><a name="Footnote15" id="Footnote15"></a><a href="#FNanchor15"><span class="label">[15]</span></a> These numbers are missing from the text.</p></div>
+
+<div class="footnote"><p><a name="Footnote16" id="Footnote16"></a><a href="#FNanchor16"><span class="label">[16]</span></a> The word "utilmente" is substituted here for the
+"ultimamente" of the text, which makes no sense.</p></div>
+
+<div class="footnote"><p><a name="Footnote17" id="Footnote17"></a><a href="#FNanchor17"><span class="label">[17]</span></a> The words of the text, "un quadro d' una spera," are a
+little obscure; but the translator has been strengthened in his belief
+that his rendering is correct by seeing a little picture, painted on a
+mirror, and numbered 7697, in the Victoria and Albert Museum. The
+subject of this picture, which the translator was enabled to see by
+the courtesy of Mr. B. S. Long, of the Department of Paintings, is the
+same as that of the work mentioned by Vasari, and it may be a copy.</p></div>
+
+<div class="footnote"><p><a name="Footnote18" id="Footnote18"></a><a href="#FNanchor18"><span class="label">[18]</span></a> Florentine puff-pastry.</p></div>
+
+<div class="footnote"><p><a name="Footnote19" id="Footnote19"></a><a href="#FNanchor19"><span class="label">[19]</span></a> Don Vincenzio Borghini.</p></div>
+
+<div class="footnote"><p><a name="Footnote20" id="Footnote20"></a><a href="#FNanchor20"><span class="label">[20]</span></a> Filippo Brunelleschi.</p></div>
+
+<div class="footnote"><p><a name="Footnote21" id="Footnote21"></a><a href="#FNanchor21"><span class="label">[21]</span></a> The name given in the text is Domenico.</p></div>
+
+<div class="footnote"><p><a name="Footnote22" id="Footnote22"></a><a href="#FNanchor22"><span class="label">[22]</span></a> A friable volcanic tufa.</p></div>
+
+<div class="footnote"><p><a name="Footnote23" id="Footnote23"></a><a href="#FNanchor23"><span class="label">[23]</span></a> In the Life of Pinturicchio, Vasari says that this
+commission was given to Pinturicchio by Cardinal Francesco
+Piccolomini, who afterwards became Pope Pius III.</p></div>
+
+<div class="footnote"><p><a name="Footnote24" id="Footnote24"></a><a href="#FNanchor24"><span class="label">[24]</span></a> The text reads Palazzo, which is obviously an error for
+Papa.</p></div>
+
+<div class="footnote"><p><a name="Footnote25" id="Footnote25"></a><a href="#FNanchor25"><span class="label">[25]</span></a> This seems to be an error for Bartolommeo.</p></div>
+
+<div class="footnote"><p><a name="Footnote26" id="Footnote26"></a><a href="#FNanchor26"><span class="label">[26]</span></a> Villa Madama.</p></div>
+
+<div class="footnote"><p><a name="Footnote27" id="Footnote27"></a><a href="#FNanchor27"><span class="label">[27]</span></a> The use of this word, though perhaps too modern, seems
+to the translator to be the only way to preserve the play of words in
+the text.</p></div>
+
+<div class="footnote"><p><a name="Footnote28" id="Footnote28"></a><a href="#FNanchor28"><span class="label">[28]</span></a> Earnest-money.</p></div>
+
+<div class="footnote"><p><a name="Footnote29" id="Footnote29"></a><a href="#FNanchor29"><span class="label">[29]</span></a> Room in which the beans used in voting for the election
+of magistrates were counted.</p></div>
+
+<div class="footnote"><p><a name="Footnote30" id="Footnote30"></a><a href="#FNanchor30"><span class="label">[30]</span></a> Office of those who had charge of the Specchio, the book
+in which were inscribed the names of such citizens as were in arrears
+with their taxes.</p></div>
+</div>
+
+<div class="trans-note">
+<p>Transcriber's note: Bold text is marked with =."</p>
+
+<p>Obvious printer's errors have been corrected,
+all other inconsistencies are as in the original. The author's spelling
+has been maintained.</p>
+</div>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
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+Sculptors and Architects, by Giorgio Vasari
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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. 04 (of 10), Filippino Lippi to Domenico Puligo
+
+Author: Giorgio Vasari
+
+Translator: Gaston du C. De Vere
+
+Release Date: March 27, 2009 [EBook #28420]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK EMINENT PAINTERS ***
+
+
+
+
+Produced by Mark C. Orton, Christine P. Travers 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)
+
+
+
+
+
+[Transcriber's note: Bold text is marked with =."
+
+Obvious printer's errors have been corrected,
+all other inconsistencies are as in the original. The author's spelling
+has been maintained.]
+
+
+
+
+LIVES OF THE MOST EMINENT PAINTERS SCULPTORS & ARCHITECTS BY GIORGIO
+VASARI:
+
+VOLUME IV. FILIPPINO LIPPI TO DOMENICO PULIGO 1913
+
+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 IV
+
+                                                                    PAGE
+
+    FILIPPO LIPPI, CALLED FILIPPINO                                    1
+
+    BERNARDINO PINTURICCHIO                                           11
+
+    FRANCESCO FRANCIA                                                 21
+
+    PIETRO PERUGINO [PIETRO VANNUCCI, _OR_ PIETRO DA CASTEL DELLA
+        PIEVE]                                                        31
+
+    VITTORE SCARPACCIA [CARPACCIO], AND OTHER VENETIAN AND LOMBARD
+        PAINTERS                                                      49
+
+    JACOPO, CALLED L'INDACO                                           63
+
+    LUCA SIGNORELLI [LUCA DA CORTONA]                                 69
+
+    THE AUTHOR'S PREFACE TO THE THIRD PART                            77
+
+    LEONARDO DA VINCI                                                 87
+
+    GIORGIONE DA CASTELFRANCO                                        107
+
+    ANTONIO DA CORREGGIO                                             115
+
+    PIERO DI COSIMO                                                  123
+
+    BRAMANTE DA URBINO                                               135
+
+    FRA BARTOLOMMEO DI SAN MARCO [BACCIO DELLA PORTA]                149
+
+    MARIOTTO ALBERTINELLI                                            163
+
+    RAFFAELLINO DEL GARBO                                            173
+
+    TORRIGIANO                                                       181
+
+    GIULIANO AND ANTONIO DA SAN GALLO                                189
+
+    RAFFAELLO DA URBINO [RAFFAELLO SANZIO]                           207
+
+    GUGLIELMO DA MARCILLA [GUILLAUME DE MARCILLAC]                   251
+
+    SIMONE, CALLED IL CRONACA [SIMONE DEL POLLAIUOLO]                263
+
+    DOMENICO PULIGO                                                  277
+
+    INDEX OF NAMES                                                   285
+
+
+
+
+ILLUSTRATIONS TO VOLUME IV
+
+PLATES IN COLOUR
+
+                                                             FACING PAGE
+    FILIPPO LIPPI (FILIPPINO)
+        The Vision of S. Bernard
+            Florence: Church of the Badia                              2
+
+    BERNARDINO PINTURICCHIO
+        The Madonna in Glory
+            San Gimignano: Palazzo Pubblico                           14
+
+    BENEDETTO BUONFIGLIO
+        Madonna, Child, and Three Angels
+            Perugia: Pinacoteca                                       18
+
+    FRANCESCO FRANCIA
+        Pieta
+            London: N.G., 180                                         26
+
+    PIETRO PERUGINO
+        Apollo and Marsyas
+            Paris: Louvre, 1509                                       34
+
+    PIETRO PERUGINO
+        Triptych: The Madonna adoring, with the Archangels
+        Michael, Raphael, and Tobit
+            London: N.G., 288                                         42
+
+    VITTORE SCARPACCIA (CARPACCIO)
+        The Vision of S. Ursula
+            Venice: Accademia, 578                                    56
+
+    VINCENZIO CATENA
+        S. Jerome in his Study
+            London: N.G., 694                                         58
+
+    GIOVAN BATTISTA DA CONIGLIANO (CIMA)
+        Detail: Tobit and the Angel
+            Venice: Accademia, 592                                    58
+
+    LUCA SIGNORELLI
+        Pan
+            Berlin: Kaiser Friedrich Museum, 79A                      72
+
+    ANDREA VERROCCHIO
+        The Baptism in Jordan
+            Florence: Accademia, 71                                   92
+
+    LEONARDO DA VINCI
+        Monna Lisa
+            (formerly) Paris: Louvre, 1601                           102
+
+    GIORGIONE DA CASTELFRANCO
+        Figures in a Landscape
+            Venice: Prince Giovanelli's Collection                   110
+
+    ANTONIO DA CORREGGIO
+        Antiope
+            Paris: Louvre, 1118                                      118
+
+    ANTONIO DA CORREGGIO
+        The Adoration of the Magi
+            Milan: Brera, 427                                        122
+
+    PIERO DI COSIMO
+        The Death of Procris
+            London: N.G., 698                                        126
+
+    FRA BARTOLOMMEO DI SAN MARCO
+        The Deposition from the Cross
+            Florence: Pitti, 64                                      152
+
+    MARIOTTO ALBERTINELLI
+        The Salutation
+            Florence: Uffizi, 1259                                   168
+
+    RAFFAELLO DA URBINO
+        S. George and the Dragon
+            S. Petersburg: Hermitage, 39                             210
+
+    RAFFAELLO DA URBINO
+        Angelo Doni
+            Florence: Pitti, 61                                      214
+
+    RAFFAELLO DA URBINO
+        The Three Graces
+            Chantilly, 38                                            242
+
+    RAFFAELLO DA URBINO
+        Baldassare Gastiglione
+            Paris: Louvre, 1505                                      248
+
+
+PLATES IN MONOCHROME
+
+                                                             FACING PAGE
+    FILIPPO LIPPI (FILIPPINO)
+        The Liberation of S. Peter
+            Florence: S. Maria Del Carmine                             6
+
+    FILIPPO LIPPI (FILIPPINO)
+        S. John the Evangelist Raising Drusiana from the Dead
+            Florence: S. Maria Novella, Strozzi Chapel                 8
+
+    FILIPPO LIPPI (FILIPPINO)
+        The Adoration of the Magi
+            Florence: Uffizi, 1257                                    10
+
+    BERNARDINO PINTURICCHIO
+        Frederick III Crowning the Poet AEneas Sylvius
+            Siena: Sala Piccolominea                                  16
+
+    BERNARDINO PINTURICCHIO
+        Pope Alexander VI Adoring the Risen Christ
+            Rome: the Vatican, Borgia Apartments                      16
+
+    FRANCESCO FRANCIA AND A PUPIL
+        Medals
+            London: British Museum                                    22
+
+    FRANCESCO FRANCIA
+        Madonna and Child, with Saints
+            Bologna: S. Giacomo Maggiore, Bentivoglio Chapel          24
+
+    PIETRO PERUGINO
+        The Deposition
+            Florence: Pitti, 164                                      38
+
+    PIETRO PERUGINO
+        Christ Giving the Keys to S. Peter
+            Rome: Sistine Chapel                                      40
+
+    PIETRO PERUGINO
+        Fortitude and Temperance, with Warriors
+            Perugia: Collegio Del Cambio                              40
+
+    GIOVANNI (LO SPAGNA)
+        Madonna and Child, with Saints
+            Assisi: Lower Church                                      46
+
+    STEFANO DA VERONA (DA ZEVIO)
+        The Madonna and Child with S. Catharine in a Rose Garden
+            Verona: Gallery, 559                                      52
+
+    ALDIGIERI DA ZEVIO (ALTICHIERO)
+        Presentation to the Madonna of Three Knights of the Cavalli
+        Family
+            Verona: S. Anastasia                                      54
+
+    VITTORE SCARPACCIA (CARPACCIO)
+        S. George and the Dragon
+            Venice: S. Giorgio Degli Schiavoni                        56
+
+    MARCO BASSITI (BASAITI)
+        Christ on the Mount of Olives
+            Venice: Accademia, 69                                     60
+
+    GIOVANNI BUONCONSIGLI
+        Pieta
+            Vicenza: Pinacoteca, 22                                   60
+
+    LUCA SIGNORELLI
+        Detail: The Last Judgment
+            Orvieto: Duomo                                            74
+
+    LEONARDO DA VINCI
+        The Adoration of the Magi
+            Florence: Uffizi, 1252                                    94
+
+    LEONARDO DA VINCI
+        The Last Supper
+            Milan: S. Maria delle Grazie                              96
+
+    LEONARDO DA VINCI
+        Cartoon: The Madonna and Child with S. Anne
+            London: Burlington House                                  98
+
+    LEONARDO DA VINCI (?)
+        Fragment of Cartoon: The Battle of the Standard
+            Oxford: Ashmolean Museum                                 104
+
+    GIOVAN ANTONIO BOLTRAFFIO
+        Man and Woman Praying
+            Milan: Brera, 281                                        104
+
+    GIORGIONE DA CASTELFRANCO
+        Portrait of a Young Man
+            Berlin: Kaiser Friedrich Museum, 12A                     112
+
+    GIORGIONE DA CASTELFRANCO
+        Judith
+            S. Petersburg: Hermitage, 112                            112
+
+    GIORGIONE DA CASTELFRANCO (?)
+        Caterina, Queen of Cyprus
+            Milan: Crespi Collection                                 114
+
+    ANTONIO DA CORREGGIO
+        Detail: S. Thomas and S. James the Less
+            Parma: S. Giovanni Evangelista                           120
+
+    ANTONIO DA CORREGGIO
+        The Madonna and Child with S. Jerome
+            Parma: Gallery, 351                                      120
+
+    PIERO DI COSIMO
+        Perseus delivering Andromeda
+            Florence: Uffizi, 1312                                   128
+
+    PIERO DI COSIMO
+        Venus, Mars, and Cupid
+            Berlin: Kaiser Friedrich Museum, 107                     130
+
+    PIERO DI COSIMO
+        Francesco Giamberti
+            Hague: Royal Museum, 255                                 134
+
+    BRAMANTE DA URBINO
+        Interior of Sacristy
+            Milan: S. Satiro                                         138
+
+    BRAMANTE DA URBINO
+        Tempietto
+            Rome: S. Pietro in Montorio                              142
+
+    BRAMANTE DA URBINO
+        Palazzo Giraud
+            Rome                                                     146
+
+    FRA BARTOLOMMEO DI SAN MARCO
+        The Holy Family
+            Rome: Corsini Gallery, 579                               154
+
+    FRA BARTOLOMMEO DI SAN MARCO
+        S. Mark
+            Florence: Pitti, 125                                     158
+
+    FRA BARTOLOMMEO DI SAN MARCO
+        God the Father, with SS. Mary Magdalen and Catharine
+            Lucca: Gallery, 12                                       160
+
+    MARIOTTO ALBERTINELLI
+        The Madonna enthroned, with Saints
+            Florence: Accademia, 167                                 166
+
+    RAFFAELLINO DEL GARBO
+        The Resurrection
+            Florence: Accademia, 90                                  176
+
+    TORRIGIANO
+        Tomb of Henry VII
+            London: Westminster Abbey                                186
+
+    GIULIANO DA SAN GALLO
+        Facade of S. Maria delle Carceri
+            Prato                                                    194
+
+    RAFFAELLO DA URBINO
+        Lo Sposalizio
+            Milan: Brera, 472                                        212
+
+    RAFFAELLO DA URBINO
+        Maddalena Doni
+            Florence: Pitti, 59                                      212
+
+    RAFFAELLO DA URBINO
+        "The School of Athens"
+            Rome: The Vatican                                        216
+
+    RAFFAELLO DA URBINO
+        The "Disputa del Sacramento"
+            Rome: The Vatican                                        222
+
+    RAFFAELLO DA URBINO
+        The Mass of Bolsena
+            Rome: The Vatican                                        224
+
+    RAFFAELLO DA URBINO
+        Pope Leo X with Two Cardinals
+            Florence: Pitti, 40                                      230
+
+    RAFFAELLO DA URBINO
+        The Transfiguration
+            Rome: The Vatican                                        240
+
+    SIMONE (IL CRONACA)
+        Detail of Cornice
+            Florence: Palazzo Strozzi                                266
+
+    NICCOLO GROSSO
+        Iron Link-holder
+            Florence: Palazzo Strozzi                                268
+
+    NICCOLO GROSSO
+        Iron Lantern
+            Florence: Palazzo Strozzi                                268
+
+    SIMONE (IL CRONACA)
+        Interior of Sacristy
+            Florence: S. Spirito                                     270
+
+    DOMENICO PULIGO (?)
+        Madonna and Child, with Saints
+            Florence: S. Maria Maddalena de' Pazzi                   280
+
+
+
+
+FILIPPO LIPPI
+
+
+
+
+[Illustration: FILIPPO LIPPI (FILIPPINO): THE VISION OF S. BERNARD
+
+(_Florence: Church of the Badia. Panel_)]
+
+
+
+
+LIFE OF FILIPPO LIPPI, CALLED FILIPPINO
+
+PAINTER OF FLORENCE
+
+
+There was at this same time in Florence a painter of most beautiful
+intelligence and most lovely invention, namely, Filippo, son of Fra
+Filippo of the Carmine, who, following in the steps of his dead
+father in the art of painting, was brought up and instructed, being
+still very young, by Sandro Botticelli, notwithstanding that his
+father had commended him on his death-bed to Fra Diamante, who was
+much his friend--nay, almost his brother. Such was the intelligence
+of Filippo, and so abundant his invention in painting, and so
+bizarre and new were his ornaments, that he was the first who showed
+to the moderns the new method of giving variety to vestments, and
+embellished and adorned his figures with the girt-up garments of
+antiquity. He was also the first to bring to light grotesques, in
+imitation of the antique, and he executed them on friezes in
+terretta or in colours, with more design and grace than the men
+before him had shown; wherefore it was a marvellous thing to see the
+strange fancies that he expressed in painting. What is more, he
+never executed a single work in which he did not avail himself with
+great diligence of Roman antiquities, such as vases, buskins,
+trophies, banners, helmet-crests, adornments of temples, ornamental
+head-dresses, strange kinds of draperies, armour, scimitars, swords,
+togas, mantles, and such a variety of other beautiful things, that
+we owe him a very great and perpetual obligation, seeing that he
+added beauty and adornment to art in this respect.
+
+In his earliest youth he completed the Chapel of the Brancacci in
+the Carmine at Florence, begun by Masolino, and left not wholly
+finished by Masaccio on account of his death. Filippo, therefore,
+gave it its final perfection with his own hand, and executed what
+was lacking in one scene, wherein S. Peter and S. Paul are restoring
+to life the nephew of the Emperor. In the nude figure of this boy he
+portrayed the painter Francesco Granacci, then a youth; and he also
+made portraits of the Chevalier, Messer Tommaso Soderini, Piero
+Guicciardini, father of Messer Francesco the historian, Piero del
+Pugliese, and the poet Luigi Pulci; likewise Antonio Pollaiuolo, and
+himself as a youth, as he then was, which he never did again
+throughout the whole of his life, so that it has not been possible
+to find a portrait of him at a more mature age. In the scene
+following this he portrayed Sandro Botticelli, his master, and many
+other friends and people of importance; among others, the broker
+Raggio, a man of great intelligence and wit, who executed in relief
+on a conch the whole Inferno of Dante, with all the circles and
+divisions of the pits and the nethermost well in their exact
+proportions, and all the figures and details that were most
+ingeniously imagined and described by that great poet; which conch
+was held in those times to be a marvellous thing.
+
+Next, in the Chapel of Francesco del Pugliese at Campora, a seat of
+the Monks of the Badia, without Florence, he painted a panel in
+distemper of S. Bernard, to whom Our Lady is appearing with certain
+angels, while he is writing in a wood; which picture is held to be
+admirable in certain respects, such as rocks, books, herbage, and
+similar things, that he painted therein, besides the portrait from
+life of Francesco himself, so excellent that he seems to lack
+nothing save speech. This panel was removed from that place on
+account of the siege, and placed for safety in the Sacristy of the
+Badia of Florence. In S. Spirito in the same city, for Tanai de'
+Nerli, he painted a panel with Our Lady, S. Martin, S. Nicholas, and
+S. Catherine; with a panel in the Chapel of the Rucellai in S.
+Pancrazio, and a Crucifix and two figures on a ground of gold in S.
+Raffaello. In front of the Sacristy of S. Francesco, without the
+Porta a S. Miniato, he made a God the Father, with a number of
+children. At Palco, a seat of the Frati del Zoccolo, without Prato,
+he painted a panel; and in the Audience Chamber of the Priori in
+that territory he executed a little panel containing the Madonna, S.
+Stephen, and S. John the Baptist, which has been much extolled. On
+the Canto al Mercatale, also in Prato, in a shrine opposite to the
+Nuns of S. Margherita, and near some houses belonging to them, he
+painted in fresco a very beautiful Madonna, with a choir of
+seraphim, on a ground of dazzling light. In this work, among other
+things, he showed art and beautiful judgment in a dragon that is at
+the feet of S. Margaret, which is so strange and horrible, that it
+is revealed to us as a true fount of venom, fire, and death; and the
+whole of the rest of the work is so fresh and vivacious in
+colouring, that it deserves infinite praise.
+
+He also wrought certain things in Lucca, particularly a panel in a
+chapel of the Church of S. Ponziano, which belongs to the Monks of
+Monte Oliveto; in the centre of which chapel there is a niche
+containing a very beautiful S. Anthony in relief by the hand of
+Andrea Sansovino, a most excellent sculptor. Being invited to go to
+Hungary by King Matthias, Filippo refused, but made up for this by
+painting two very beautiful panels for that King in Florence, and
+sending them to him; and in one of these he made a portrait of the
+King, taken from his likeness on medals. He also sent certain works
+to Genoa; and beside the Chapel of the High-Altar in S. Domenico at
+Bologna, on the left hand, he painted a S. Sebastian on a panel,
+which was a thing worthy of much praise. For Tanai de' Nerli he
+executed another panel in S. Salvadore, without Florence; and for
+his friend Piero del Pugliese he painted a scene with little
+figures, executed with so much art and diligence that when another
+citizen besought him to make a second like it, he refused, saying
+that it was not possible to do it.
+
+After these things he executed a very great work in Rome for the
+Neapolitan Cardinal, Olivieri Caraffa, at the request of the elder
+Lorenzo de' Medici, who was a friend of that Cardinal. While going
+thither for that purpose, he passed through Spoleto at the wish of
+Lorenzo, in order to give directions for the making of a marble tomb
+for his father Fra Filippo at the expense of Lorenzo, who had not
+been able to obtain his body from the people of Spoleto for removal
+to Florence. Filippo, therefore, made a beautiful design for the
+said tomb, and Lorenzo had it erected after that design (as has
+been told in another place), sumptuous and beautiful. Afterwards,
+having arrived in Rome, Filippo painted a chapel in the Church of
+the Minerva for the said Cardinal Caraffa, depicting therein scenes
+from the life of S. Thomas Aquinas, and certain most beautiful
+poetical compositions ingeniously imagined by himself, for he had a
+nature ever inclined to this. In the scene, then, wherein Faith has
+taken Infidelity captive, there are all the heretics and infidels.
+Hope has likewise overcome Despair, and so, too, there are many
+other Virtues that have subjugated the Vice that is their opposite.
+In a disputation is S. Thomas defending the Church "ex cathedra"
+against a school of heretics, and holding vanquished beneath him
+Sabellius, Arius, Averroes, and others, all clothed in graceful
+garments; of which scene we have in our book of drawings the
+original design by Filippo's own hand, with certain others by the
+same man, wrought with such mastery that they could not be bettered.
+There, too, is the scene when, as S. Thomas is praying, the Crucifix
+says to him, "Bene scripsisti de me, Thoma"; while a companion of
+the Saint, hearing that Crucifix thus speaking, is standing amazed
+and almost beside himself. In the panel is the Virgin receiving the
+Annunciation from Gabriel; and on the main wall there is her
+Assumption into Heaven, with the twelve Apostles round the
+sepulchre. The whole of this work was held, as it still is, to be
+very excellent and wrought perfectly for a work in fresco. It
+contains a portrait from life of the said Cardinal Olivieri Caraffa,
+Bishop of Ostia, who was buried in this chapel in the year 1511, and
+afterwards removed to the Piscopio in Naples.
+
+[Illustration: THE LIBERATION OF S. PETER
+
+(_After the fresco by =Filippo Lippi (Filippino)=. Florence: S.
+Maria del Carmine_)
+
+_Anderson_]
+
+Having returned to Florence, Filippo undertook to paint at his
+leisure the Chapel of the elder Filippo Strozzi in S. Maria Novella,
+and he actually began it; but, having finished the ceiling, he was
+compelled to return to Rome, where he wrought a tomb with
+stucco-work for the said Cardinal, and decorated with gesso a little
+chapel beside that tomb in a part of the same Church of the Minerva,
+together with certain figures, some of which were executed by his
+disciple, Raffaellino del Garbo. The chapel described above was
+valued by Maestro Lanzilago of Padua and by the Roman Antonio, known
+as Antoniasso, two of the best painters that were then in Rome,
+at 2,000 ducats of gold, without the cost of the blues and of the
+assistants. Having received this sum, Filippo returned to Florence,
+where he finished the aforesaid Chapel of the Strozzi, which was
+executed so well, and with so much art and design, that it causes
+all who see it to marvel, by reason of the novelty and variety of
+the bizarre things that are seen therein--armed men, temples, vases,
+helmet-crests, armour, trophies, spears, banners, garments, buskins,
+head-dresses, sacerdotal vestments, and other things--all executed
+in so beautiful a manner that they deserve the highest commendation.
+In this work there is the scene of Drusiana being restored to life
+by S. John the Evangelist, wherein we see most admirably expressed
+the marvel of the bystanders at beholding a man restore life to a
+dead woman by a mere sign of the cross; and the greatest amazement
+of all is seen in a priest, or rather philosopher, whichever he may
+be, who is clothed in ancient fashion and has a vase in his hand. In
+the same scene, likewise, among a number of women draped in various
+manners, there is a little boy, who, terrified by a small spaniel
+spotted with red, which has seized him with its teeth by one of his
+swathing-bands, is running round his mother and hiding himself among
+her clothes, and appears to be as much afraid of being bitten by the
+dog as his mother is awestruck and filled with a certain horror at
+the resurrection of Drusiana. Next to this, in the scene where S.
+John himself is being boiled in oil, we see the wrath of the judge,
+who is giving orders for the fire to be increased, and the flames
+reflected on the face of the man who is blowing at them; and all the
+figures are painted in beautiful and varied attitudes. On the other
+side is S. Philip in the Temple of Mars, compelling the serpent,
+which has slain the son of the King with its stench, to come forth
+from below the altar. In certain steps the painter depicted the hole
+through which the serpent issued from beneath the altar, and so well
+did he paint the cleft in one of the steps, that one evening one of
+Filippo's lads, wishing to hide something, I know not what, from the
+sight of someone who was knocking for admittance, ran up in haste in
+order to conceal it in the hole, being wholly deceived by it.
+Filippo also showed so much art in the serpent, that its venom,
+fetid breath, and fire, appear rather real than painted. Greatly
+extolled, too, is his invention in the scene of the Crucifixion of
+that Saint, for he imagined to himself, so it appears, that the
+Saint was stretched on the cross while it lay on the ground, and
+that afterwards the whole was drawn up and raised on high by means
+of ropes, cords, and poles; which ropes and cords are wound round
+certain fragments of antiquities, pieces of pillars, and bases, and
+pulled by certain ministers. On the other side the weight of the
+said cross and of the Saint who is stretched nude thereon is
+supported by two men, on the one hand by a man with a ladder, with
+which he is propping it up, and on the other hand by another with a
+pole, upholding it, while two others, setting a lever against the
+base and stem of the cross, are balancing its weight and seeking to
+place it in the hole made in the ground, wherein it had to stand
+upright. But why say more? It would not be possible for the work to
+be better either in invention or in drawing, or in any other respect
+whatsoever of industry or art. Besides this, it contains many
+grotesques and other things wrought in chiaroscuro to resemble
+marble, executed in strange fashion with invention and most
+beautiful drawing.
+
+[Illustration: S. JOHN THE EVANGELIST RAISING DRUSIANA FROM THE DEAD
+
+(_After the fresco by =Filippo Lippi [Filippino]=. Florence: S.
+Maria Novella, Strozzi Chapel_)
+
+_Anderson_]
+
+For the Frati Scopetini, also, at S. Donato, without Florence, which
+is called Scopeto and is now in ruins, he painted a panel with the
+Magi presenting their offerings to Christ, finished with great
+diligence, wherein he portrayed the elder Pier Francesco de' Medici,
+son of Lorenzo di Bicci, in the figure of an astrologer who is
+holding a quadrant in his hand, and likewise Giovanni, father of
+Signor Giovanni de' Medici, and another Pier Francesco, brother of
+that Signor Giovanni, and other people of distinction. In this work
+are Moors, Indians, costumes of strange shapes, and a most bizarre
+hut. In a loggia at Poggio a Cajano he began a Sacrifice in fresco
+for Lorenzo de' Medici, but it remained unfinished. And for the
+Nunnery of S. Geronimo, above the Costa di S. Giorgio in Florence,
+he began the panel of the high-altar, which was brought nearly to
+completion after his death by the Spaniard Alonzo Berughetta, but
+afterwards wholly finished by other painters, Alonzo having gone to
+Spain. In the Palazzo della Signoria he painted the panel of the
+hall where the Council of Eight held their sittings, and he made the
+design for another large panel, with its ornament, for the Sala
+del Consiglio; which design his death prevented him from beginning
+to put into execution, although the ornament was carved; which
+ornament is now in the possession of Maestro Baccio Baldini, a most
+excellent physician of Florence, and a lover of every sort of
+talent. For the Church of the Badia of Florence he made a very
+beautiful S. Jerome; and he began a Deposition from the Cross for
+the high-altar of the Friars of the Nunziata, but only finished the
+figures in the upper half of the picture, for, being overcome by a
+most cruel fever and by that contraction of the throat that is
+commonly known as quinsy, he died in a few days at the age of
+forty-five.
+
+Thereupon, having ever been courteous, affable, and kindly, he was
+lamented by all those who had known him, and particularly by the
+youth of his noble native city, who, in their public festivals,
+masques, and other spectacles, ever availed themselves, to their
+great satisfaction, of the ingenuity and invention of Filippo, who
+has never had an equal in things of that kind. Nay, he was so
+excellent in all his actions, that he blotted out the stain (if
+stain it was) left to him by his father--blotted it out, I say, not
+only by the excellence of his art, wherein he was inferior to no man
+of his time, but also by the modesty and regularity of his life,
+and, above all, by his courtesy and amiability; and how great are
+the force and power of such qualities to conciliate the minds of all
+men without exception, is only known to those who either have
+experienced or are experiencing it. Filippo was buried by his sons
+in S. Michele Bisdomini, on April 13, 1505; and while he was being
+borne to his tomb all the shops in the Via de' Servi were closed, as
+is done sometimes for the obsequies of great men.
+
+Among the disciples of Filippo, who all failed by a great measure to
+equal him, was Raffaellino del Garbo, who made many works, as will
+be told in the proper place, although he did not justify the
+opinions and hopes that were conceived of him while Filippo was
+alive and Raffaellino himself still a young man. The fruits, indeed,
+are not always equal to the blossoms that are seen in the spring.
+Nor did any great success come to Niccolo Zoccolo, otherwise known
+as Niccolo Cartoni, who was likewise a disciple of Filippo, and
+painted at Arezzo the wall that is over the altar of S. Giovanni
+Decollato; a little panel, passing well done, in S. Agnesa; a panel
+over a lavatory in the Abbey of S. Fiora, containing a Christ who is
+asking for water from the woman of Samaria; and many other works,
+which, since they were commonplace, are not mentioned.
+
+[Illustration: THE ADORATION OF THE MAGI
+
+(_After the panel by =Filippo Lippi (Filippino)=. Florence: Uffizi,
+1257_)
+
+_Alinari_]
+
+
+
+
+BERNARDINO PINTURICCHIO
+
+
+
+
+LIFE OF BERNARDINO PINTURICCHIO
+
+PAINTER OF PERUGIA
+
+
+Even as many are assisted by fortune without being endowed with much
+talent, so, on the contrary, there is an infinite number of able men
+who are persecuted by an adverse and hostile fortune; whence it is
+clearly manifest that she acknowledges as her children those who
+depend upon her without the aid of any talent, since it pleases her
+to exalt by her favour certain men who would never be known through
+their own merit; which is seen in Pinturicchio of Perugia, who,
+although he made many works and was assisted by various helpers,
+nevertheless had a much greater name than his works deserved.
+However, he was a man who had much practice in large works, and ever
+kept many assistants to aid him in his labours. Now, having worked
+at many things in his early youth under his master Pietro da
+Perugia,[1] receiving a third of all that was earned, he was
+summoned to Siena by Cardinal Francesco Piccolomini to paint the
+library made by Pope Pius II in the Duomo of that city. It is true,
+indeed, that the sketches and cartoons for all the scenes that he
+painted there were by the hand of Raffaello da Urbino, then a youth,
+who had been his companion and fellow-disciple under the same
+Pietro, whose manner the said Raffaello had mastered very well. One
+of these cartoons is still to be seen at the present day in Siena,
+and some of the sketches, by the hand of Raffaello, are in our book.
+
+[Illustration: BERNARDINO PINTURICCHIO: THE MADONNA IN GLORY
+
+(_San Gimignano. Panel_)]
+
+Now the stories in this work, wherein Pinturicchio was aided by many
+pupils and assistants, all of the school of Pietro, were divided
+into ten pictures. In the first is painted the scene when the said
+Pope Pius II was born to Silvio Piccolomini and Vittoria, and was
+called AEneas, in the year 1405, in Valdorcia, at the township of
+Corsignano, which is now called Pienza after the name of that Pope,
+who afterwards enriched it with buildings and made it a city; and in
+this picture are portraits from nature of the said Silvio and
+Vittoria. In the same is the scene when, in company with Cardinal
+Domenico of Capranica, he is crossing the Alps, which are covered
+with ice and snow, on his way to the Council of Bale. In the second
+the Council is sending AEneas on many embassies--namely, to Argentina
+(three times), to Trent, to Constance, to Frankfurt, and to Savoy.
+In the third is the sending of the same AEneas by the Antipope Felix
+as ambassador to the Emperor Frederick III, with whom the ready
+intelligence, the eloquence, and the grace of AEneas found so much
+favour that he was given the poet's crown of laurel by Frederick
+himself, who made him his Protonotary, received him into the number
+of his friends, and appointed him his First Secretary. In the fourth
+he is sent by Frederick to Eugenius IV, by whom he was made Bishop
+of Trieste, and then Archbishop of Siena, his native city. In the
+fifth scene the same Emperor, who is about to come to Italy to
+receive the crown of Empire, is sending AEneas to Telamone, a port of
+the people of Siena, to meet his wife, Leonora, who was coming from
+Portugal. In the sixth AEneas is going to Calistus IV,[2] at the
+bidding of the said Emperor, to induce him to make war against the
+Turks; and in this part, Siena being harassed by the Count of
+Pittigliano and by others at the instigation of King Alfonso of
+Naples, that Pontiff is sending him to treat for peace. This
+effected, war is planned against the Orientals; and he, having
+returned to Rome, is made a Cardinal by the said Pontiff. In the
+seventh, Calistus being dead, AEneas is seen being created Supreme
+Pontiff, and called Pius II. In the eighth the Pope goes to Mantua
+for the Council about the expedition against the Turks, where the
+Marquis Lodovico receives him with most splendid pomp and incredible
+magnificence. In the ninth the same Pope is placing in the catalogue
+of saints--or, as the saying is, canonizing--Catherine of Siena, a
+holy woman and nun of the Preaching Order. In the tenth and last,
+while preparing a vast expedition against the Turks with the help
+and favour of all the Christian Princes, Pope Pius dies at
+Ancona; and a hermit of the Hermitage of Camaldoli, a holy man, sees
+the soul of the said Pontiff being borne by Angels into Heaven at
+the very moment of his death, as may also be read. Afterwards, in
+the same picture, the body of the same Pope is seen being borne from
+Ancona to Rome by a vast and honourable company of lords and
+prelates, who are lamenting the death of so great a man and so rare
+and holy a Pontiff. The whole of this work is full of portraits from
+the life, so numerous that it would be a long story to recount their
+names; and it is all painted with the finest and most lively
+colours, and wrought with various ornaments of gold, and with very
+well designed partitions in the ceiling. Below each scene is a Latin
+inscription, which describes what is contained therein. In the
+centre of this library the said Cardinal Francesco Piccolomini,
+nephew of the Pope, placed the three Graces of marble, ancient and
+most beautiful, which are still there, and which were the first
+antiquities to be held in price in those times. This library,
+wherein are all the books left by the said Pius II, was scarcely
+finished, when the same Cardinal Francesco, nephew of the aforesaid
+Pontiff, Pius II, was created Pope, choosing the name of Pius III in
+memory of his uncle. Over the door of that library, which opens into
+the Duomo, the same Pinturicchio painted in a very large scene,
+occupying the whole extent of the wall, the Coronation of the said
+Pope Pius III, with many portraits from life; and beneath it may be
+read these words:
+
+     PIUS III SENENSIS, PII SECUNDI NEPOS, MDIII, SEPTEMBRIS XXI,
+     APERTIS ELECTUS SUFFRAGIIS, OCTAVO OCTOBRIS CORONATUS EST.
+
+When Pinturicchio was working with Pietro Perugino and painting at
+Rome in the time of Pope Sixtus, he had also been in the service of
+Domenico della Rovere, Cardinal of San Clemente; wherefore the said
+Cardinal, having built a very beautiful palace in the Borgo Vecchio,
+charged Pinturicchio to paint the whole of it, and to make on the
+facade the coat of arms of Pope Sixtus, with two little boys as
+supporters. The same master executed certain works for Sciarra Colonna
+in the Palace of S. Apostolo; and no long time after--namely, in the
+year 1484--Innocent VIII, the Genoese, caused him to paint certain
+halls and loggie in the Palace of the Belvedere, where, among other
+things, by order of that Pope, he painted a loggia full of landscapes,
+depicting therein Rome, Milan, Genoa, Florence, Venice, and Naples,
+after the manner of the Flemings; and this, being a thing not
+customary at that time, gave no little satisfaction. In the same
+place, over the principal door of entrance, he painted a Madonna in
+fresco. In S. Pietro, in the chapel that contains the Lance which
+pierced the side of Christ, he painted a panel in distemper, with the
+Madonna larger than life, for the said Innocent VIII; and he painted
+two chapels in the Church of S. Maria del Popolo, one for the
+aforesaid Domenico della Rovere, Cardinal of San Clemente, who was
+afterwards buried therein, and the other for Cardinal Innocenzio Cibo,
+wherein he also was afterwards buried; and in each of these chapels he
+portrayed the Cardinal who had caused him to paint it. In the Palace
+of the Pope he painted certain rooms that look out upon the courtyard
+of S. Pietro, the ceilings and paintings of which were renovated a few
+years ago by Pope Pius IV. In the same palace Alexander VI caused
+Pinturicchio to paint all the rooms that he occupied, together with
+the whole of the Borgia Tower, wherein he wrought stories of the
+liberal arts in one room, besides decorating all the ceilings with
+stucco and gold; but, since they did not then know the method of
+stucco-work that is now in use, the aforesaid ornaments are for the
+most part ruined. Over the door of an apartment in the said palace he
+portrayed the Signora Giulia Farnese in the countenance of a Madonna,
+and, in the same picture, the head of Pope Alexander in a figure that
+is adoring her.
+
+Bernardino was much given to making gilt ornaments in relief for his
+pictures, to satisfy people who had little understanding of his art
+with the more showy lustre that this gave them, which is a most
+barbarous thing in painting. Having then executed a story of S.
+Catherine in the said apartments, he depicted the arches of Rome in
+relief and the figures in painting, insomuch that, the figures being
+in the foreground and the buildings in the background, the things
+that should recede stand out more prominently than those that should
+strike the eye as the larger--a very grave heresy in our art.
+
+[Illustration: FREDERICK III CROWNING THE POET AENEAS SYLVIUS
+
+(_After the fresco by =Bernardino Pinturicchio=. Siena: Sala
+Piccolominea_)
+
+_Brogi_]
+
+In the Castello di S. Angelo he painted a vast number of rooms with
+grotesques; and in the Great Tower, in the garden below, he painted
+stories of Pope Alexander, with portraits of the Catholic Queen,
+Isabella; Niccolo Orsino, Count of Pittigliano; Gianjacomo Trivulzi,
+and many other relatives and friends of the said Pope, in particular
+Caesar Borgia and his brother and sisters, with many talented men of
+those times. At Monte Oliveto in Naples, in the Chapel of Paolo
+Tolosa, there is a panel with an Assumption by the hand of
+Pinturicchio. This master made an infinite number of other works
+throughout all Italy, which, since they are of no great excellence,
+and wrought in a superficial manner, I will pass over in silence.
+Pinturicchio used to say that a painter could only give the greatest
+relief to his figures when he had it in himself, without owing
+anything to principles or to others. He also made works in Perugia,
+but these were few. In the Araceli he painted the Chapel of S.
+Bernardino; and in S. Maria del Popolo, where, as we have said, he
+painted the two chapels, he made the four Doctors of the Church on
+the vaulting of the principal chapel.
+
+[Illustration: POPE ALEXANDER VI ADORING THE RISEN CHRIST
+
+(_After the fresco by =Bernardino Pinturicchio=. Rome: The Vatican,
+Borgia Apartments_)
+
+_Anderson_]
+
+Afterwards, having reached the age of fifty-nine, he was
+commissioned to paint the Nativity of Our Lady on a panel in S.
+Francesco at Siena. To this he set his hand, and the friars assigned
+to him a room to live in, which they gave to him, as he wished,
+empty and stripped of everything, save only a huge old chest, which
+appeared to them too awkward to remove. But Pinturicchio, like the
+strange and whimsical man that he was, made such an outcry at this,
+and repeated it so often, that finally in despair the friars set
+themselves to carry it away. Now their good fortune was such, that
+in removing it there was broken a plank which contained 500 Roman
+ducats of gold; at which Pinturicchio was so displeased, and felt so
+aggrieved at the good luck of those poor friars, that it can hardly
+be imagined--nay, he took it so much to heart, being unable to get
+it out of his thoughts, that it was the death of him. His pictures
+date about the year 1513.
+
+A companion and friend of Pinturicchio, although he was a much older
+man, was Benedetto Buonfiglio, a painter of Perugia, who executed
+many works in company with other masters in the Papal Palace at
+Rome. In the Chapel of the Signoria in Perugia, his native city, he
+painted scenes from the life of S. Ercolano, Bishop and Protector of
+that city, and in the same place certain miracles wrought by S.
+Louis. In S. Domenico he painted the story of the Magi on a panel in
+distemper, and many saints on another. In the Church of S.
+Bernardino he painted a Christ in the sky, with S. Bernardino
+himself, and a multitude below. In short, this master was in no
+little repute in his native city before Pietro Perugino had come to
+be known.
+
+Another friend of Pinturicchio, associated with him in not a few of
+his works, was Gerino Pistoiese, who was held to be a diligent
+colourist and a faithful imitator of the manner of Pietro Perugino,
+with whom he worked nearly up to his death. He did little work in
+his native city of Pistoia; but for the Company of the Buon Gesu in
+Borgo San Sepolcro he painted a Circumcision in oil on a panel,
+which is passing good. In the Pieve of the same place he painted a
+chapel in fresco; and on the bank of the Tiber, on the road that
+leads to Anghiari, he painted another chapel, also in fresco, for
+the Commune. And he painted still another chapel in the same place,
+in S. Lorenzo, an abbey of the Monks of Camaldoli. By reason of all
+these works he made so long a stay in the Borgo that he almost
+adopted it as his home. He was a sorry fellow in matters of art,
+labouring with the greatest difficulty, and toiling with such pains
+at the execution of a work, that it was a torture to him.
+
+[Illustration: BENEDETTO BUONFIGLIO: MADONNA, CHILD AND THREE ANGELS
+
+(_Perugia: Pinacoteca. Panel_)]
+
+At this same time there was a painter in the city of Foligno,
+Niccolo Alunno, who was held to be excellent, for it was little the
+custom before Pietro Perugino's day to paint in oil, and many were
+held to be able men who did not afterwards justify this opinion.
+Niccolo therefore gave no little satisfaction with his works, since,
+although he only painted in distemper, he portrayed the heads of his
+figures from life, so that they appeared alive, and his manner won
+considerable praise. In S. Agostino at Foligno there is a panel by
+his hand with a Nativity of Christ, and a predella with little
+figures. At Assisi he painted a banner that is borne in processions,
+besides the panel of the high-altar in the Duomo, and another panel
+in S. Francesco. But the best painting that Niccolo ever did was in
+a chapel in the Duomo, where, among other things, there is a
+Pieta, with two angels who are holding two torches and weeping so
+naturally, that I do not believe that any other painter, however
+excellent, would have been able to do much better. In the same place
+he also painted the facade of S. Maria degli Angeli, besides many
+other works of which there is no need to make mention, it being
+enough to have touched on the best. And let this be the end of the
+Life of Pinturicchio, who, besides his other qualities, gave no
+little satisfaction to many princes and lords because he finished
+and delivered his works quickly, which is their pleasure, although
+such works are perchance less excellent than those that are made
+slowly and deliberately.
+
+FOOTNOTE:
+
+[1] Pietro Perugino.
+
+[2] This seems to be an error for Calistus III.
+
+
+
+
+FRANCESCO FRANCIA
+
+
+
+
+[Illustration: MEDALS
+
+(_London: British Museum_)
+
+  1. ULISSE MUSOTTI              3. FRANCESCO ALIDOSI
+  2. GIOVANNI II BENTIVOGLIO     4. BERNARDO ROSSI
+ (_After_ Francesco Francia)     (_After_ a pupil of Francesco Francia)]
+
+
+
+
+LIFE OF FRANCESCO FRANCIA
+
+GOLDSMITH AND PAINTER OF BOLOGNA
+
+
+Francesco Francia, who was born in Bologna in the year 1450, of
+parents who were artisans, but honest and worthy enough, was
+apprenticed in his earliest boyhood to the goldsmith's art, in which
+calling he worked with intelligence and spirit; and as he grew up he
+became so well proportioned in person and appearance, and so sweet and
+pleasant in manner and speech, that he was able to keep the most
+melancholy of men cheerful and free from care with his talk; for which
+reason he was beloved not only by all those who knew him, but also by
+many Italian princes and other lords. While working as a goldsmith,
+then, he gave attention to design, in which he took so much pleasure,
+that his mind began to aspire to higher things, and he made very great
+progress therein, as may be seen from many works in silver that he
+executed in his native city of Bologna, and particularly from certain
+most excellent works in niello. In this manner of work he often put
+twenty most beautiful and well-proportioned little figures within a
+space no higher than the breadth of two fingers and not much more in
+length. He also enamelled many works in silver, which were destroyed
+at the time of the ruin and exile of the Bentivogli. In a word, he did
+everything that can be done in that art better than any other man.
+
+But that in which he delighted above all, and in which he was truly
+excellent, was the making of dies for medals, wherein he was the
+rarest master of his day, as may be seen in some that he made with a
+most lifelike head of Pope Julius II, which bear comparison with
+those of Caradosso; not to mention that he made medals of Signor
+Giovanni Bentivogli, in which he appears alive, and of an infinite
+number of princes, who would stop in Bologna on their way through
+the city, whereupon he would make their portraits in wax for medals,
+and afterwards, having finished the matrices of the dies, he would
+send them; for which, besides immortal fame, he also received very
+rich presents. As long as he lived he was ever Master of the Mint in
+Bologna, for which he made the stamps of all the dies, both under
+the rule of the Bentivogli and also during the lifetime of Pope
+Julius, after their departure, as is proved by the coins struck by
+that Pope on his entrance into the city, which had on one side his
+head portrayed from life, and on the other these words: BONONIA PER
+JULIUM A TYRANNO LIBERATA. So excellent was he held in this
+profession, that he continued to make the dies for the coinage down
+to the time of Pope Leo; and the impressions of his dies are so
+greatly prized, and those who have some hold them in such esteem,
+that money cannot buy them.
+
+[Illustration: MADONNA AND CHILD, WITH SAINTS
+
+(_After the panel by =Francesco Francia=. Bologna: S. Giacomo
+Maggiore, Bentivoglio Chapel_)
+
+_Anderson_]
+
+Now it came to pass that Francia, being desirous of greater glory,
+and having known Andrea Mantegna and many other painters who had
+gained wealth and honours by their art, determined to try whether he
+could succeed in that part of painting which had to do with colour;
+his drawing was already such that it could well bear comparison with
+theirs. Thereupon, having made arrangements to try his hand, he
+painted certain portraits and some little things, keeping in his
+house for many months men of that profession to teach him the means
+and methods of colouring, insomuch that, having very good judgment,
+he soon acquired the needful practice. The first work that he made
+was a panel of no great size for Messer Bartolommeo[3] Felicini, who
+placed it in the Misericordia, a church without Bologna; in which
+panel there is a Madonna seated on a throne, with many other
+figures, and the said Messer Bartolommeo portrayed from life. This
+work, which was wrought in oil with the greatest diligence, was
+painted by him in the year 1490; and it gave such satisfaction in
+Bologna, that Messer Giovanni Bentivogli, desiring to honour his own
+chapel, which was in S. Jacopo in that city, with works by this new
+painter, commissioned him to paint a panel with the Madonna in the
+sky, two figures on either side of her, and two angels below
+sounding instruments; which work was so well executed by Francia,
+that he won from Messer Giovanni, besides praise, a most honourable
+present. Wherefore Monsignore de' Bentivogli, impressed by this
+work, caused him to paint a panel containing the Nativity of Christ,
+which was much extolled, for the high-altar of the Misericordia;
+wherein, besides the design, which is not otherwise than beautiful,
+the invention and the colouring are worthy of nothing but praise. In
+this work he made a portrait of Monsignore de' Bentivogli from the
+life (a very good likeness, so it is said by those who knew him),
+clothed in that very pilgrim's dress in which he returned from
+Jerusalem. He also painted a panel in the Church of the Nunziata,
+without the Porta di S. Mammolo, representing the Madonna receiving
+the Annunciation from the Angel, with two figures on either side,
+which is held to be a very well executed work.
+
+Now that Francia's works had spread his fame abroad, even as his
+painting in oil had brought him both profit and repute, so he
+determined to try whether he would succeed as well at working in
+fresco. Messer Giovanni Bentivogli had caused his palace to be
+painted by diverse masters of Ferrara and Bologna, and by certain
+others from Modena; but, having seen Francia's experiments in
+fresco, he determined that this master should paint a scene on one
+wall of an apartment that he occupied for his own use. There Francia
+painted the camp of Holofernes, guarded by various sentinels both on
+foot and on horseback, who were keeping watch over the pavilions;
+and the while that they were intent on something else, the sleeping
+Holofernes was seen surprised by a woman clothed in widow's
+garments, who, with her left hand, was holding his hair, which was
+wet with the heat of wine and sleep, and with her right hand she was
+striking the blow to slay her enemy, the while that an old wrinkled
+handmaid, with the true air of a most faithful slave, and with her
+eyes fixed on those of her Judith in order to encourage her, was
+bending down and holding a basket near the ground, to receive
+therein the head of the slumbering lover. This scene was one of the
+most beautiful and most masterly that Francia ever painted, but it
+was thrown to the ground in the destruction of that edifice at the
+time of the expulsion of the Bentivogli, together with another scene
+over that same apartment, coloured to look like bronze, and
+representing a disputation of philosophers, which was excellently
+wrought, with his conception very well expressed. These works
+brought it about that he was loved and honoured by Messer Giovanni
+and all the members of his house, and, after them, by all the city.
+
+In the Chapel of S. Cecilia, which is attached to the Church of S.
+Jacopo, he painted two scenes wrought in fresco, in one of which he
+made the Marriage of Our Lady with Joseph, and in the other the
+Death of S. Cecilia--a work held in great esteem by the people of
+Bologna. And, indeed, Francia gained such mastery and such
+confidence from seeing his works advancing towards the perfection
+that he desired, that he executed many pictures, of which I will
+make no mention, it being enough for me to point out, to all who may
+wish to see his works, only the best and most notable. Nor did his
+painting hinder him from carrying on both the Mint and his other
+work of making medals, as he had done from the beginning. Francia,
+so it is said, felt the greatest sorrow at the departure of Messer
+Giovanni Bentivogli, for he had received such great benefits from
+Messer Giovanni, that it caused him infinite grief; however, like
+the prudent and orderly man that he was, he kept at his work. After
+his parting from his patron, he painted three panels that went to
+Modena, in one of which there was the Baptism of Christ by S. John;
+in the second, a very beautiful Annunciation; and in the last, which
+was placed in the Church of the Frati dell' Osservanza, a Madonna in
+the sky with many figures.
+
+[Illustration: FRANCESCO FRANCIA: PIETA
+
+(_London: National Gallery, 180. Panel_)]
+
+The fame of so excellent a master being spread abroad by means of so
+many works, the cities contended with one another to obtain his
+pictures. Whereupon he painted a panel for the Black Friars of S.
+Giovanni in Parma, containing a Dead Christ in the lap of Our Lady,
+surrounded by many figures; which panel was universally held to be a
+most beautiful work; and the same friars, therefore, thinking that
+they had been well served, induced him to make another for a house
+of theirs at Reggio in Lombardy, wherein he painted a Madonna with
+many figures. At Cesena, likewise for the church of these friars, he
+executed another panel, painting therein the Circumcision of Christ,
+with lovely colouring. Nor would the people of Ferrara consent to
+be left behind by their neighbours; nay, having determined to adorn
+their Duomo with works by Francia, they commissioned him to paint a
+panel, on which he made a great number of figures; and they named it
+the panel of Ognissanti. He painted one in S. Lorenzo at Bologna,
+with a Madonna, a figure on either side, and two children below,
+which was much extolled; and scarcely had he finished this when he
+had to make another in S. Giobbe, representing a Crucifixion, with
+that Saint kneeling at the foot of the Cross, and two figures at the
+sides.
+
+So widely had the fame and the works of this craftsman spread
+throughout Lombardy, that even from Tuscany men sent for something
+by his hand, as they did from Lucca, whither there went a panel
+containing a S. Anne and a Madonna, with many other figures, and a
+Dead Christ above in the lap of His Mother; which work is set up in
+the Church of S. Fridiano, and is held in great price by the people
+of Lucca. For the Church of the Nunziata in Bologna he painted two
+other panels, which were wrought with much diligence; and in the
+Misericordia, likewise, without the Porta a Stra Castione, at the
+request of a lady of the Manzuoli family, he painted another,
+wherein he depicted the Madonna with the Child in her arms, S.
+George, S. John the Baptist, S. Stephen, and S. Augustine, with an
+angel below, who has his hands clasped with such grace, that he
+appears truly to belong to Paradise. He executed another for the
+Company of S. Francesco in the same city, and likewise one for the
+Company of S. Gieronimo. He lived in close intimacy with Messer Polo
+Zambeccaro, who, being much his friend, and wishing to have some
+memorial of him, caused him to paint a rather large picture of the
+Nativity of Christ, which is one of the most celebrated works that
+he ever made; and for this reason Messer Polo commissioned him to
+paint at his villa two figures in fresco, which are very beautiful.
+He also executed a most charming scene in fresco in the house of
+Messer Gieronimo Bolognino, with many varied and very beautiful
+figures.
+
+All these works together had won him such veneration in that city,
+that he was held in the light of a god; and what made this
+infinitely greater was that the Duke of Urbino caused him to paint a
+set of horse's caparisons, in which he made a vast forest of trees
+that had caught fire, from which there were issuing great numbers of
+all sorts of animals, both of the air and of the earth, and certain
+figures--a terrible, awful, and truly beautiful thing, which was
+held in no little esteem by reason of the time spent in painting the
+plumage of the birds, and the various sorts of terrestrial animals,
+to say nothing of the diversity of foliage and the variety of
+branches that were seen in the different trees. For this work
+Francia was rewarded with gifts of great value as a recompense for
+his labours, not to mention that the Duke ever held himself indebted
+to him for the praises that he received for it. Duke Guido Baldo,
+also, has in his guardaroba a picture of the Roman Lucretia, which
+he esteems very highly, by the same man's hand, together with many
+other pictures, of which mention will be made when the time comes.
+
+After these things he painted a panel for the altar of the Madonna
+in SS. Vitale e Agricola; in which panel are two very beautiful
+angels, who are playing on the lute. I will not enumerate the
+pictures that are scattered throughout Bologna in the houses of
+gentlemen of that city, and still less the infinite number of
+portraits that he made from life, for it would be too wearisome. Let
+it be enough to say that while he was living in such glory and
+enjoying the fruits of his labours in peace, Raffaello da Urbino was
+in Rome, and all day long there flocked round him many strangers,
+among them many gentlemen of Bologna, eager to see his works. And
+since it generally comes to pass that every man extols most
+willingly the intellects of his native place, these Bolognese began
+to praise the works, the life, and the talents of Francia in the
+presence of Raffaello, and they established such a friendship
+between them with these words, that Francia and Raffaello sent
+letters of greeting to each other. And Francia, hearing such great
+praise spoken of the divine pictures of Raffaello, desired to see
+his works; but he was now old, and too fond of his comfortable life
+in Bologna. Now after this it came about that Raffaello painted in
+Rome for Cardinal Santi Quattro, of the Pucci family, a
+panel-picture of S. Cecilia, which had to be sent to Bologna to be
+placed in a chapel of S. Giovanni in Monte, where there is the tomb
+of the Blessed Elena dall' Olio. This he packed up and addressed to
+Francia, who, as his friend, was to have it placed on the altar of
+that chapel, with the ornament, just as he had prepared it himself.
+Right readily did Francia accept this charge, which gave him a
+chance of seeing a work by Raffaello, as he had so much desired. And
+having opened the letter that Raffaello had written to him, in which
+he besought Francia, if there were any scratch in the work, to put
+it right, and likewise, as a friend, to correct any error that he
+might notice, with the greatest joy he had the said panel taken from
+its case into a good light. But such was the amazement that it
+caused him, and so great his marvel, that, recognizing his own error
+and the foolish presumption of his own rash confidence, he took it
+greatly to heart, and in a very short time died of grief.
+
+Raffaello's panel was divine, not so much painted as alive, and so
+well wrought and coloured by him, that among all the beautiful
+pictures that he painted while he lived, although they are all
+miraculous, it could well be called most rare. Wherefore Francia,
+half dead with terror at the beauty of the picture, which lay before
+his eyes challenging comparison with those by his own hand that he
+saw around him, felt all confounded, and had it placed with great
+diligence in that chapel of S. Giovanni in Monte for which it was
+destined; and taking to his bed in a few days almost beside himself,
+thinking that he was now almost of no account in his art in
+comparison with the opinion held both by himself and by others, he
+died of grief and melancholy, so some believe, overtaken by the same
+fate, through contemplating too attentively that most lifelike
+picture of Raffaello's, as befell Fivizzano from feasting his eyes
+with his own beautiful Death, about which the following epigram was
+written:
+
+  Me veram pictor divinus mente recepit;
+    Admota est operi deinde perita manus.
+  Dumque opere in facto defigit lumina pictor,
+    Intentus nimium, palluit et moritur.
+  Viva igitur sum mors, non mortua mortis imago,
+    Si fungor quo mors fungitur officio.
+
+However, certain others say that his death was so sudden, that from
+many symptoms it appeared to be due rather to poison or apoplexy
+than to anything else. Francia was a prudent man, most regular in
+his way of life, and very robust. After his death, in the year 1518,
+he was honourably buried by his sons in Bologna.
+
+FOOTNOTE:
+
+[3] The text says "Messer Bart...."
+
+
+
+
+PIETRO PERUGINO
+
+
+
+
+LIFE OF PIETRO PERUGINO
+
+[_PIETRO VANNUCCI, OR PIETRO DA CASTEL DELLA PIEVE_]
+
+PAINTER
+
+
+How great a benefit poverty may be to men of genius, and how potent
+a force it may be to make them become excellent--nay, perfect--in
+the exercise of any faculty whatsoever, can be seen clearly enough
+in the actions of Pietro Perugino, who, flying from the extremity of
+distress at Perugia, and betaking himself to Florence in the desire
+to attain to some distinction by means of his talent, remained for
+many months without any other bed than a miserable chest to sleep
+in, turning night into day, and devoting himself with the greatest
+ardour to the unceasing study of his profession. And, having made a
+habit of this, he knew no other pleasure than to labour continually
+at his art, and to be for ever painting; for with the fear of
+poverty constantly before his eyes, he would do for gain such work
+as he would probably not have looked at if he had possessed the
+wherewithal to live. Riches, indeed, might perchance have closed the
+path on which his talent should advance towards excellence, no less
+effectually than poverty opened it to him, while necessity spurred
+him on in his desire to rise from so low and miserable a condition,
+if not to supreme eminence, at least to a rank in which he might
+have the means of life. For this reason he never took heed of cold,
+of hunger, of hardship, of discomfort, of fatigue, or of ridicule,
+if only he might one day live in ease and repose; ever saying, as it
+were by way of proverb, that after bad weather there must come the
+good, and that during the good men build the houses that are to
+shelter them when there is need.
+
+[Illustration: PIETRO PERUGINO: APOLLO AND MARSYAS
+
+(_Paris: Louvre, 1509. Panel_)]
+
+But in order that the rise of this craftsman may be better known, let
+me begin with his origin, and relate that, according to common report,
+there was born in the city of Perugia, to a poor man of Castello
+della Pieve, named Cristofano, a son who was baptized with the name of
+Pietro. This son, brought up amid misery and distress, was given by
+his father as a shop-boy to a painter of Perugia, who was no great
+master of his profession, but held in great veneration both the art
+and the men who were excellent therein; nor did he ever cease to tell
+Pietro how much gain and honour painting brought to those who
+practised it well, and he would urge the boy to the study of that art
+by recounting to him the rewards won by ancient and modern masters;
+wherefore he fired his mind in such a manner, that Pietro took it into
+his head to try, if only fortune would assist him, to become one of
+these. For this reason he was often wont to ask any man whom he knew
+to have seen the world, in what part the best craftsmen in that
+calling were formed; particularly his master, who always gave him one
+and the same answer--namely, that it was in Florence more than in any
+other place that men became perfect in all the arts, especially in
+painting, since in that city men are spurred by three things. The
+first is censure, which is uttered freely and by many, seeing that the
+air of that city makes men's intellects so free by nature, that they
+do not content themselves, like a flock of sheep, with mediocre works,
+but ever consider them with regard to the honour of the good and the
+beautiful rather than out of respect for the craftsman. The second is
+that, if a man wishes to live there, he must be industrious, which is
+naught else than to say that he must continually exercise his
+intelligence and his judgment, must be ready and adroit in his
+affairs, and, finally, must know how to make money, seeing that the
+territory of Florence is not so wide or abundant as to enable her to
+support at little cost all who live there, as can be done in countries
+that are rich enough. The third, which is perchance no less potent
+than the others, is an eager desire for glory and honour, which is
+generated mightily by that air in the men of all professions; and this
+desire, in all persons of spirit, will not let them stay content with
+being equal, much less inferior, to those whom they see to be men like
+themselves, although they may recognize them as masters--nay, it
+forces them very often to desire their own advancement so eagerly,
+that, if they are not kindly or wise by nature, they turn out
+evil-speakers, ungrateful, and unthankful for benefits. It is true,
+indeed, that when a man has learnt there as much as suffices him, he
+must, if he wishes to do more than live from day to day like an
+animal, and desires to become rich, take his departure from that place
+and find a sale abroad for the excellence of his works and for the
+repute conferred on him by that city, as the doctors do with the fame
+derived from their studies. For Florence treats her craftsmen as time
+treats its own works, which when perfected, it destroys and consumes
+little by little.
+
+Moved by these counsels, therefore, and by the persuasions of many
+others, Pietro came to Florence, minded to become excellent; and
+well did he succeed, for the reason that in those times works in his
+manner were held in very great price. He studied under the
+discipline of Andrea Verrocchio, and his first figures were painted
+without the Porta a Prato, in the Nunnery of S. Martino, now in
+ruins by reason of the wars. In Camaldoli he made a S. Jerome on a
+wall, which was then much esteemed by the Florentines and celebrated
+with great praise, for the reason that he made that Saint old, lean,
+and emaciated, with his eyes fixed on the Crucifix, and so wasted
+away, that he seems like an anatomical model, as may be seen from a
+copy of that picture which is in the hands of the aforesaid
+Bartolommeo Gondi. In a few years, then, he came into such credit,
+that his works filled not only Florence and all Italy, but also
+France, Spain, and many other countries to which they were sent.
+Wherefore, his paintings being held in very great price and repute,
+merchants began to buy them up wholesale and to send them abroad to
+various countries, to their own great gain and profit.
+
+For the Nuns of S. Chiara he painted a Dead Christ on a panel, with
+such lovely and novel colouring, that he made the craftsmen believe
+that he would become excellent and marvellous. In this work there
+are seen some most beautiful heads of old men, and likewise certain
+figures of the Maries, who, having ceased to weep, are contemplating
+the Dead Jesus with extraordinary awe and love; not to mention that
+he made therein a landscape that was then held most beautiful,
+because the true method of making them, such as it appeared later,
+had not yet been seen. It is said that Francesco del Pugliese
+offered to give to the aforesaid nuns three times as much money as
+they had paid to Pietro, and to have a similar one made for them by
+the same man's hand, but that they would not consent, because Pietro
+said that he did not believe he could equal it.
+
+There were also many things by the hand of Pietro in the Convent of
+the Frati Gesuati, without the Porta a Pinti; and since the said
+church and convent are now in ruins, I do not wish, with this
+occasion, and before I proceed further with this Life, to grudge the
+labour of giving some little account of them. This church, then, the
+architect of which was Antonio di Giorgio of Settignano, was forty
+braccia long and twenty wide. At the upper end one ascended by four
+treads, or rather steps, to a platform six braccia in extent, on
+which stood the high-altar, with many ornaments carved in stone; and
+on the said altar was a panel with a rich ornament, by the hand, as
+has been related, of Domenico Ghirlandajo. In the centre of the
+church was a partition-wall, with a door wrought in open-work from
+the middle upwards, on either side of which was an altar, while over
+either altar, as will be told, there stood a panel by the hand of
+Pietro Perugino. Over the said door was a most beautiful Crucifix by
+the hand of Benedetto da Maiano, with a Madonna on one side and a S.
+John on the other, both in relief. Before the said platform of the
+high-altar, and against the said partition-wall, was a choir of the
+Doric Order, very well wrought in walnut-wood; and over the
+principal door of the church there was another choir, which rested
+on well-strengthened woodwork, with the under part forming a
+ceiling, or rather soffit, beautifully partitioned, and with a row
+of balusters acting as parapet to the front of the choir, which
+faced towards the high-altar. This choir was very convenient to the
+friars of that convent for holding their night services, for saying
+their individual prayers, and likewise for week-days. Over the
+principal door of the church--which was made with most beautiful
+ornaments of stone, and had a portico in front raised on columns,
+which made a covered way as far as the door of the convent--was a
+lunette with a very beautiful figure of S. Giusto, the Bishop, and
+an angel on either side, by the hand of the illuminator Gherardo;
+and this because that church was dedicated to the said S. Giusto,
+and within it those friars preserved a relic of that Saint--that is,
+an arm. At the entrance of the convent was a little cloister of
+exactly the same size as the church--namely, forty braccia long and
+twenty wide--with arches and vaulting going right round and
+supported by columns of stone, thus making a spacious and most
+commodious loggia on every side. In the centre of the court of this
+cloister, which was all neatly paved with squared stone, was a very
+beautiful well, with a loggia above, which likewise rested on
+columns of stone, and made a rich and beautiful ornament. In this
+cloister were the chapter-house of the friars, the side-door of
+entrance into the church, and the stairs that ascended to the
+dormitory and other rooms for the use of the friars. On the farther
+side of this cloister, in a straight line with the principal door of
+the convent, was a passage as long as the chapter-house and the
+steward's room put together, leading into another cloister larger
+and more beautiful than the first; and the whole of this straight
+line--that is, the forty braccia of the loggia of the first
+cloister, the passage, and the line of the second cloister--made a
+very long enfilade, more beautiful than words can tell, and the
+rather as from that farther cloister, in the same straight line,
+there issued a garden-walk two hundred braccia in length; and all
+this, as one came from the principal door of the convent, made a
+marvellous view. In the said second cloister was a refectory, sixty
+braccia long and eighteen wide, with all those well-appointed rooms,
+and, as the friars call them, offices, which were required in such a
+convent. Over this was a dormitory in the shape of a =T=, one part
+of which--namely, the principal part in the direct line, which was
+sixty braccia long--was double--that is to say, it had cells on
+either side, and at the upper end, in a space of fifteen braccia,
+was an oratory, over the altar of which there was a panel by the
+hand of Pietro Perugino; and over the door of this oratory was
+another work by the same man's hand, in fresco, as will be told. And
+on the same floor, above the chapter-house, was a large room where
+those fathers worked at making glass windows, with the little
+furnaces and other conveniences that were necessary for such an
+industry; and since while Pietro lived he made the cartoons for many
+of their works, those that they executed in his time were all
+excellent. Then the garden of this convent was so beautiful and so
+well kept, and the vines were trained round the cloister and in
+every place with such good order, that nothing better could be seen
+in the neighbourhood of Florence. In like manner the room wherein
+they distilled scented waters and medicines, as was their custom,
+had all the best conveniences that could possibly be imagined. In
+short, that convent was one of the most beautiful and best appointed
+that there were in the State of Florence; and it is for this reason
+that I have wished to make this record of it, and the rather as the
+greater part of the pictures that were therein were by the hand of
+our Pietro Perugino.
+
+[Illustration: THE DEPOSITION
+
+(_After the panel by =Pietro Perugino=. Florence: Pitti, 164_)
+
+_Anderson_]
+
+Returning at length to this Pietro, I have to say that of the works
+that he made in the said convent none have been preserved save the
+panels, since those executed in fresco were thrown to the ground,
+together with the whole of that building, by reason of the siege of
+Florence, when the panels were carried to the Porta a S. Pier
+Gattolini, where a home was given to those friars in the Church and
+Convent of S. Giovannino. Now the two panels on the aforesaid
+partition-wall were by the hand of Pietro; and in one was Christ in
+the Garden, with the Apostles sleeping, in whom Pietro showed how
+well sleep can prevail over pains and discomforts, having
+represented them asleep in attitudes of perfect ease. In the other
+he made a Pieta--that is, Christ in the lap of Our Lady--surrounded
+by four figures no less excellent than any others in his manner;
+and, to mention only one thing, he made the Dead Christ all
+stiffened, as if He had been so long on the Cross that the length of
+time and the cold had reduced Him to this; wherefore he painted Him
+supported by John and the Magdalene, all sorrowful and weeping. In
+another panel he painted the Crucifixion, with the Magdalene, and,
+at the foot of the Cross, S. Jerome, S. John the Baptist, and the
+Blessed Giovanni Colombini, founder of that Order; all with infinite
+diligence. These three panels have suffered considerably, and they
+are all cracked in the dark parts and where there are shadows; and
+this comes to pass when the first coat of colour, which is laid on
+the ground (for three coats of colour are used, one over the other),
+is worked on before it is thoroughly dry; wherefore afterwards, with
+time, in the drying, they draw through their thickness and come to
+have the strength to make those cracks; which Pietro could not
+know, seeing that in his time they were only just beginning to paint
+well in oil.
+
+Now, the works of Pietro being much commended by the Florentines, a
+Prior of the same Convent of the Ingesuati, who took delight in art,
+caused him to make a Nativity, with the Magi, on a wall in the first
+cloister, after the manner of a miniature. This he brought to
+perfect completion with great loveliness and a high finish, and it
+contained an infinite number of different heads, many of them
+portrayed from life, among which was the head of Andrea del
+Verrocchio, his master. In the same court, over the arches of the
+columns, he made a frieze with heads of the size of life, very well
+executed, among which was one of the said Prior, so lifelike and
+wrought in so good a manner, that it was judged by the most
+experienced craftsmen to be the best thing that Pietro ever made. In
+the other cloister, over the door that led into the refectory, he
+was commissioned to paint a scene of Pope Boniface confirming the
+habit of his Order to the Blessed Giovanni Colombino, wherein he
+portrayed eight of the aforesaid friars, and made a most beautiful
+view receding in perspective, which was much extolled, and rightly,
+since Pietro made a particular profession of this. In another scene
+below the first he began a Nativity of Christ, with certain angels
+and shepherds, wrought with the freshest colouring. And in an arch
+over the door of the aforesaid oratory he made three half-length
+figures--Our Lady, S. Jerome, and the Blessed Giovanni--with so
+beautiful a manner, that this was held to be one of the best mural
+paintings that Pietro ever wrought.
+
+The said Prior, so I once heard tell, was very excellent at making
+ultramarine blues, and, therefore, having an abundance of them, he
+desired that Pietro should use them freely in all the above-mentioned
+works; but he was nevertheless so mean and suspicious that he would
+never trust Pietro, and always insisted on being present when he was
+using blue in the work. Wherefore Pietro, who had an honest and
+upright nature, and had no desire for another man's goods save in
+return for his own labour, took the Prior's distrust very ill, and
+resolved to put him to shame; and so, having taken a basin of water,
+and having laid on the ground for draperies or for anything else that
+he wished to paint in blue and white, from time to time he caused the
+Prior, who turned grudgingly to his little bag, to put some
+ultramarine into the little vase that contained the tempera-water, and
+then, setting to work, at every second stroke of the brush Pietro
+would dip his brush in the basin, so that there remained more in the
+water than he had used on the picture. The Prior, who saw his little
+bag becoming empty without much to show for it in the work, kept
+saying time after time: "Oh, what a quantity of ultramarine this
+plaster consumes!" "Does it not?" Pietro would answer. After the
+departure of the Prior, Pietro took the ultramarine from the bottom of
+the basin, and gave it back to him when he thought the time had come,
+saying: "Father, this is yours; learn to trust honest men, who never
+cheat those who trust them, although, if they wished, they could cheat
+such distrustful persons as yourself."
+
+By reason of these works, then, and many others, Pietro came into
+such repute that he was almost forced to go to Siena, where he
+painted a large panel, which was held very beautiful, in S.
+Francesco; and he painted another in S. Agostino, containing a
+Crucifix with some saints. A little time after this, for the Church
+of S. Gallo in Florence, he painted a panel-picture of S. Jerome in
+Penitence, which is now in S. Jacopo tra Fossi, where the aforesaid
+friars live, near the Canto degli Alberti. He was commissioned to
+paint a Dead Christ, with the Madonna and S. John, above the steps
+of the side-door of S. Pietro Maggiore; and this he wrought in such
+a manner, that it has been preserved, although exposed to rain and
+wind, as fresh as if it had only just been finished by Pietro's
+hand. Truly intelligent was Pietro's understanding of colour, both
+in fresco and in oil; wherefore all experienced craftsmen are
+indebted to him, for it is through him that they have knowledge of
+the lights that are seen throughout his works.
+
+[Illustration: CHRIST GIVING THE KEYS TO S. PETER
+
+(_After the fresco by =Pietro Perugino=. Rome: Sistine Chapel_)
+
+_Alinari_]
+
+In S. Croce, in the same city, he made a Pieta--that is, Our Lady
+with the Dead Christ in her arms--and two figures, which are
+marvellous to behold, not so much for their excellence, as for the
+fact that they have remained so fresh and vivid in colouring,
+painted as they are in fresco. He was commissioned by Bernardino de'
+Rossi, a citizen of Florence, to paint a S. Sebastian to be
+sent into France, the price agreed on being one hundred gold crowns;
+but this work was sold by Bernardino to the King of France for four
+hundred gold ducats. At Vallombrosa he painted a panel for the
+high-altar; and in the Certosa of Pavia, likewise, he executed a
+panel for the friars of that place. At the command of Cardinal
+Caraffa of Naples he painted an Assumption of Our Lady, with the
+Apostles marvelling round the tomb, for the high-altar of the
+Piscopio; and for Abbot Simone de' Graziani of Borgo a San Sepolcro
+he executed a large panel, which was painted in Florence, and then
+borne to S. Gilio in the Borgo on the shoulders of porters, at very
+great expense. To S. Giovanni in Monte at Bologna he sent a panel
+with certain figures standing upright, and a Madonna in the sky.
+
+[Illustration: FORTITUDE AND TEMPERANCE, WITH WARRIORS
+
+(_After the fresco by =Pietro Perugino=. Perugia: Collegio del
+Cambio_)
+
+_Alinari_]
+
+Thereupon the fame of Pietro spread so widely throughout Italy and
+abroad, that to his great glory he was summoned to Rome by Pope
+Sixtus IV to work in his chapel in company with the other excellent
+craftsmen. There, in company with Don Bartolommeo della Gatta, Abbot
+of S. Clemente at Arezzo, he painted the scene of Christ giving the
+keys to S. Peter; and likewise the Nativity and Baptism of Christ,
+and the Birth of Moses, with the daughter of Pharaoh finding him in
+the little ark. And on the same wall where the altar is he painted a
+mural picture of the Assumption of Our Lady, with a portrait of Pope
+Sixtus on his knees. But these works were thrown to the ground in
+preparing the wall for the Judgment of the divine Michelagnolo, in
+the time of Pope Paul III. On a vault of the Borgia Tower in the
+Papal Palace he painted certain stories of Christ, with some foliage
+in chiaroscuro, which had an extraordinary name for excellence in
+his time. In S. Marco, likewise in Rome, he painted a story of two
+martyrs beside the Sacrament--one of the best works that he made in
+Rome. For Sciarra Colonna, also, in the Palace of S. Apostolo, he
+painted a loggia and certain rooms.
+
+These works brought him a very great sum of money; wherefore, having
+resolved to remain no longer in Rome, and having departed in good
+favour with the whole Court, he returned to his native city of
+Perugia, in many parts of which he executed panels and works in
+fresco; and, in particular, a panel-picture painted in oils for the
+Chapel of the Palace of the Signori, containing Our Lady and other
+saints. In S. Francesco del Monte he painted two chapels in fresco,
+one with the story of the Magi going to make offering to Christ, and
+the other with the martyrdom of certain friars of S. Francis, who,
+going to the Soldan of Babylon, were put to death. In S. Francesco
+del Convento, likewise, he painted two panels in oil, one with the
+Resurrection of Christ, and the other with S. John the Baptist and
+other saints. For the Church of the Servi he also painted two
+panels, one of the Transfiguration of Our Lord, and in the other,
+which is beside the sacristy, the Story of the Magi; but, since
+these are not of the same excellence as the other works of Pietro,
+it is held to be certain that they are among the first that he made.
+In the Chapel of the Crocifisso in S. Lorenzo, the Duomo of the same
+city, there are by the hand of Pietro the Madonna, the other Maries,
+S. John, S. Laurence, S. James, and other saints. And for the Altar
+of the Sacrament, where there is preserved the ring with which the
+Virgin Mary was married, he painted the Marriage of the Virgin.
+
+[Illustration: PIETRO PERUGINO: TRIPTYCH
+
+(_London: National Gallery, 288. Panel_)]
+
+Afterwards he painted in fresco the whole of the Audience Chamber of
+the Cambio,[4] adorning the compartments of the vaulting with the
+seven planets, drawn in certain cars by diverse animals, according
+to the old usage; on the wall opposite to the door of entrance he
+painted the Nativity and Resurrection of Christ, with a panel
+containing S. John the Baptist in the midst of certain other saints.
+The side-walls he painted in his own manner; one with figures of
+Fabius Maximus, Socrates, Numa Pompilius, F. Camillus, Pythagoras,
+Trajan, L. Sicinius, the Spartan Leonidas, Horatius Cocles, Fabius,
+Sempronius, the Athenian Pericles, and Cincinnatus. On the other
+wall he made the Prophets, Isaiah, Moses, Daniel, David, Jeremiah,
+and Solomon; and the Sibyls, the Erythraean, the Libyan, the
+Tiburtine, the Delphic, and the others. Below each of the said
+figures he placed, in the form of a written motto, something said by
+them, and appropriate to that place. And in one of the ornaments he
+made his own portrait, which appears absolutely alive, and he wrote
+his own name below it in the following manner:
+
+  PETRUS PERUSINUS EGREGIUS PICTOR.
+  PERDITA SI FUERAT, PINGENDO HIC RETULIT ARTEM;
+  SI NUNQUAM INVENTA ESSET HACTENUS, IPSE DEDIT.
+  ANNO D. 1500.
+
+This work, which was very beautiful and more highly extolled than
+any other that was executed by Pietro in Perugia, is now held in
+great price by the men of that city in memory of so famous a
+craftsman of their own country. Afterwards, in the principal chapel
+of the Church of S. Agostino, the same man executed a large panel
+standing by itself and surrounded by a rich ornament, with S. John
+baptizing Christ on the front part, and on the back--that is, on the
+side that faces the choir--the Nativity of Christ, with certain
+saints in the upper parts, and in the predella many scenes wrought
+very diligently with little figures. And in the Chapel of S.
+Niccolo, in the said church, he painted a panel for Messer Benedetto
+Calera.
+
+After this, returning to Florence, he painted a S. Bernard on a
+panel for the Monks of Cestello, and in the chapter-house a
+Crucifix, the Madonna, S. Benedict, S. Bernard, and S. John. And in
+S. Domenico da Fiesole, in the second chapel on the right hand, he
+painted a panel containing Our Lady and three figures, among which
+is a S. Sebastian worthy of the highest praise. Now Pietro had done
+so much work, and he always had so many works in hand, that he would
+very often use the same subjects; and he had reduced the theory of
+his art to a manner so fixed, that he made all his figures with the
+same expression. By that time Michelagnolo Buonarroti had already
+come to the front, and Pietro greatly desired to see his figures, by
+reason of the praise bestowed on him by craftsmen; and seeing the
+greatness of his own name, which he had acquired in every place
+through so grand a beginning, being obscured, he was ever seeking to
+wound his fellow-workers with biting words. For this reason, besides
+certain insults aimed at him by the craftsmen, he had only himself
+to blame when Michelagnolo told him in public that he was a clumsy
+fool at his art. But Pietro being unable to swallow such an affront,
+they both appeared before the Tribunal of Eight, where Pietro came
+off with little honour. Meanwhile the Servite Friars of Florence,
+wishing to have the altar-piece of their high-altar painted by some
+famous master, had handed it over, by reason of the departure of
+Leonardo da Vinci, who had gone off to France, to Filippino; but he,
+when he had finished half of one of two panels that were to adorn
+the altar, passed from this life to the next; wherefore the friars,
+by reason of the faith that they had in Pietro, entrusted him with
+the whole work. In that panel, wherein he was painting the
+Deposition of Christ from the Cross, Filippino had finished the
+figures of Nicodemus that are taking Him down; and Pietro continued
+the lower part with the Swooning of the Madonna, and certain other
+figures. Now this work was to be composed of two panels, one facing
+towards the choir of the friars, and the other towards the body of
+the church, and the Deposition from the Cross was to be placed
+behind, facing the choir, with the Assumption of Our Lady in front;
+but Pietro made the latter so commonplace, that the Deposition of
+Christ was placed in front, and the Assumption on the side of the
+choir. These panels have now been removed, both one and the other,
+and replaced by the Tabernacle of the Sacrament; they have been set
+up over certain other altars in that church, and out of the whole
+work there only remain six pictures, wherein are some saints painted
+by Pietro in certain niches. It is said that when the work was
+unveiled, it received no little censure from all the new craftsmen,
+particularly because Pietro had availed himself of those figures
+that he had been wont to use in other pictures; with which his
+friends twitted him, saying that he had taken no pains, and that he
+had abandoned the good method of working, either through avarice or
+to save time. To this Pietro would answer: "I have used the figures
+that you have at other times praised, and which have given you
+infinite pleasure; if now they do not please you, and you do not
+praise them, what can I do?" But they kept assailing him bitterly
+with sonnets and open insults; whereupon, although now old, he
+departed from Florence and returned to Perugia.
+
+There he executed certain works in fresco in the Church of S.
+Severo, a place belonging to the Monks of the Order of Camaldoli,
+wherein Raffaello da Urbino, when quite young and still the disciple
+of Pietro, had painted certain figures, as will be told in his Life.
+Pietro likewise worked at Montone, at La Fratta, and in many other
+places in the district of Perugia; more particularly in S. Maria
+degli Angeli at Assisi, where he painted in fresco a Christ on the
+Cross, with many figures, on the wall at the back of the Chapel of
+the Madonna, which faces the choir of the monks. And for the
+high-altar of the Church of S. Pietro, an abbey of Black Friars in
+Perugia, he painted a large panel containing the Ascension, with the
+Apostles below gazing up to Heaven; in the predella of which panel
+are three stories, wrought with much diligence--namely, that of the
+Magi, the Baptism of Christ, and His Resurrection. The whole of this
+picture is seen to be full of beautiful and careful work, insomuch
+that it is the best of those wrought in oil by the hand of Pietro
+which are in Perugia. The same man began a work in fresco of no
+small importance at Castello della Pieve, but did not finish it.
+
+It was ever Pietro's custom on his going and coming between the said
+Castello and Perugia, like a man who trusted nobody, to carry all
+the money that he possessed about his person. Wherefore certain men,
+lying in wait for him at a pass, robbed him, but at his earnest
+entreaty they spared his life for the love of God; and afterwards,
+by means of the services of his friends, who were numerous enough,
+he also recovered a great part of the money that had been taken from
+him; but none the less he came near dying of vexation. Pietro was a
+man of very little religion, and he could never be made to believe
+in the immortality of the soul--nay, with words in keeping with his
+head of granite, he rejected most obstinately every good suggestion.
+He placed all his hopes in the goods of fortune, and he would have
+sold his soul for money. He earned great riches; and he both bought
+and built houses in Florence, and acquired much settled property
+both at Perugia and at Castello della Pieve. He took a most
+beautiful young woman to wife, and had children by her; and he
+delighted so greatly in seeing her wearing beautiful head-dresses,
+both abroad and at home, that it is said that he would often tire
+her head with his own hand. Finally, having reached the age of
+seventy-eight, Pietro finished the course of his life at Castello
+della Pieve, where he was honourably buried, in the year 1524.
+
+Pietro made many masters in his own manner, and one among them, who
+was truly most excellent, devoted himself heart and soul to the
+honourable studies of painting, and surpassed his master by a great
+measure; and this was the miraculous Raffaello Sanzio of Urbino, who
+worked for many years under Pietro in company with his father,
+Giovanni de' Santi. Another disciple of this man was Pinturicchio, a
+painter of Perugia, who, as it has been said in his Life, ever held
+to Pietro's manner. His disciple, likewise, was Rocco Zoppo, a
+painter of Florence, by whose hand is a very beautiful Madonna in a
+round picture, which is in the possession of Filippo Salviati;
+although it is true that it was brought to completion by Pietro
+himself. The same Rocco painted many pictures of Our Lady, and made
+many portraits, of which there is no need to speak; I will only say
+that in the Sistine Chapel in Rome he painted portraits of Girolamo
+Riario and of F. Pietro, Cardinal of San Sisto. Another disciple of
+Pietro was Montevarchi, who painted many pictures in San Giovanni di
+Valdarno; more particularly, in the Madonna, the stories of the
+Miracle of the Milk. He also left many works in Montevarchi, his
+birth-place. Likewise a pupil of Pietro's, working with him for no
+little time, was Gerino da Pistoia, of whom there has been mention
+in the Life of Pinturicchio; and so also was Baccio Ubertino of
+Florence, who was most diligent both in colouring and in drawing,
+for which reason Pietro made much use of him. By this man's hand is
+a drawing in our book, done with the pen, of Christ being scourged
+at the Column, which is a very lovely thing.
+
+[Illustration: MADONNA AND CHILD, WITH SAINTS
+
+(_After the panel by =Giovanni (Lo Spagna)=. Assisi: Lower Church_)
+
+_Anderson_]
+
+A brother of this Baccio, and likewise a disciple of Pietro, was
+Francesco, called Il Bacchiaccha by way of surname, who was a most
+diligent master of little figures, as may be seen in many works
+wrought by him in Florence, above all in the house of Giovan Maria
+Benintendi and in that of Pier Francesco Borgherini. Bacchiaccha
+delighted in painting grotesques, wherefore he covered a little
+cabinet belonging to the Lord Duke Cosimo with animals and rare
+plants, drawn from nature, which are held very beautiful. Besides
+this, he made the cartoons for many tapestries, which were
+afterwards woven in silk by the Flemish master, Giovanni Rosto, for
+the apartments of his Excellency's Palace. Still another disciple of
+Pietro was the Spaniard Giovanni, called Lo Spagna by way of
+surname, who was a better colourist than any of the others whom
+Pietro left behind him at his death; after which this Giovanni would
+have settled in Perugia, if the envy of the painters of that city,
+so hostile to strangers, had not persecuted him in such wise as to
+force him to retire to Spoleto, where, by reason of his excellence
+and virtue, he obtained a wife of good family and was made a citizen
+of that city. He made many works in that place, and likewise in all
+the other cities of Umbria; and at Assisi, in the lower Church of S.
+Francesco, he painted the panel of the Chapel of S. Caterina, for
+the Spanish Cardinal Egidio, and also one in S. Damiano. In S. Maria
+degli Angeli, in the little chapel where S. Francis died, he painted
+some half-length figures of the size of life--that is, certain
+companions of S. Francis and other saints--all very lifelike, on
+either side of a S. Francis in relief.
+
+But the best master among all the aforesaid disciples of Pietro was
+Andrea Luigi of Assisi, called L'Ingegno, who in his early youth
+competed with Raffaello da Urbino under the discipline of Pietro,
+who always employed him in the most important pictures that he made;
+as may be seen in the Audience Chamber of the Cambio in Perugia,
+where there are some very beautiful figures by his hand; in those
+that he wrought at Assisi; and, finally, in the Chapel of Pope
+Sixtus at Rome. In all these works Andrea gave such proof of his
+worth, that he was expected to surpass his master by a great
+measure, and so, without a doubt, it would have come to pass; but
+fortune, which is almost always pleased to oppose herself to lofty
+beginnings, did not allow L'Ingegno to reach perfection, for a flux
+of catarrh fell upon his eyes, whence the poor fellow became wholly
+blind, to the infinite grief of all who knew him. Hearing of this
+most pitiful misfortune, Pope Sixtus, like a man who ever loved men
+of talent, ordained that a yearly provision should be paid to Andrea
+in Assisi during his lifetime by those who managed the revenues
+there; and this was done until he died at the age of eighty-six.
+
+Likewise disciples of Pietro, and also natives of Perugia, were
+Eusebio San Giorgio, who painted the panel of the Magi in S.
+Agostino; Domenico di Paris, who made many works in Perugia and in
+the neighbouring townships, being followed by his brother Orazio;
+and also Gian Niccola, who painted Christ in the Garden on a panel
+in S. Francesco, the panel of Ognissanti in the Chapel of the
+Baglioni in S. Domenico, and stories of S. John the Baptist in
+fresco in the Chapel of the Cambio. Benedetto Caporali, otherwise
+called Bitti, was also a disciple of Pietro, and there are many
+pictures by his hand in his native city of Perugia. And he occupied
+himself so greatly with architecture, that he not only executed many
+works, but also wrote a commentary on Vitruvius in the manner that
+all can see, for it is printed; in which studies he was followed by
+his son Giulio, a painter of Perugia.
+
+But not one out of all these disciples ever equalled Pietro's
+diligence, or the grace of colouring that he showed in that manner
+of his own, which pleased his time so much, that many came from
+France, from Spain, from Germany, and from other lands, to learn it.
+And a trade was done in his works, as has been said, by many who
+sent them to diverse places, until there came the manner of
+Michelagnolo, which, having shown the true and good path to these
+arts, has brought them to that perfection which will be seen in the
+Third Part, about to follow, wherein we will treat of the excellence
+and perfection of art, and show to craftsmen that he who labours and
+studies continuously, and not in the way of fantasy or caprice,
+leaves true works behind him and acquires fame, wealth, and
+friends.
+
+FOOTNOTE:
+
+[4] Exchange or Bank.
+
+
+
+
+VITTORE SCARPACCIA (CARPACCIO), AND OTHER VENETIAN AND LOMBARD
+PAINTERS
+
+
+
+
+LIVES OF VITTORE SCARPACCIA (CARPACCIO), AND OF OTHER VENETIAN AND
+LOMBARD PAINTERS
+
+
+It is very well known that when some of our craftsmen make a
+beginning in some province, they are afterwards followed by many,
+one after another; and very often there is an infinite number of
+them at one and the same time, for the reason that rivalry,
+emulation, and the fact that they have been dependent on others, one
+on one excellent master, and one on another, bring it about that the
+craftsmen seek with all the greater effort to surpass one another,
+to the utmost of their ability. And even when many depend on one, no
+sooner do they separate, either at the death of their master or for
+some other reason, than they straightway also separate in aim;
+whereupon each seeks to prove his own worth, in order to appear
+better than the rest and a master by himself.
+
+Of many, then, who flourished almost at one and the same time and in
+one and the same province, and about whom I have not been able to
+learn and am not able to write every particular, I will give some
+brief account, to the end that, now that I find myself at the end of
+the Second Part of this my work, I may not omit some who have
+laboured to leave the world adorned by their works. Of these men, I
+say, besides having been unable to discover their whole history, I
+have not even been able to find the portraits, excepting that of
+Scarpaccia, whom for this reason I have made head of the others. Let
+my readers therefore accept what I can offer in this connection,
+seeing that I cannot offer what I would wish. There lived, then, in
+the March of Treviso and in Lombardy, during a period of many years,
+Stefano Veronese, Aldigieri da Zevio, Jacopo Davanzo of Bologna,
+Sebeto da Verona, Jacobello de Flore, Guerriero da Padova, Giusto,
+Girolamo Campagnola and his son Giulio, and Vincenzio Bresciano;
+Vittore, Sebastiano,[5] and Lazzaro[5] Scarpaccia, Venetians;
+Vincenzio Catena, Luigi Vivarini, Giovan Battista da Conigliano,
+Marco Basarini,[6] Giovanetto Cordegliaghi, Il Bassiti, Bartolommeo
+Vivarini, Giovanni Mansueti, Vittore Bellini, Bartolommeo Montagna
+of Vicenza, Benedetto Diana, and Giovanni Buonconsigli, with many
+others, of whom there is no need to make mention here.
+
+[Illustration: THE MADONNA AND CHILD WITH S. CATHARINE IN A ROSE
+GARDEN
+
+(_After the panel by =Stefano da Verona (da Zevio)=. Verona:
+Gallery, 559_)
+
+_Brogi_]
+
+To begin with the first, I start by saying that Stefano Veronese, of
+whom I gave some account in the Life of Agnolo Gaddi, was a painter
+more than passing good in his day. And when Donatello was working in
+Padua, as has been already told in his Life, going on one of several
+occasions to Verona, he was struck with marvel at the works of
+Stefano, declaring that the pictures which he had made in fresco
+were the best that had been wrought in those parts up to that time.
+The first works of this man were in the tramezzo[7] of the Church of
+S. Antonio at Verona, at the top of a wall on the left, below the
+curve of a part of the vaulting; and the subjects were a Madonna
+with the Child in her arms, and S. James and S. Anthony, one on
+either side of her. This work is held very beautiful in that city
+even at the present day, by reason of a certain liveliness that is
+seen in the said figures, particularly in the heads, which are
+wrought with much grace. In S. Niccolo, a parish church of that
+city, likewise, he painted a S. Nicholas in fresco, which is very
+beautiful. On the front of a house in the Via di S. Polo, which
+leads to the Porta del Vescovo, he painted the Virgin, with certain
+very beautiful angels and a S. Christopher; and over the wall of the
+Church of S. Consolata in the Via del Duomo, in a recess made in the
+wall, he painted a Madonna and certain birds, in particular a
+peacock, his emblem. In S. Eufemia, a convent of the Eremite Friars
+of S. Augustine, he painted over the side-door a S. Augustine with
+two other saints, and under the mantle of this S. Augustine are many
+friars and nuns of his Order; but the most beautiful things in this
+work are two half-length prophets of the size of life, for the
+reason that they have the most beautiful and most lifelike heads
+that Stefano ever made; and the colouring of the whole work,
+having been executed with diligence, has remained beautiful even to
+our own day, notwithstanding that it has been much exposed to rain,
+wind, and frost. If this work had been under cover, it would still
+be as beautiful and fresh as it issued from his hands, for the
+reason that Stefano did not retouch it on the dry, but used
+diligence in executing it well in fresco; as it is, it has suffered
+a little. Within the church, in the Chapel of the Sacrament--namely,
+round the Tabernacle--he afterwards painted certain angels flying,
+some of whom are sounding instruments, some singing, and others
+burning incense before the Sacrament; together with a figure of
+Jesus Christ, which he painted at the top as a finish to the
+Tabernacle. Below there are other angels, who are supporting Him,
+clothed in white garments reaching to their feet, and ending, as it
+were, in clouds, which was an idea peculiar to Stefano in painting
+figures of angels, whom he always made most gracious in countenance
+and very beautiful in expression. In this same work are life-size
+figures of S. Augustine and S. Jerome, one on either side; and these
+are supporting with their hands the Church of God, as if to show
+that both of them defend Holy Church from heretics with their
+learning, and support her. On a pilaster of the principal chapel in
+the same church he painted a S. Eufemia in fresco, with a beautiful
+and gracious expression of countenance; and there he wrote his own
+name in letters of gold, perchance since it appeared to him to be,
+as in fact it is, one of the best pictures that he had made; and
+according to his custom he painted there a very beautiful peacock,
+and beside it two lion cubs, which are not very beautiful, because
+at that time he could not see live ones, as he saw the peacock. He
+also painted for the same place a panel containing, as was the
+custom in those times, many half-length figures, such as S. Niccola
+da Tolentino and others; and he filled the predella with scenes in
+little figures from the life of that Saint. In S. Fermo, a church in
+the same city belonging to the Friars of S. Francis, he painted, as
+an ornament for a Deposition from the Cross on the wall opposite to
+the side-door of entrance, twelve half-length prophets of the size
+of life, with Adam and Eve lying below them, and his usual peacock,
+which is almost the hall-mark of pictures executed by him.
+
+In Mantua, at the Martello gate of the Church of S. Domenico, the
+same Stefano painted a most beautiful Madonna; the head of which
+Madonna, when they had need to build in that place, those fathers
+placed with care in the tramezzo[8] of the church--that is, in the
+Chapel of S. Orsola, which belongs to the Recuperati family, and
+contains some pictures in fresco by the hand of the same man. And in
+the Church of S. Francesco, on the right hand as one enters by the
+principal door, there is a row of chapels formerly built by the
+noble Della Ramma family, in one of which are seated figures of the
+four Evangelists, painted on the vaulting by the hand of Stefano;
+and behind their shoulders, for a background, he made certain
+espaliers of roses, with a cane trellis-work in a pattern of
+mandorle, above which are various trees and other greenery full of
+birds, particularly of peacocks; and there are also some very
+beautiful angels. In this same church, on a column on the right hand
+as one enters, he painted a life-size figure of S. Mary Magdalene.
+And in the same city, on the frontal of a door in the street called
+Rompilanza, he painted in fresco a Madonna with the Child in her
+arms, and some angels kneeling before her; and the background he
+made of trees covered with fruit.
+
+These, then, are the works that are found to have been executed by
+Stefano, although it may well be believed, since his life was not a
+short one, that he made many others. But even as I have not been
+able to discover any more of them, so I have failed to find his
+surname, his father's name, his portrait, or any other particulars.
+Some declare that before he came to Florence he was a disciple of
+Maestro Liberale, a painter of Verona; but this matters nothing. It
+is enough that he learnt all that there was of the good in him from
+Agnolo Gaddi in Florence.
+
+[Illustration: PRESENTATION TO THE MADONNA OF THREE KNIGHTS OF THE
+CAVALLI FAMILY
+
+(_After the fresco by =Aldigieri da Zevio [Altichiero]=. Verona: S.
+Anastasia_)
+
+_Alinari_]
+
+Of the same city of Verona was Aldigieri da Zevio, who was very much
+the friend of the Signori della Scala, and who, besides many other
+works, painted the Great Hall of their Palace (which is now the
+habitation of the Podesta), depicting therein the War of Jerusalem,
+according as it is described by Josephus. In this work Aldigieri
+showed great spirit and judgment, distributing one scene over the
+walls of that hall on every side, with a single ornament encircling
+it right round; on the upper part of which ornament, as it were to
+set it off, he placed a row of medallions, in which it is believed
+that there are the portraits from life of many distinguished men of
+those times, particularly of many of those Signori della Scala; but,
+since the truth about this is not known, I will say no more of it. I
+must say, indeed, that Aldigieri showed in this work that he had
+intelligence, judgment, and invention, seeing that he took into
+consideration all the things that can be taken into consideration in
+a serious war. Besides this, the colouring has remained very fresh;
+and among many portraits of men of distinction and learning, there
+is seen that of Messer Francesco Petrarca.
+
+Jacopo Avanzi, a painter of Bologna, shared the work of this hall
+with Aldigieri, and below the aforesaid pictures he painted two most
+beautiful Triumphs, likewise in fresco, with so much art and so good
+a manner, that Girolamo Campagnola declares that Mantegna used to
+praise them as pictures of the rarest merit. The same Jacopo,
+together with Aldigieri and Sebeto da Verona, painted the Chapel of
+S. Giorgio, which is beside the Church of S. Antonio, in Padua,
+according to the directions left in the testaments of the Marquesses
+of Carrara. Jacopo Avanzi painted the upper part; below this were
+certain stories of S. Lucia, with a Last Supper, by Aldigieri; and
+Sebeto painted stories of S. John. Afterwards these three masters,
+having all returned to Verona, joined together to paint a
+wedding-feast, with many portraits and costumes of those times, in
+the house of the Counts Serenghi. Now the work of Jacopo Avanzi was
+held to be the best of all; but, since mention has been made of him
+in the Life of Niccolo d' Arezzo by reason of the works that he made
+in Bologna in competition with the painters Simone, Cristofano, and
+Galasso, I will say no more about him in this place.
+
+A man who was held in esteem at Venice about the same time, although
+he adhered to the Greek manner, was Jacobello de Flore, who made a
+number of works in that city; in particular, a panel for the Nuns of
+the Corpus Domini, which stands on the altar of S. Domenico in their
+church. A competitor of this master was Giromin Morzone, who painted
+a number of pictures in Venice and in many cities of Lombardy; but,
+since he held to the old manner and made all his figures on tiptoe,
+we will say nothing about him, save that there is a panel by his
+hand, with many saints, on the Altar of the Assumption in the Church
+of S. Lena.
+
+A much better master than Morzone was Guerriero, a painter of Padua,
+who, besides many other works, painted the principal chapel of the
+Eremite Friars of S. Augustine in Padua, and a chapel for the same
+friars in the first cloister. He also painted a little chapel in the
+house of the Urban Prefect, and the Hall of the Roman Emperors,
+where the students go to dance at the time of the Carnival. He also
+painted in fresco, in the Chapel of the Podesta of the same city,
+some scenes from the Old Testament.
+
+Giusto, likewise a painter of Padua, painted in the Chapel of S.
+Giovanni Battista, without the Church of the Vescovado, not only
+certain scenes from the Old Testament and the New, but also the
+Revelations of the Apocalypse of S. John the Evangelist; and in the
+upper part he made a Paradise containing many choirs of angels and
+other adornments, wrought with beautiful conceptions. In the Church
+of S. Antonio he painted in fresco the Chapel of S. Luca; and in a
+chapel in the Church of the Eremite Friars of S. Augustine he
+painted the liberal arts, with the virtues and vices beside them,
+and likewise those who have been celebrated for their virtues, and
+those who have fallen by reason of their vices into the extreme of
+misery and into the lowest depth of Hell.
+
+There was working in Padua, in this man's time, Stefano, a painter
+of Ferrara, who, as has been said elsewhere, adorned with various
+pictures the chapel and the tomb wherein is the body of S. Anthony,
+and also painted the Virgin Mary that is called the Vergine del
+Pilastro.
+
+[Illustration: VITTORE SCARPACCIA (CARPACCIO): THE VISION OF S.
+URSULA
+
+(_Venice: Accademia, 578. Canvas_)]
+
+Another man who was held in esteem in the same times was Vincenzio,
+a painter of Brescia, according to the account of Filarete, as was
+also Girolamo Campagnola, another Paduan painter, and a disciple of
+Squarcione. Then Giulio, son of Girolamo, made many beautiful works
+of painting, illumination, and copper-engraving, both in Padua and
+in other places. In the same city of Padua many things were
+wrought by Niccolo Moreto, who lived eighty years, and never ceased
+to exercise his art.
+
+[Illustration: S. GEORGE AND THE DRAGON
+
+(_After the panel by =Vittore Scarpaccia [Carpaccio]=. Venice: S.
+Giorgio Segli Schiavoni_)
+
+_Anderson_]
+
+Besides these there were many others, who were connected with
+Gentile and Giovanni Bellini; but Vittore Scarpaccia was truly the
+first among them who made works of importance. His first works were
+in the Scuola of S. Orsola, where he painted on canvas the greater
+part of the stories that are there, representing the life and death
+of that Saint; the labours of which pictures he contrived to carry
+out so well and with such great diligence and art, that he acquired
+thereby the name of a very good and practised master. This, so it is
+said, was the reason that the people of Milan caused him to paint a
+panel in distemper with many figures for the Friars Minor, in their
+Chapel of S. Ambrogio. On the altar of the Risen Christ in the
+Church of S. Antonio he painted the scene of Christ appearing to the
+Magdalene and the other Maries, in which he made a very beautiful
+view in perspective of a landscape receding into the distance; and
+in another chapel he painted the story of the Martyrs--that is,
+their crucifixion--in which work he made more than three hundred
+figures, what with the large and the small, besides a number of
+horses and trees, an open Heaven, figures both nude and clothed in
+diverse attitudes, many foreshortenings, and so many other things,
+that it can be seen that he did not execute it without extraordinary
+labour. For the altar of the Madonna, in the Church of S. Giobbe in
+Canareio, he painted her presenting the Infant Christ to Simeon, and
+depicted the Madonna herself standing, and Simeon in his cope
+between two ministers clothed as Cardinals; behind the Virgin are
+two women, one of whom has two doves, and below are three boys, who
+are playing on a lute, a serpent, and a lyre, or rather a viol; and
+the colouring of the whole panel is very charming and beautiful.
+And, in truth, Vittore was a very diligent and practised master, and
+many pictures by his hand that are in Venice, both portraits from
+life and other kinds, are much esteemed for works wrought in those
+times. He taught his art to two brothers of his own, who imitated
+him closely, one being Lazzaro, and the other Sebastiano; and by
+their hand is a panel on the altar of the Virgin in the Church of
+the Nuns of the Corpus Domini, showing her seated between S.
+Catherine and S. Martha, with other female saints, two angels who
+are sounding instruments, and a very beautiful view of buildings in
+perspective as a background to the whole work, of which we have the
+original drawings, by the hand of these men, in our book.
+
+Another passing good painter in the time of these masters was
+Vincenzio Catena, who occupied himself much more with making
+portraits from the life than with any other sort of painting; and,
+in truth, some that are to be seen by his hand are marvellous--among
+others, that of a German of the Fugger family, a man of rank and
+importance, who was then living in the Fondaco de' Tedeschi at
+Venice, was painted with great vivacity.
+
+Another man who made many works in Venice, about the same time, was
+a disciple of Giovanni Bellini, Giovan Battista da Conigliano, by
+whose hand is a panel on the altar of S. Pietro Martire in the
+aforesaid Church of the Nuns of the Corpus Domini, containing the
+said Saint, S. Nicholas, and S. Benedict, with landscapes in
+perspective, an angel tuning a cithern, and many little figures more
+than passing good. And if this man had not died young, it may be
+believed that he would have equalled his master.
+
+The name of a master not otherwise than good, likewise, in the same
+art and at the same time, was enjoyed by Marco Basarini, who,
+painting in Venice, where he was born from a Greek father and
+mother, executed in S. Francesco della Vigna a panel with a
+Deposition of Christ from the Cross, and another panel in the Church
+of S. Giobbe, representing Christ in the Garden, and below Him the
+three Apostles, who are sleeping, and S. Francis, S. Dominic, and
+two other saints; but what was most praised in this work was a
+landscape with many little figures wrought with good grace. In that
+same church the same Marco painted S. Bernardino on a rock, with
+other saints.
+
+[Illustration: VINCENZIO CATENA (DI BIAGIO): S. JEROME IN HIS STUDY
+
+(_London: National Gallery, 694. Panel_)]
+
+Giovanetto Cordegliaghi made an infinity of devotional pictures in
+the same city; nay, he scarcely worked at anything else, and, in
+truth, he had in this sort of painting a very delicate and sweet
+manner, no little better than that of the aforesaid masters. In S.
+Pantaleone, in a chapel beside the principal one, this man
+painted S. Peter making disputation with two other saints, who are
+wearing most beautiful draperies, and are wrought with a beautiful
+manner.
+
+[Illustration: GIOVAN BATTISTA DA CONIGLIANO (CIMA): TOBIT AND THE
+ANGEL (DETAIL)
+
+(_Venice: Accademia, 592. Panel transferred to Canvas_)]
+
+Marco Bassiti was in good repute almost at the same time, and by his
+hand is a large panel in the Church of the Carthusian Monks at
+Venice, in which he painted Christ between Peter and Andrew on the
+Sea of Tiberias, with the sons of Zebedee; making therein an arm of
+the sea, a mountain, and part of a city, with many persons in the
+form of little figures. Many other works by this man could be
+enumerated, but let it be enough to have spoken of this one, which
+is the best.
+
+Bartolommeo Vivarini of Murano also acquitted himself very well in
+the works that he made, as may be seen, besides many other examples,
+in the panel that he executed for the altar of S. Luigi in the
+Church of SS. Giovanni e Polo; in which panel he portrayed the said
+S. Luigi seated, wearing the cope, with S. Gregory, S. Sebastian,
+and S. Dominic on one side of him, and on the other side S.
+Nicholas, S. Jerome, and S. Rocco, and above them half-length
+figures of other saints.
+
+Another man who executed his pictures very well, taking much delight
+in counterfeiting things of nature, figures, and distant landscapes,
+was Giovanni Mansueti, who, imitating the works of Gentile Bellini
+not a little, made many pictures in Venice. At the upper end of the
+Audience Chamber of the Scuola of S. Marco he painted a S. Mark
+preaching on the Piazza; in which picture he painted the facade of
+the church, and, among the multitude of men and women who are
+listening to the Saint, Turks, Greeks, and the faces of men of
+diverse nations, with bizarre costumes. In the same place, in
+another scene wherein he painted S. Mark healing a sick man, he made
+a perspective view of two staircases and many loggie. In another
+picture, near to that one, he made a S. Mark converting an infinite
+multitude to the faith of Christ; in this he made an open temple,
+with a Crucifix on an altar, and throughout the whole work there are
+diverse persons with a beautiful variety of expression, dress, and
+features.
+
+The work in the same place was continued after him by Vittore
+Bellini, who made a view of buildings in perspective, which is
+passing good, in a scene wherein S. Mark is taken prisoner and
+bound, with a number of figures, in which he imitated his
+predecessors. After these men came Bartolommeo Montagna of Vicenza,
+a passing good painter, who lived ever in Venice and made many
+pictures there; and he painted a panel in the Church of S. Maria d'
+Artone at Padua. Benedetto Diana, likewise, was a painter no less
+esteemed than the masters mentioned above, as is proved, to say
+nothing of his other works, by those from his hand that are in S.
+Francesco della Vigna at Venice, where, for the altar of S.
+Giovanni, he painted that Saint standing between two other saints,
+each of whom has a book in his hand.
+
+Another man who was accounted a good master was Giovanni
+Buonconsigli, who painted a picture in the Church of SS. Giovanni e
+Polo for the altar of S. Tommaso d' Aquino, showing that Saint
+surrounded by many figures, to whom he is reading the Holy
+Scriptures; and he made therein a perspective view of buildings,
+which is not otherwise than worthy of praise. There also lived in
+Venice throughout almost the whole course of his life the Florentine
+sculptor, Simon Bianco, as did Tullio Lombardo, an excellent master
+of intaglio.
+
+In Lombardy, likewise, there were excellent sculptors in Bartolommeo
+Clemente of Reggio and Agostino Busto; and, in intaglio, Jacopo
+Davanzo of Milan, with Gasparo and Girolamo Misceroni. In Brescia
+there was a man who was able and masterly at working in fresco,
+called Vincenzio Verchio, who acquired a very great name in his
+native place by reason of his beautiful works. The same did Girolamo
+Romanino, a fine master of design, as is clearly demonstrated by the
+works made by him in Brescia and in the neighbourhood for many miles
+around. And not inferior to these--nay, even superior--was
+Alessandro Moretto, who was very delicate in his colouring, and much
+the friend of diligence, as the works made by him demonstrate.
+
+[Illustration: CHRIST ON THE MOUNT OF OLIVES
+
+(_After the panel by =Marco Bassiti [Basaiti]=. Venice: Accademia,
+69_)
+
+_Anderson_]
+
+But to return to Verona, in which city there have flourished
+excellent craftsmen, even as they flourish more than ever to-day;
+there, in times past, were excellent masters in Francesco Bonsignori
+and Francesco Caroto, and afterwards Maestro Zeno of Verona, who
+painted the panel of S. Marino in Rimini, with two others, all with
+much diligence. But the man who surpassed all others in making
+certain marvellous figures from life was Il Moro of Verona, or
+rather, as others called him, Francesco Turbido, by whose hand is a
+portrait now in the house of Monsignor de' Martini at Venice, of a
+gentleman of the house of Badovaro, painted in the character of a
+shepherd; which portrait appears absolutely alive, and can challenge
+comparison with any of the great number that have been seen in these
+parts. Battista d' Angelo, son-in-law of this Francesco, is also so
+lovely in colouring and so masterly in drawing, that he is rather
+superior than inferior to his father-in-law. But since it is not my
+intention to speak at present of the living, it must suffice me to
+have spoken in this place of some with regard to whose lives, as I
+said at the beginning of this Life, I have not been able to discover
+every particular with equal minuteness, to the end that their
+talents and merits may receive from me at least all that little
+which I, who would fain make it much, am able to give them.
+
+[Illustration: PIETA
+
+(_After the panel by =Giovanni Buonconsigli=. Vincenza: Pinacoteca,
+22_)
+
+_Alinari_]
+
+FOOTNOTE:
+
+[5] It is now generally accepted that these two men are
+one, under the name of Lazzaro Bastiani.
+
+[6] This master has been identified with Il Bassiti, under
+the name of Basaiti.
+
+[7] See note on p. 57, Vol. I.
+
+[8] See note on p. 57, Vol. I.
+
+
+
+
+JACOPO, CALLED L'INDACO
+
+
+
+
+LIFE OF JACOPO, CALLED L'INDACO
+
+PAINTER
+
+
+Jacopo, called L'Indaco, who was a disciple of Domenico del
+Ghirlandajo, and who worked in Rome with Pinturicchio, was a passing
+good master in his day; and although he did not make many works, yet
+those that he did make are worthy of commendation. Nor is there any
+need to marvel that only very few works issued from his hands, for
+the reason that, being a gay and humorous fellow and a lover of good
+cheer, he harboured but few thoughts and would never work save when
+he could not help it; and so he used to say that doing nothing else
+but labour, without taking a little pleasure in the world, was no
+life for a Christian. He lived in close intimacy with Michelagnolo,
+for when that craftsman, supremely excellent beyond all who have
+ever lived, wished to have some recreation after his studies and his
+continuous labours of body and mind, no one was more pleasing to him
+for the purpose or more suited to his humour than this man.
+
+Jacopo worked for many years in Rome, or, to be more precise, he
+lived many years in Rome, working very little. By his hand, in that
+city, is the first chapel on the right hand as one enters the Church
+of S. Agostino by the door of the facade; on the vaulting of which
+chapel are the Apostles receiving the Holy Spirit, and on the wall
+below are two stories of Christ--in one His taking Peter and Andrew
+from their nets, and in the other the Feast of Simon and the
+Magdalene, in which there is a ceiling of planks and beams,
+counterfeited very well. In the panel of the same chapel, which he
+painted in oil, is a Dead Christ, wrought and executed with much
+mastery and diligence. In the Trinita at Rome, likewise, there is a
+little panel by his hand with the Coronation of Our Lady. But what
+need is there to say more about this man? What more, indeed, is
+there to say? It is enough that he loved gossiping as much as he
+always hated working and painting.
+
+Now seeing that, as has been said, Michelagnolo used to take
+pleasure in this man's chattering and in the jokes that he was ever
+making, he kept him almost always at his table; but one day Jacopo
+wearied him--as such fellows more often than not do come to weary
+their friends and patrons with their incessant babbling, so often
+ill-timed and senseless; babbling, I call it, for reasonable talk it
+cannot be called, since for the most part there is neither reason
+nor judgment in such people--and Michelagnolo, who, perchance, had
+other thoughts in his mind at the time and wished to get rid of him,
+sent him to buy some figs; and no sooner had Jacopo left the house
+than Michelagnolo bolted the door behind him, determined not to open
+to him when he came back. L'Indaco, then, on returning from the
+market-square, perceived, after having knocked at the door for a
+time in vain, that Michelagnolo did not intend to open to him;
+whereupon, flying into a rage, he took the figs and the leaves and
+spread them all over the threshold of the door. This done, he went
+his way and for many months refused to speak to Michelagnolo; but at
+last, becoming reconciled with him, he was more his friend than
+ever. Finally, having reached the age of sixty-eight, he died in
+Rome.
+
+Not unlike Jacopo was a younger brother of his, whose proper name
+was Francesco, although he too was afterwards called L'Indaco by way
+of surname; and he, likewise, was a painter, and more than passing
+good. He was not unlike Jacopo--I mean, in his unwillingness to work
+(to say the least), and in his love of talking--but in one respect
+he surpassed Jacopo, for he was ever speaking evil of everyone and
+decrying the works of every craftsman. This man, after having
+wrought certain things in Montepulciano both in painting and in
+clay, painted a little panel for the Audience Chamber of the Company
+of the Nunziata in Arezzo, containing an Annunciation, and a God the
+Father in Heaven surrounded by many angels in the form of children.
+And in the same city, on the first occasion when Duke Alessandro
+went there, he made a most beautiful triumphal arch, with many
+figures in relief, at the gate of the Palazzo de' Signori; and also,
+in competition with other painters who executed a number of other
+works for the entry of the said Duke, the scenery for the
+representation of a play, which was held to be very beautiful.
+Afterwards, having gone to Rome at the time when the Emperor Charles
+V was expected there, he made some figures in clay, and a coat of
+arms in fresco for the Roman people on the Campidoglio, which was
+much extolled. But the best work that ever issued from the hands of
+this master, and the most highly praised, was a little study wrought
+in stucco for the Duchess Margherita of Austria in the Palace of the
+Medici at Rome--a thing so beautiful and so ornate that there is
+nothing better to be seen; nor do I believe that it is possible, in
+a certain sense, to do with silver what L'Indaco did in this work
+with stucco. From these things it may be judged that if this man had
+taken pleasure in work and had made use of his intelligence, he
+would have become excellent.
+
+Francesco drew passing well, but Jacopo much better, as may be seen
+in our book.
+
+
+
+
+LUCA SIGNORELLI OF CORTONA
+
+
+
+
+LIFE OF LUCA SIGNORELLI OF CORTONA
+
+[_LUCA DA CORTONA_]
+
+PAINTER
+
+
+Luca Signorelli, an excellent painter, of whom, according to the
+order of time, we have now to speak, was more famous throughout
+Italy in his day, and his works were held in greater price than has
+ever been the case with any other master at any time whatsoever, for
+the reason that in the works that he executed in painting he showed
+the true method of making nudes, and how they can be caused,
+although only with art and difficulty, to appear alive. He was a
+pupil and disciple of Piero dal Borgo a San Sepolcro, and greatly
+did he strive in his youth to imitate his master, and even to
+surpass him; and the while that he was working with Piero at Arezzo,
+living in the house of his uncle Lazzaro Vasari, as it has been
+told, he imitated the manner of the said Piero so well that the one
+could scarcely be distinguished from the other.
+
+The first works of Luca were in S. Lorenzo at Arezzo, where he
+painted the Chapel of S. Barbara in fresco in the year 1472; and he
+painted for the Company of S. Caterina, on cloth and in oil, the
+banner that is borne in processions, and likewise that of the
+Trinita, although this does not appear to be by the hand of Luca,
+but by Piero dal Borgo himself. In S. Agostino in the same city he
+painted the panel of S. Niccola da Tolentino, with most beautiful
+little scenes, executing the work with good drawing and invention;
+and in the same place, in the Chapel of the Sacrament, he made two
+angels wrought in fresco. In the Chapel of the Accolti in the Church
+of S. Francesco, for Messer Francesco, Doctor of Laws, he painted a
+panel in which he portrayed the said Messer Francesco with some of
+his relatives. In this work is a S. Michael weighing souls, who is
+admirable; and in him there is seen the knowledge of Luca, both in
+the splendour of his armour and in the reflected lights, and, in
+short, throughout the whole work. In his hands he placed a pair of
+scales, in which are nude figures, very beautifully foreshortened,
+one going up and the other down; and among other ingenious things
+that are in this picture is a nude figure most skilfully transformed
+into a devil, with a lizard licking the blood from a wound in its
+body. Besides this, there is a Madonna with the Child on her lap,
+with S. Stephen, S. Laurence, S. Catherine, and two angels, of whom
+one is playing on a lute and the other on a rebec; and all these
+figures are draped and adorned so beautifully that it is a marvel.
+But the most miraculous part of this panel is the predella, which is
+full of Friars of the said S. Catherine in the form of little
+figures.
+
+[Illustration: LUCA SIGNORELLI: PAN
+
+(_Berlin: Kaiser Friedrich Museum, 79A. Canvas_)
+
+In Perugia, also, he made many works; among others, a panel in the
+Duomo for Messer Jacopo Vannucci of Cortona, Bishop of that city; in
+which panel are Our Lady, S. Onofrio, S. Ercolano, S. John the
+Baptist, and S. Stephen, with a most beautiful angel, who is tuning
+a lute. At Volterra, over the altar of a Company in the Church of S.
+Francesco, he painted in fresco the Circumcision of Our Lord, which
+is considered beautiful to a marvel, although the Infant, having
+been injured by damp, was restored by Sodoma and made much less
+beautiful than before. And, in truth, it would be sometimes better
+to leave works half spoilt, when they have been made by men of
+excellence, rather than to have them retouched by inferior masters.
+In S. Agostino in the same city he painted a panel in distemper, and
+the predella of little figures, with stories of the Passion of
+Christ; and this is held to be extraordinarily beautiful. At S.
+Maria a Monte he painted a Dead Christ on a panel for the monks of
+that place; and at Citta di Castello a Nativity of Christ in S.
+Francesco, with a S. Sebastian on another panel in S. Domenico. In
+S. Margherita, a seat of the Frati del Zoccolo in his native city of
+Cortona, he painted a Dead Christ, one of the rarest of his works;
+and for the Company of the Gesu, in the same city, he executed three
+panels, of which the one that is on the high-altar is marvellous,
+showing Christ administering the Sacrament to the Apostles, and
+Judas placing the Host into his wallet. In the Pieve, now called
+the Vescovado, in the Chapel of the Sacrament, he painted some
+life-size prophets in fresco; and round the tabernacle are some
+angels who are opening out a canopy, with S. Jerome and S. Thomas
+Aquinas at the sides. For the high-altar of the said church he
+painted a panel with a most beautiful Assumption, and he designed
+the pictures for the principal round window of the same church;
+which pictures were afterwards executed by Stagio Sassoli of Arezzo.
+In Castiglione Aretino he made a Dead Christ, with the Maries, over
+the Chapel of the Sacrament; and in S. Francesco, at Lucignano, he
+painted the folding-doors of a press, wherein there is a tree of
+coral surmounted by a cross. At Siena, in the Chapel of S.
+Cristofano in S. Agostino, he painted a panel with some saints, in
+the midst of whom is a S. Cristopher in relief.
+
+Having gone from Siena to Florence in order to see both the works of
+those masters who were then living and those of many already dead,
+he painted for Lorenzo de' Medici certain nude gods on a canvas, for
+which he was much commended, and a picture of Our Lady with two
+little prophets in terretta, which is now at Castello, a villa of
+Duke Cosimo's. These works, both the one and the other, he presented
+to the said Lorenzo, who would never be beaten by any man in
+liberality and magnificence. He also painted a round picture of Our
+Lady, which is in the Audience Chamber of the Captains of the Guelph
+party--a very beautiful work. At Chiusuri in the district of Siena,
+the principal seat of the Monks of Monte Oliveto, he painted eleven
+scenes of the life and acts of S. Benedict on one side of the
+cloister. And from Cortona he sent some of his works to
+Montepulciano; to Foiano the panel which is on the high-altar of the
+Pieve; and other works to other places in Valdichiana. In the
+Madonna, the principal church of Orvieto, he finished with his own
+hand the chapel that Fra Giovanni da Fiesole had formerly begun
+there; in which chapel he painted all the scenes of the end of the
+world with bizarre and fantastic invention--angels, demons, ruins,
+earthquakes, fires, miracles of Antichrist, and many other similar
+things besides, such as nudes, foreshortenings, and many beautiful
+figures; imagining the terror that there shall be on that last and
+awful day. By means of this he encouraged all those who have lived
+after him, insomuch that since then they have found easy the
+difficulties of that manner; wherefore I do not marvel that the
+works of Luca were ever very highly extolled by Michelagnolo, nor
+that in certain parts of his divine Judgment, which he made in the
+chapel, he should have deigned to avail himself in some measure of
+the inventions of Luca, as he did in the angels, the demons, the
+division of the Heavens, and other things, in which Michelagnolo
+himself imitated Luca's method, as all may see. In this work Luca
+portrayed himself and many of his friends; Niccolo, Paolo, and
+Vitelozzo Vitelli, Giovan Paolo and Orazio Baglioni, and others
+whose names are not known. In the Sacristy of S. Maria at Loreto he
+painted in fresco the four Evangelists, the four Doctors, and other
+saints, all very beautiful; and for this work he was liberally
+rewarded by Pope Sixtus.
+
+It is said that a son of his, most beautiful in countenance and in
+person, whom he loved dearly, was killed at Cortona; and that Luca,
+heart-broken as he was, had him stripped naked, and with the
+greatest firmness of soul, without lamenting or shedding a tear,
+portrayed him, to the end that, whenever he might wish, he might be
+able by means of the work of his own hands to see that which nature
+had given him and adverse fortune had snatched away.
+
+Being then summoned by the said Pope Sixtus to work in the chapel of
+his Palace in competition with many other painters, he painted
+therein two scenes, which are held the best among so many; one is
+Moses declaring his testament to the Jewish people on having seen
+the Promised Land, and the other is his death.
+
+[Illustration: THE LAST JUDGMENT
+
+(_Detail, after the fresco by =Luca Signorelli=. Orvieto: Duomo_)
+
+_Anderson_]
+
+Finally, having executed works for almost every Prince in Italy, and
+being now old, he returned to Cortona, where, in those last years of
+his life, he worked more for pleasure than for any other reason, as
+one who, being used to labour, neither could nor would stay idle. In
+this his old age, then, he painted a panel for the Nuns of S.
+Margherita at Arezzo, and one for the Company of S. Girolamo, which
+was paid for in part by Messer Niccolo Gamurrini, Doctor of Laws and
+Auditor of the Ruota,[9] who is portrayed from life in that
+panel, kneeling before the Madonna, to whom he is being presented by
+a S. Nicholas who is in the same panel; there are also S. Donatus
+and S. Stephen, and lower down a nude S. Jerome, and a David who is
+singing to a psaltery; and also two prophets, who, as it appears
+from the scrolls that they have in their hands, are speaking about
+the Conception. This work was brought from Cortona to Arezzo on the
+shoulders of the men of that Company; and Luca, old as he was,
+insisted on coming to set it in place, and partly also in order to
+revisit his friends and relatives. And since he lodged in the house
+of the Vasari, in which I then was, a little boy of eight years old,
+I remember that the good old man, who was most gracious and
+courteous, having heard from the master who was teaching me my first
+letters, that I gave my attention to nothing in lesson-time save to
+drawing figures, I remember, I say, that he turned to my father
+Antonio and said to him: "Antonio, if you wish little Giorgio not to
+become backward, by all means let him learn to draw, for, even were
+he to devote himself to letters, design cannot be otherwise than
+helpful, honourable, and advantageous to him, as it is to every
+gentleman." Then, turning to me, who was standing in front of him,
+he said: "Mind your lessons, little kinsman." He said many other
+things about me, which I withhold, for the reason that I know that I
+have failed by a great measure to justify the opinion which the good
+old man had of me. And since he heard, as was true, that the blood
+used to flow from my nose at that age in such quantities that this
+left me sometimes half dead, with infinite lovingness he bound a
+jasper round my neck with his own hand; and this memory of Luca will
+stay for ever fixed in my mind. The said panel set in place, he
+returned to Cortona, accompanied for a great part of the way by many
+citizens, friends, and relatives, as was due to the excellence of
+Luca, who always lived rather as a noble and a man of rank than as a
+painter.
+
+About the same time a palace had been built for Cardinal Silvio
+Passerini of Cortona, half a mile beyond the city, by Benedetto
+Caporali, a painter of Perugia, who, delighting in architecture, had
+written a commentary on Vitruvius a short time before; and the said
+Cardinal determined to have almost the whole of it painted.
+Wherefore Benedetto, putting his hand to this with the aid of Maso
+Papacello of Cortona (who was his disciple and had also learnt not a
+little from Giulio Romano, as will be told), of Tommaso, and of
+other disciples and lads, did not cease until he had painted it
+almost all over in fresco. But the Cardinal wishing to have some
+painting by the hand of Luca as well, he, old as he was, and
+hindered by palsy, painted in fresco, on the altar-wall of the
+chapel of that palace, the scene of S. John the Baptist baptizing
+the Saviour; but he was not able to finish it completely, for while
+still working at it he died, having reached the age of eighty-two.
+
+Luca was a man of most excellent character, true and loving with his
+friends, sweet and amiable in his dealings with every man, and,
+above all, courteous to all who had need of him, and kindly in
+teaching his disciples. He lived splendidly, and he took delight in
+clothing himself well. And for these good qualities he was ever held
+in the highest veneration both in his own country and abroad.
+
+And so, with the end of this master's life, which was in 1521, we
+will bring to an end the Second Part of these Lives; concluding with
+Luca, as the man who, with his profound mastery of design,
+particularly in nudes, and with his grace in invention and in the
+composition of scenes, opened to the majority of craftsmen the way
+to the final perfection of art, to which those men who followed were
+afterwards enabled to add the crown, of whom we are henceforward to
+speak.
+
+FOOTNOTE:
+
+[9] A judicial court, the members of which sat in rotation.
+
+
+
+
+     THE THIRD PART OF THE LIVES OF THE SCULPTORS, PAINTERS, AND
+     ARCHITECTS, WHO HAVE LIVED FROM CIMABUE TO OUR OWN DAY. WRITTEN
+     BY MESSER GIORGIO VASARI, PAINTER AND ARCHITECT OF AREZZO
+
+
+
+
+PREFACE TO THE THIRD PART
+
+
+Truly great was the advancement conferred on the arts of
+architecture, painting, and sculpture by those excellent masters of
+whom we have written hitherto, in the Second Part of these Lives,
+for to the achievements of the early masters they added rule, order,
+proportion, draughtsmanship, and manner; not, indeed, in complete
+perfection, but with so near an approach to the truth that the
+masters of the third age, of whom we are henceforward to speak, were
+enabled, by means of their light, to aspire still higher and attain
+to that supreme perfection which we see in the most highly prized
+and most celebrated of our modern works. But to the end that the
+nature of the improvement brought about by the aforesaid craftsmen
+may be even more clearly understood, it will certainly not be out of
+place to explain in a few words the five additions that I have
+named, and to give a succinct account of the origin of that true
+excellence which, having surpassed the age of the ancients, makes
+the modern so glorious.
+
+Rule, then, in architecture, was the process of taking measurements
+from antiquities and studying the ground-plans of ancient edifices
+for the construction of modern buildings. Order was the separating
+of one style from another, so that each body should receive its
+proper members, with no more interchanging between Doric, Ionic,
+Corinthian, and Tuscan. Proportion was the universal law applying
+both to architecture and to sculpture, that all bodies should be
+made correct and true, with the members in proper harmony; and so,
+also, in painting. Draughtsmanship was the imitation of the most
+beautiful parts of nature in all figures, whether in sculpture or in
+painting; and for this it is necessary to have a hand and a brain
+able to reproduce with absolute accuracy and precision, on a level
+surface--whether by drawing on paper, or on panel, or on some other
+level surface--everything that the eye sees; and the same is true of
+relief in sculpture. Manner then attained to the greatest beauty
+from the practice which arose of constantly copying the most
+beautiful objects, and joining together these most beautiful things,
+hands, heads, bodies, and legs, so as to make a figure of the
+greatest possible beauty. This practice was carried out in every
+work for all figures, and for that reason it is called the beautiful
+manner.
+
+These things had not been done by Giotto or by the other early
+craftsmen, although they had discovered the rudiments of all these
+difficulties, and had touched them on the surface; as in their
+drawing, which was sounder and more true to nature than it had been
+before, and likewise in harmony of colouring and in the grouping of
+figures in scenes, and in many other respects of which enough has
+been said. Now although the masters of the second age improved our
+arts greatly with regard to all the qualities mentioned above, yet
+these were not made by them so perfect as to succeed in attaining to
+complete perfection, for there was wanting in their rule a certain
+freedom which, without being of the rule, might be directed by the
+rule and might be able to exist without causing confusion or
+spoiling the order; which order had need of an invention abundant in
+every respect, and of a certain beauty maintained in every least
+detail, so as to reveal all that order with more adornment. In
+proportion there was wanting a certain correctness of judgment, by
+means of which their figures, without having been measured, might
+have, in due relation to their dimensions, a grace exceeding
+measurement. In their drawing there was not the perfection of
+finish, because, although they made an arm round and a leg straight,
+the muscles in these were not revealed with that sweet and facile
+grace which hovers midway between the seen and the unseen, as is the
+case with the flesh of living figures; nay, they were crude and
+excoriated, which made them displeasing to the eye and gave hardness
+to the manner. This last was wanting in the delicacy that comes from
+making all figures light and graceful, particularly those of women
+and children, with the limbs true to nature, as in the case of men,
+but veiled with a plumpness and fleshiness that should not be
+awkward, as they are in nature, but refined by draughtsmanship and
+judgment. They also lacked our abundance of beautiful costumes, our
+great number and variety of bizarre fancies, loveliness of
+colouring, wide knowledge of buildings, and distance and variety in
+landscapes. And although many of them, such as Andrea Verrocchio and
+Antonio del Pollaiuolo, and many others more modern, began to seek
+to make their figures with more study, so as to reveal in them
+better draughtsmanship, with a degree of imitation more correct and
+truer to nature, nevertheless the whole was not yet there, even
+though they had one very certain assurance--namely, that they were
+advancing towards the good, and their figures were thus approved
+according to the standard of the works of the ancients, as was seen
+when Andrea Verrocchio restored in marble the legs and arms of the
+Marsyas in the house of the Medici in Florence. But they lacked a
+certain finish and finality of perfection in the feet, hands, hair,
+and beards, although the limbs as a whole are in accordance with the
+antique and have a certain correct harmony in the proportions. Now
+if they had had that minuteness of finish which is the perfection
+and bloom of art, they would also have had a resolute boldness in
+their works; and from this there would have followed delicacy,
+refinement, and supreme grace, which are the qualities produced by
+the perfection of art in beautiful figures, whether in relief or in
+painting; but these qualities they did not have, although they give
+proof of diligent striving. That finish, and that certain something
+that they lacked, they could not achieve so readily, seeing that
+study, when it is used in that way to obtain finish, gives dryness
+to the manner.
+
+After them, indeed, their successors were enabled to attain to it
+through seeing excavated out of the earth certain antiquities cited
+by Pliny as amongst the most famous, such as the Laocoon, the
+Hercules, the Great Torso of the Belvedere, and likewise the Venus,
+the Cleopatra, the Apollo, and an endless number of others, which,
+both with their sweetness and their severity, with their fleshy
+roundness copied from the greatest beauties of nature, and with
+certain attitudes which involve no distortion of the whole figure
+but only a movement of certain parts, and are revealed with a most
+perfect grace, brought about the disappearance of a certain dryness,
+hardness, and sharpness of manner, which had been left to our art by
+the excessive study of Piero della Francesca, Lazzaro Vasari, Alesso
+Baldovinetti, Andrea dal Castagno, Pesello, Ercole Ferrarese,
+Giovanni Bellini, Cosimo Rosselli, the Abbot of S. Clemente,
+Domenico del Ghirlandajo, Sandro Botticelli, Andrea Mantegna,
+Filippo, and Luca Signorelli. These masters sought with great
+efforts to do the impossible in art by means of labour, particularly
+in foreshortenings and in things unpleasant to the eye, which were
+as painful to see as they were difficult for them to execute. And
+although their works were for the most part well drawn and free from
+errors, yet there was wanting a certain resolute spirit which was
+never seen in them, and that sweet harmony of colouring which the
+Bolognese Francia and Pietro Perugino first began to show in their
+works; at the sight of which people ran like madmen to this new and
+more lifelike beauty, for it seemed to them quite certain that
+nothing better could ever be done. But their error was afterwards
+clearly proved by the works of Leonardo da Vinci, who, giving a
+beginning to that third manner which we propose to call the
+modern--besides the force and boldness of his drawing, and the
+extreme subtlety wherewith he counterfeited all the minutenesses of
+nature exactly as they are--with good rule, better order, right
+proportion, perfect drawing, and divine grace, abounding in
+resources and having a most profound knowledge of art, may be truly
+said to have endowed his figures with motion and breath.
+
+There followed after him, although at some distance, Giorgione da
+Castelfranco, who obtained a beautiful gradation of colour in his
+pictures, and gave a sublime movement to his works by means of a
+certain darkness of shadow, very well conceived; and not inferior to
+him in giving force, relief, sweetness, and grace to his pictures,
+with his colouring, was Fra Bartolommeo di San Marco. But more than
+all did the most gracious Raffaello da Urbino, who, studying the
+labours of the old masters and those of the modern, took the best
+from them, and, having gathered it together, enriched the art of
+painting with that complete perfection which was shown in ancient
+times by the figures of Apelles and Zeuxis; nay, even more, if we
+may make bold to say it, as might be proved if we could compare
+their works with his. Wherefore nature was left vanquished by his
+colours; and his invention was facile and peculiar to himself, as
+may be perceived by all who see his painted stories, which are as
+vivid as writings, for in them he showed us places and buildings
+true to reality, and the features and costumes both of our own
+people and of strangers, according to his pleasure; not to mention
+his gift of imparting grace to the heads of young men, old men, and
+women, reserving modesty for the modest, wantonness for the wanton,
+and for children now mischief in their eyes, now playfulness in
+their attitudes; and the folds of his draperies, also, are neither
+too simple nor too intricate, but of such a kind that they appear
+real.
+
+In the same manner, but sweeter in colouring and not so bold, there
+followed Andrea del Sarto, who may be called a rare painter, for his
+works are free from errors. Nor is it possible to describe the
+charming vivacity seen in the works of Antonio da Correggio, who
+painted hair in detail, not in the precise manner used by the
+masters before him, which was constrained, sharp, and dry, but soft
+and feathery, with each single hair visible, such was his facility
+in making them; and they seemed like gold and more beautiful than
+real hair, which is surpassed by that which he painted.
+
+The same did Francesco Mazzuoli of Parma, who excelled him in many
+respects in grace, adornment, and beauty of manner, as may be seen
+in many of his pictures, which smile on whoever beholds them; and
+even as there is a perfect illusion of sight in the eyes, so there
+is perceived the beating of the pulse, according as it best pleased
+his brush. But whosoever shall consider the mural paintings of
+Polidoro and Maturino, will see figures in attitudes that seem
+beyond the bounds of possibility, and he will wonder with amazement
+how it can be possible, not to describe with the tongue, which is
+easy, but to express with the brush the tremendous conceptions which
+they put into execution with such mastery and dexterity, in
+representing the deeds of the Romans exactly as they were.
+
+And how many there are who, having given life to their figures with
+their colours, are now dead, such as Il Rosso, Fra Sebastiano,
+Giulio Romano, and Perino del Vaga! For of the living, who are known
+to all through their own efforts, there is no need to speak here.
+But what most concerns the whole world of art is that they have now
+brought it to such perfection, and made it so easy for him who
+possesses draughtsmanship, invention, and colouring, that, whereas
+those early masters took six years to paint one panel, our modern
+masters can paint six in one year, as I can testify with the
+greatest confidence both from seeing and from doing; and our
+pictures are clearly much more highly finished and perfect than
+those executed in former times by masters of account.
+
+But he who bears the palm from both the living and the dead,
+transcending and eclipsing all others, is the divine Michelagnolo
+Buonarroti, who holds the sovereignty not merely of one of these
+arts, but of all three together. This master surpasses and excels
+not only all those moderns who have almost vanquished nature, but
+even those most famous ancients who without a doubt did so
+gloriously surpass her; and in his own self he triumphs over
+moderns, ancients, and nature, who could scarcely conceive anything
+so strange and so difficult that he would not be able, by the force
+of his most divine intellect and by means of his industry,
+draughtsmanship, art, judgment, and grace, to excel it by a great
+measure; and that not only in painting and in the use of colour,
+under which title are comprised all forms, and all bodies upright or
+not upright, palpable or impalpable, visible or invisible, but also
+in the highest perfection of bodies in the round, with the point of
+his chisel. And from a plant so beautiful and so fruitful, through
+his labours, there have already spread branches so many and so
+noble, that, besides having filled the world in such unwonted
+profusion with the most luscious fruits, they have also given the
+final form to these three most noble arts. And so great and so
+marvellous is his perfection, that it may be safely and surely said
+that his statues are in all their parts much more beautiful than the
+ancient; for if we compare the heads, hands, arms, and feet shaped
+by the one with those of the others, we see in his a greater depth
+and solidity, a grace more completely graceful, and a much more
+absolute perfection, accomplished with a manner so facile in the
+overcoming of difficulties, that it is not possible ever to see
+anything better. And the same may be believed of his pictures,
+which; if we chanced to have some by the most famous Greeks and
+Romans, so that we might compare them face to face, would prove to
+be as much higher in value and more noble as his sculptures are
+clearly superior to all those of the ancients.
+
+But if we admire so greatly those most famous masters who, spurred
+by such extraordinary rewards and by such good-fortune, gave life to
+their works, how much more should we not celebrate and exalt to the
+heavens those rare intellects who, not only without reward, but in
+miserable poverty, bring forth fruits so precious? We must believe
+and declare, then, that if, in this our age, there were a due meed
+of remuneration, there would be without a doubt works greater and
+much better than were ever wrought by the ancients. But the fact
+that they have to grapple more with famine than with fame, keeps our
+hapless intellects submerged, and, to the shame and disgrace of
+those who could raise them up but give no thought to it, prevents
+them from becoming known.
+
+And let this be enough to have said on this subject; for it is now
+time to return to the Lives, and to treat in detail of all those who
+have executed famous works in this third manner, the creator of
+which was Leonardo da Vinci, with whom we will now begin.
+
+
+
+
+LEONARDO DA VINCI
+
+
+
+
+LIFE OF LEONARDO DA VINCI[10]
+
+PAINTER AND SCULPTOR OF FLORENCE
+
+
+The greatest gifts are often seen, in the course of nature, rained
+by celestial influences on human creatures; and sometimes, in
+supernatural fashion, beauty, grace, and talent are united beyond
+measure in one single person, in a manner that to whatever such an
+one turns his attention, his every action is so divine, that,
+surpassing all other men, it makes itself clearly known as a thing
+bestowed by God (as it is), and not acquired by human art. This was
+seen by all mankind in Leonardo da Vinci, in whom, besides a beauty
+of body never sufficiently extolled, there was an infinite grace in
+all his actions; and so great was his genius, and such its growth,
+that to whatever difficulties he turned his mind, he solved them
+with ease. In him was great bodily strength, joined to dexterity,
+with a spirit and courage ever royal and magnanimous; and the fame
+of his name so increased, that not only in his lifetime was he held
+in esteem, but his reputation became even greater among posterity
+after his death.
+
+Truly marvellous and celestial was Leonardo, the son of Ser Piero da
+Vinci; and in learning and in the rudiments of letters he would have
+made great proficience, if he had not been so variable and unstable,
+for he set himself to learn many things, and then, after having
+begun them, abandoned them. Thus, in arithmetic, during the few
+months that he studied it, he made so much progress, that, by
+continually suggesting doubts and difficulties to the master who
+was teaching him, he would very often bewilder him. He gave some
+little attention to music, and quickly resolved to learn to play the
+lyre, as one who had by nature a spirit most lofty and full of
+refinement: wherefore he sang divinely to that instrument,
+improvising upon it. Nevertheless, although he occupied himself with
+such a variety of things, he never ceased drawing and working in
+relief, pursuits which suited his fancy more than any other. Ser
+Piero, having observed this, and having considered the loftiness of
+his intellect, one day took some of his drawings and carried them to
+Andrea del Verrocchio, who was much his friend, and besought him
+straitly to tell him whether Leonardo, by devoting himself to
+drawing, would make any proficience. Andrea was astonished to see
+the extraordinary beginnings of Leonardo, and urged Ser Piero that
+he should make him study it; wherefore he arranged with Leonardo
+that he should enter the workshop of Andrea, which Leonardo did with
+the greatest willingness in the world. And he practised not one
+branch of art only, but all those in which drawing played a part;
+and having an intellect so divine and marvellous that he was also an
+excellent geometrician, he not only worked in sculpture, making in
+his youth, in clay, some heads of women that are smiling, of which
+plaster casts are still taken, and likewise some heads of boys which
+appeared to have issued from the hand of a master; but in
+architecture, also, he made many drawings both of ground-plans and
+of other designs of buildings; and he was the first, although but a
+youth, who suggested the plan of reducing the river Arno to a
+navigable canal from Pisa to Florence. He made designs of
+flour-mills, fulling-mills, and engines, which might be driven by
+the force of water: and since he wished that his profession should
+be painting, he studied much in drawing after nature, and sometimes
+in making models of figures in clay, over which he would lay soft
+pieces of cloth dipped in clay, and then set himself patiently to
+draw them on a certain kind of very fine Rheims cloth, or prepared
+linen: and he executed them in black and white with the point of his
+brush, so that it was a marvel, as some of them by his hand, which I
+have in our book of drawings, still bear witness; besides which, he
+drew on paper with such diligence and so well, that there is no one
+who has ever equalled him in perfection of finish; and I have one, a
+head drawn with the style in chiaroscuro, which is divine.
+
+And there was infused in that brain such grace from God, and a power
+of expression in such sublime accord with the intellect and memory
+that served it, and he knew so well how to express his conceptions
+by draughtsmanship, that he vanquished with his discourse, and
+confuted with his reasoning, every valiant wit. And he was
+continually making models and designs to show men how to remove
+mountains with ease, and how to bore them in order to pass from one
+level to another; and by means of levers, windlasses, and screws, he
+showed the way to raise and draw great weights, together with
+methods for emptying harbours, and pumps for removing water from low
+places, things which his brain never ceased from devising; and of
+these ideas and labours many drawings may be seen, scattered abroad
+among our craftsmen; and I myself have seen not a few. He even went
+so far as to waste his time in drawing knots of cords, made
+according to an order, that from one end all the rest might follow
+till the other, so as to fill a round; and one of these is to be
+seen in stamp, most difficult and beautiful, and in the middle of it
+are these words, "Leonardus Vinci Accademia." And among these models
+and designs, there was one by which he often demonstrated to many
+ingenious citizens, who were then governing Florence, how he
+proposed to raise the Temple of S. Giovanni in Florence, and place
+steps under it, without damaging the building; and with such strong
+reasons did he urge this, that it appeared possible, although each
+man, after he had departed, would recognize for himself the
+impossibility of so vast an undertaking.
+
+He was so pleasing in conversation, that he attracted to himself the
+hearts of men. And although he possessed, one might say, nothing,
+and worked little, he always kept servants and horses, in which
+latter he took much delight, and particularly in all other animals,
+which he managed with the greatest love and patience; and this he
+showed when often passing by the places where birds were sold, for,
+taking them with his own hand out of their cages, and having paid to
+those who sold them the price that was asked, he let them fly away
+into the air, restoring to them their lost liberty. For which
+reason nature was pleased so to favour him, that, wherever he turned
+his thought, brain, and mind, he displayed such divine power in his
+works, that, in giving them their perfection, no one was ever his
+peer in readiness, vivacity, excellence, beauty, and grace.
+
+It is clear that Leonardo, through his comprehension of art, began
+many things and never finished one of them, since it seemed to him
+that the hand was not able to attain to the perfection of art in
+carrying out the things which he imagined; for the reason that he
+conceived in idea difficulties so subtle and so marvellous, that
+they could never be expressed by the hands, be they ever so
+excellent. And so many were his caprices, that, philosophizing of
+natural things, he set himself to seek out the properties of herbs,
+going on even to observe the motions of the heavens, the path of the
+moon, and the courses of the sun.
+
+He was placed, then, as has been said, in his boyhood, at the
+instance of Ser Piero, to learn art with Andrea del Verrocchio, who
+was making a panel-picture of S. John baptizing Christ, when
+Leonardo painted an angel who was holding some garments; and
+although he was but a lad, Leonardo executed it in such a manner
+that his angel was much better than the figures of Andrea; which was
+the reason that Andrea would never again touch colour, in disdain
+that a child should know more than he.
+
+[Illustration: ANDREA VERROCCHIO: THE BAPTISM IN JORDAN
+
+(_Florence: Accademia, 71. Panel_)]
+
+He was commissioned to make a cartoon for a door-hanging that was to
+be executed in Flanders, woven in gold and silk, to be sent to the
+King of Portugal, of Adam and Eve sinning in the Earthly Paradise;
+wherein Leonardo drew with the brush in chiaroscuro, with the lights
+in lead-white, a meadow of infinite kinds of herbage, with some
+animals, of which, in truth, it may be said that for diligence and
+truth to nature divine wit could not make it so perfect. In it is
+the fig-tree, together with the foreshortening of the leaves and the
+varying aspects of the branches, wrought with such lovingness that
+the brain reels at the mere thought how a man could have such
+patience. There is also a palm-tree which has the radiating crown of
+the palm, executed with such great and marvellous art that nothing
+save the patience and intellect of Leonardo could avail to do it.
+This work was carried no farther; wherefore the cartoon is now at
+Florence, in the blessed house of the Magnificent Ottaviano de'
+Medici, presented to him not long ago by the uncle of Leonardo.
+
+It is said that Ser Piero da Vinci, being at his villa, was besought
+as a favour, by a peasant of his, who had made a buckler with his
+own hands out of a fig-tree that he had cut down on the farm, to
+have it painted for him in Florence, which he did very willingly,
+since the countryman was very skilful at catching birds and fishing,
+and Ser Piero made much use of him in these pursuits. Thereupon,
+having had it taken to Florence, without saying a word to Leonardo
+as to whose it was, he asked him to paint something upon it.
+Leonardo, having one day taken this buckler in his hands, and seeing
+it twisted, badly made, and clumsy, straightened it by the fire,
+and, having given it to a turner, from the rude and clumsy thing
+that it was, caused it to be made smooth and even. And afterwards,
+having given it a coat of gesso, and having prepared it in his own
+way, he began to think what he could paint upon it, that might be
+able to terrify all who should come upon it, producing the same
+effect as once did the head of Medusa. For this purpose, then,
+Leonardo carried to a room of his own into which no one entered save
+himself alone, lizards great and small, crickets, serpents,
+butterflies, grasshoppers, bats, and other strange kinds of suchlike
+animals, out of the number of which, variously put together, he
+formed a great ugly creature, most horrible and terrifying, which
+emitted a poisonous breath and turned the air to flame; and he made
+it coming out of a dark and jagged rock, belching forth venom from
+its open throat, fire from its eyes, and smoke from its nostrils, in
+so strange a fashion that it appeared altogether a monstrous and
+horrible thing; and so long did he labour over making it, that the
+stench of the dead animals in that room was past bearing, but
+Leonardo did not notice it, so great was the love that he bore
+towards art. The work being finished, although it was no longer
+asked for either by the countryman or by his father, Leonardo told
+the latter that he might send for the buckler at his convenience,
+since, for his part, it was finished. Ser Piero having therefore
+gone one morning to the room for the buckler, and having knocked at
+the door, Leonardo opened to him, telling him to wait a little; and,
+having gone back into the room, he adjusted the buckler in a good
+light on the easel, and put to the window, in order to make a soft
+light, and then he bade him come in to see it. Ser Piero, at the
+first glance, taken by surprise, gave a sudden start, not thinking
+that that was the buckler, nor merely painted the form that he saw
+upon it, and, falling back a step, Leonardo checked him, saying,
+"This work serves the end for which it was made; take it, then, and
+carry it away, since this is the effect that it was meant to
+produce." This thing appeared to Ser Piero nothing short of a
+miracle, and he praised very greatly the ingenious idea of Leonardo;
+and then, having privately bought from a pedlar another buckler,
+painted with a heart transfixed by an arrow, he presented it to the
+countryman, who remained obliged to him for it as long as he lived.
+Afterwards, Ser Piero sold the buckler of Leonardo secretly to some
+merchants in Florence, for a hundred ducats; and in a short time it
+came into the hands of the Duke of Milan, having been sold to him by
+the said merchants for three hundred ducats.
+
+Leonardo then made a picture of Our Lady, a most excellent work,
+which was in the possession of Pope Clement VII; and, among other
+things painted therein, he counterfeited a glass vase full of water,
+containing some flowers, in which, besides its marvellous
+naturalness, he had imitated the dew-drops on the flowers, so that
+it seemed more real than the reality. For Antonio Segni, who was
+very much his friend, he made, on a sheet of paper, a Neptune
+executed with such careful draughtsmanship that it seemed absolutely
+alive. In it one saw the ocean troubled, and Neptune's car drawn by
+sea-horses, with fantastic creatures, marine monsters and winds, and
+some very beautiful heads of sea-gods. This drawing was presented by
+Fabio, the son of Antonio, to Messer Giovanni Gaddi, with this
+epigram:
+
+  Pinxit Virgilius Neptunum, pinxit Homerus,
+    Dum maris undisoni per vada flectit equos.
+  Mente quidem vates illum conspexit uterque,
+    Vincius ast oculis; jureque vincit eos.
+
+[Illustration: THE ADORATION OF THE MAGI
+
+(_After the panel by =Leonardo da Vinci=. Florence: Uffizi, 1252_)
+
+_Anderson_]
+
+The fancy came to him to paint a picture in oils of the head of a
+Medusa, with the head attired with a coil of snakes, the most
+strange and extravagant invention that could ever be imagined;
+but since it was a work that took time, it remained unfinished, as
+happened with almost all his things. It is among the rare works of
+art in the Palace of Duke Cosimo, together with the head of an
+angel, who is raising one arm in the air, which, coming forward, is
+foreshortened from the shoulder to the elbow, and with the other he
+raises the hand to the breast.
+
+It is an extraordinary thing how that genius, in his desire to give
+the highest relief to the works that he made, went so far with dark
+shadows, in order to find the darkest possible grounds, that he
+sought for blacks which might make deeper shadows and be darker than
+other blacks, that by their means he might make his lights the
+brighter; and in the end this method turned out so dark, that, no
+light remaining there, his pictures had rather the character of
+things made to represent an effect of night, than the clear quality
+of daylight; which all came from seeking to give greater relief, and
+to achieve the final perfection of art.
+
+He was so delighted when he saw certain bizarre heads of men, with
+the beard or hair growing naturally, that he would follow one that
+pleased him a whole day, and so treasured him up in idea, that
+afterwards, on arriving home, he drew him as if he had had him in
+his presence. Of this sort there are many heads to be seen, both of
+women and of men, and I have several of them, drawn by his hand with
+the pen, in our book of drawings, which I have mentioned so many
+times; such was that of Amerigo Vespucci, which is a very beautiful
+head of an old man drawn with charcoal, and likewise that of
+Scaramuccia, Captain of the Gypsies, which afterwards came into the
+hands of M. Donato Valdambrini of Arezzo, Canon of S. Lorenzo, left
+to him by Giambullari.
+
+He began a panel-picture of the Adoration of the Magi, containing
+many beautiful things, particularly the heads, which was in the
+house of Amerigo Benci, opposite the Loggia de' Peruzzi; and this,
+also, remained unfinished, like his other works.
+
+It came to pass that Giovan Galeazzo, Duke of Milan, being dead, and
+Lodovico Sforza raised to the same rank, in the year 1494, Leonardo
+was summoned to Milan in great repute to the Duke, who took much
+delight in the sound of the lyre, to the end that he might play it:
+and Leonardo took with him that instrument which he had made with
+his own hands, in great part of silver, in the form of a horse's
+skull--a thing bizarre and new--in order that the harmony might be
+of greater volume and more sonorous in tone; with which he surpassed
+all the musicians who had come together there to play. Besides this,
+he was the best improviser in verse of his day. The Duke, hearing
+the marvellous discourse of Leonardo, became so enamoured of his
+genius, that it was something incredible: and he prevailed upon him
+by entreaties to paint an altar-panel containing a Nativity, which
+was sent by the Duke to the Emperor.
+
+He also painted in Milan, for the Friars of S. Dominic, at S. Maria
+delle Grazie, a Last Supper, a most beautiful and marvellous thing;
+and to the heads of the Apostles he gave such majesty and beauty,
+that he left the head of Christ unfinished, not believing that he
+was able to give it that divine air which is essential to the image
+of Christ. This work, remaining thus all but finished, has ever been
+held by the Milanese in the greatest veneration, and also by
+strangers as well; for Leonardo imagined and succeeded in expressing
+that anxiety which had seized the Apostles in wishing to know who
+should betray their Master. For which reason in all their faces are
+seen love, fear, and wrath, or rather, sorrow, at not being able to
+understand the meaning of Christ; which thing excites no less marvel
+than the sight, in contrast to it, of obstinacy, hatred, and
+treachery in Judas; not to mention that every least part of the work
+displays an incredible diligence, seeing that even in the tablecloth
+the texture of the stuff is counterfeited in such a manner that
+linen itself could not seem more real.
+
+[Illustration: THE LAST SUPPER
+
+(_After the oil fresco by =Leonardo da Vinci=. Milan: S. Maria delle
+Grazie_)
+
+_M.S._]
+
+It is said that the Prior of that place kept pressing Leonardo, in a
+most importunate manner, to finish the work; for it seemed strange
+to him to see Leonardo sometimes stand half a day at a time, lost in
+contemplation, and he would have liked him to go on like the
+labourers hoeing in his garden, without ever stopping his brush. And
+not content with this, he complained of it to the Duke, and that so
+warmly, that he was constrained to send for Leonardo and delicately
+urged him to work, contriving nevertheless to show him that he was
+doing all this because of the importunity of the Prior. Leonardo,
+knowing that the intellect of that Prince was acute and discerning,
+was pleased to discourse at large with the Duke on the subject, a
+thing which he had never done with the Prior: and he reasoned much
+with him about art, and made him understand that men of lofty genius
+sometimes accomplish the most when they work the least, seeking out
+inventions with the mind, and forming those perfect ideas which the
+hands afterwards express and reproduce from the images already
+conceived in the brain. And he added that two heads were still
+wanting for him to paint; that of Christ, which he did not wish to
+seek on earth; and he could not think that it was possible to
+conceive in the imagination that beauty and heavenly grace which
+should be the mark of God incarnate. Next, there was wanting that of
+Judas, which was also troubling him, not thinking himself capable of
+imagining features that should represent the countenance of him who,
+after so many benefits received, had a mind so cruel as to resolve
+to betray his Lord, the Creator of the world. However, he would seek
+out a model for the latter; but if in the end he could not find a
+better, he should not want that of the importunate and tactless
+Prior. This thing moved the Duke wondrously to laughter, and he said
+that Leonardo had a thousand reasons on his side. And so the poor
+Prior, in confusion, confined himself to urging on the work in the
+garden, and left Leonardo in peace, who finished only the head of
+Judas, which seems the very embodiment of treachery and inhumanity;
+but that of Christ, as has been said, remained unfinished. The
+nobility of this picture, both because of its design, and from its
+having been wrought with an incomparable diligence, awoke a desire
+in the King of France to transport it into his kingdom; wherefore he
+tried by all possible means to discover whether there were
+architects who, with cross-stays of wood and iron, might have been
+able to make it so secure that it might be transported safely;
+without considering any expense that might have been involved
+thereby, so much did he desire it. But the fact of its being painted
+on the wall robbed his Majesty of his desire; and the picture
+remained with the Milanese. In the same refectory, while he was
+working at the Last Supper, on the end wall where is a Passion in
+the old manner, Leonardo portrayed the said Lodovico, with
+Massimiliano, his eldest son; and, on the other side, the Duchess
+Beatrice, with Francesco, their other son, both of whom afterwards
+became Dukes of Milan; and all are portrayed divinely well.
+
+While he was engaged on this work, he proposed to the Duke to make a
+horse in bronze, of a marvellous greatness, in order to place upon
+it, as a memorial, the image of the Duke. And on so vast a scale did
+he begin it and continue it, that it could never be completed. And
+there are those who have been of the opinion (so various and so
+often malign out of envy are the judgments of men) that he began it
+with no intention of finishing it, because, being of so great a
+size, an incredible difficulty was encountered in seeking to cast it
+in one piece; and it might also be believed that, from the result,
+many may have formed such a judgment, since many of his works have
+remained unfinished. But, in truth, one can believe that his vast
+and most excellent mind was hampered through being too full of
+desire, and that his wish ever to seek out excellence upon
+excellence, and perfection upon perfection, was the reason of it.
+"Tal che l' opera fosse ritardata dal desio," as our Petrarca has
+said. And, indeed, those who saw the great model that Leonardo made
+in clay vow that they have never seen a more beautiful thing, or a
+more superb; and it was preserved until the French came to Milan
+with King Louis of France, and broke it all to pieces. Lost, also,
+is a little model of it in wax, which was held to be perfect,
+together with a book on the anatomy of the horse made by him by way
+of study.
+
+[Illustration: THE MADONNA AND CHILD WITH S. ANNE
+
+(_After the cartoon by =Leonardo da Vinci=. London: Burlington
+House_)
+
+_Vasari Society_]
+
+He then applied himself, but with greater care, to the anatomy of
+man, assisted by and in turn assisting, in this research, Messer
+Marc' Antonio della Torre, an excellent philosopher, who was then
+lecturing at Pavia, and who wrote of this matter; and he was one of
+the first (as I have heard tell) that began to illustrate the
+problems of medicine with the doctrine of Galen, and to throw true
+light on anatomy, which up to that time had been wrapped in the
+thick and gross darkness of ignorance. And in this he found
+marvellous aid in the brain, work, and hand of Leonardo, who made a
+book drawn in red chalk, and annotated with the pen, of the bodies
+that he dissected with his own hand, and drew with the greatest
+diligence; wherein he showed all the frame of the bones; and then
+added to them, in order, all the nerves, and covered them with
+muscles; the first attached to the bone, the second that hold the
+body firm, and the third that move it; and beside them, part by
+part, he wrote in letters of an ill-shaped character, which he made
+with the left hand, backwards; and whoever is not practised in
+reading them cannot understand them, since they are not to be read
+save with a mirror. Of these papers on the anatomy of man, a great
+part is in the hands of Messer Francesco da Melzo, a gentleman of
+Milan, who in the time of Leonardo was a very beautiful boy, and
+much beloved by him, and now is a no less beautiful and gentle old
+man; and he holds them dear, and keeps such papers together as if
+they were relics, in company with the portrait of Leonardo of happy
+memory; and to all who read these writings, it seems impossible that
+that divine spirit should have discoursed so well of art, and of the
+muscles, nerves, and veins, and with such diligence of everything.
+So, also, there are in the hands of ----,[11] a painter of Milan,
+certain writings of Leonardo, likewise in characters written with
+the left hand, backwards, which treat of painting, and of the
+methods of drawing and colouring. This man, not long ago, came to
+Florence to see me, wishing to print this work, and he took it to
+Rome, in order to put it into effect; but I do not know what may
+afterwards have become of it.
+
+And to return to the works of Leonardo; there came to Milan, in his
+time, the King of France, wherefore Leonardo being asked to devise
+some bizarre thing, made a lion which walked several steps and then
+opened its breast, and showed it full of lilies.
+
+In Milan he took for his assistant the Milanese Salai, who was most
+comely in grace and beauty, having fine locks, curling in ringlets,
+in which Leonardo greatly delighted; and he taught him many things
+of art; and certain works in Milan, which are said to be by Salai,
+were retouched by Leonardo.
+
+He returned to Florence, where he found that the Servite Friars had
+entrusted to Filippino the painting of the panel for the high-altar
+of the Nunziata; whereupon Leonardo said that he would willingly
+have done such a work. Filippino, having heard this, like the
+amiable fellow that he was, retired from the undertaking; and the
+friars, to the end that Leonardo might paint it, took him into their
+house, meeting the expenses both of himself and of all his
+household; and thus he kept them in expectation for a long time, but
+never began anything. In the end, he made a cartoon containing a
+Madonna and a S. Anne, with a Christ, which not only caused all the
+craftsmen to marvel, but, when it was finished, men and women, young
+and old, continued for two days to flock for a sight of it to the
+room where it was, as if to a solemn festival, in order to gaze at
+the marvels of Leonardo, which caused all those people to be amazed;
+for in the face of that Madonna was seen whatever of the simple and
+the beautiful can by simplicity and beauty confer grace on a picture
+of the Mother of Christ, since he wished to show that modesty and
+that humility which are looked for in an image of the Virgin,
+supremely content with gladness at seeing the beauty of her Son,
+whom she was holding with tenderness in her lap, while with most
+chastened gaze she was looking down at S. John, as a little boy, who
+was playing with a lamb; not without a smile from S. Anne, who,
+overflowing with joy, was beholding her earthly progeny become
+divine--ideas truly worthy of the brain and genius of Leonardo. This
+cartoon, as will be told below, afterwards went to France. He made a
+portrait of Ginevra d' Amerigo Benci, a very beautiful work; and
+abandoned the work for the friars, who restored it to Filippino; but
+he, also, failed to finish it, having been overtaken by death.
+
+Leonardo undertook to execute, for Francesco del Giocondo, the
+portrait of Monna Lisa, his wife; and after toiling over it for four
+years, he left it unfinished; and the work is now in the collection
+of King Francis of France, at Fontainebleau. In this head, whoever
+wished to see how closely art could imitate nature, was able to
+comprehend it with ease; for in it were counterfeited all the
+minutenesses that with subtlety are able to be painted, seeing that
+the eyes had that lustre and watery sheen which are always seen in
+life, and around them were all those rosy and pearly tints, as well
+as the lashes, which cannot be represented without the greatest
+subtlety. The eyebrows, through his having shown the manner in
+which the hairs spring from the flesh, here more close and here more
+scanty, and curve according to the pores of the skin, could not be
+more natural. The nose, with its beautiful nostrils, rosy and
+tender, appeared to be alive. The mouth, with its opening, and with
+its ends united by the red of the lips to the flesh-tints of the
+face, seemed, in truth, to be not colours but flesh. In the pit of
+the throat, if one gazed upon it intently, could be seen the beating
+of the pulse. And, indeed, it may be said that it was painted in
+such a manner as to make every valiant craftsman, be he who he may,
+tremble and lose heart. He made use, also, of this device: Monna
+Lisa being very beautiful, he always employed, while he was painting
+her portrait, persons to play or sing, and jesters, who might make
+her remain merry, in order to take away that melancholy which
+painters are often wont to give to the portraits that they paint.
+And in this work of Leonardo's there was a smile so pleasing, that
+it was a thing more divine than human to behold; and it was held to
+be something marvellous, since the reality was not more alive.
+
+By reason, then, of the excellence of the works of this most divine
+craftsman, his fame had so increased that all persons who took
+delight in art--nay, the whole city of Florence--desired that he
+should leave them some memorial, and it was being proposed
+everywhere that he should be commissioned to execute some great and
+notable work, whereby the commonwealth might be honoured and adorned
+by the great genius, grace and judgment that were seen in the works
+of Leonardo. And it was decided between the Gonfalonier and the
+chief citizens, the Great Council Chamber having been newly
+built--the architecture of which had been contrived with the
+judgment and counsel of Giuliano da San Gallo, Simone Pollaiuolo,
+called Il Cronaca, Michelagnolo Buonarroti, and Baccio d' Agnolo, as
+will be related with more detail in the proper places--and having
+been finished in great haste, it was ordained by public decree that
+Leonardo should be given some beautiful work to paint; and so the
+said hall was allotted to him by Piero Soderini, then Gonfalonier of
+Justice. Whereupon Leonardo, determining to execute this work, began
+a cartoon in the Sala del Papa, an apartment in S. Maria Novella,
+representing the story of Niccolo Piccinino, Captain of Duke
+Filippo of Milan; wherein he designed a group of horsemen who were
+fighting for a standard, a work that was held to be very excellent
+and of great mastery, by reason of the marvellous ideas that he had
+in composing that battle; seeing that in it rage, fury, and revenge
+are perceived as much in the men as in the horses, among which two
+with the fore-legs interlocked are fighting no less fiercely with
+their teeth than those who are riding them do in fighting for that
+standard, which has been grasped by a soldier, who seeks by the
+strength of his shoulders, as he spurs his horse to flight, having
+turned his body backwards and seized the staff of the standard, to
+wrest it by force from the hands of four others, of whom two are
+defending it, each with one hand, and, raising their swords in the
+other, are trying to sever the staff; while an old soldier in a red
+cap, crying out, grips the staff with one hand, and, raising a
+scimitar with the other, furiously aims a blow in order to cut off
+both the hands of those who, gnashing their teeth in the struggle,
+are striving in attitudes of the utmost fierceness to defend their
+banner; besides which, on the ground, between the legs of the
+horses, there are two figures in foreshortening that are fighting
+together, and the one on the ground has over him a soldier who has
+raised his arm as high as possible, that thus with greater force he
+may plunge a dagger into his throat, in order to end his life; while
+the other, struggling with his legs and arms, is doing what he can
+to escape death.
+
+It is not possible to describe the invention that Leonardo showed in
+the garments of the soldiers, all varied by him in different ways,
+and likewise in the helmet-crests and other ornaments; not to
+mention the incredible mastery that he displayed in the forms and
+lineaments of the horses, which Leonardo, with their fiery spirit,
+muscles, and shapely beauty, drew better than any other master. It
+is said that, in order to draw that cartoon, he made a most
+ingenious stage, which was raised by contracting it and lowered by
+expanding. And conceiving the wish to colour on the wall in oils, he
+made a composition of so gross an admixture, to act as a binder on
+the wall, that, going on to paint in the said hall, it began to peel
+off in such a manner that in a short time he abandoned it, seeing it
+spoiling.
+
+[Illustration: LEONARDO DA VINCI: MONNA LISA
+
+(_Formerly Paris: The Louvre, 1601. Canvas on Panel_)]
+
+Leonardo had very great spirit, and in his every action was most
+generous. It is said that, going to the bank for the allowance that
+he used to draw every month from Piero Soderini, the cashier wanted
+to give him certain paper-packets of pence; but he would not take
+them, saying in answer, "I am no penny-painter." Having been blamed
+for cheating Piero Soderini, there began to be murmurings against
+him; wherefore Leonardo so wrought upon his friends, that he got the
+money together and took it to Piero to repay him; but he would not
+accept it.
+
+He went to Rome with Duke Giuliano de' Medici, at the election of
+Pope Leo, who spent much of his time on philosophical studies, and
+particularly on alchemy; where, forming a paste of a certain kind of
+wax, as he walked he shaped animals very thin and full of wind, and,
+by blowing into them, made them fly through the air, but when the
+wind ceased they fell to the ground. On the back of a most bizarre
+lizard, found by the vine-dresser of the Belvedere, he fixed, with a
+mixture of quicksilver, wings composed of scales stripped from other
+lizards, which, as it walked, quivered with the motion; and having
+given it eyes, horns, and beard, taming it, and keeping it in a box,
+he made all his friends, to whom he showed it, fly for fear. He used
+often to have the guts of a wether completely freed of their fat and
+cleaned, and thus made so fine that they could have been held in the
+palm of the hand; and having placed a pair of blacksmith's bellows
+in another room, he fixed to them one end of these, and, blowing
+into them, filled the room, which was very large, so that whoever
+was in it was obliged to retreat into a corner; showing how,
+transparent and full of wind, from taking up little space at the
+beginning they had come to occupy much, and likening them to virtue.
+He made an infinite number of such follies, and gave his attention
+to mirrors; and he tried the strangest methods in seeking out oils
+for painting, and varnish for preserving works when painted.
+
+He made at this time, for Messer Baldassarre Turini da Pescia, who
+was Datary to Pope Leo, a little picture of the Madonna with the
+Child in her arms, with infinite diligence and art; but whether
+through the fault of whoever primed the panel with gesso, or because
+of his innumerable and capricious mixtures of grounds and colours,
+it is now much spoilt. And in another small picture he made a
+portrait of a little boy, which is beautiful and graceful to a
+marvel; and both of them are now at Pescia, in the hands of Messer
+Giuliano Turini. It is related that, a work having been allotted to
+him by the Pope, he straightway began to distil oils and herbs, in
+order to make the varnish; at which Pope Leo said: "Alas! this man
+will never do anything, for he begins by thinking of the end of the
+work, before the beginning."
+
+There was very great disdain between Michelagnolo Buonarroti and
+him, on account of which Michelagnolo departed from Florence, with
+the excuse of Duke Giuliano, having been summoned by the Pope to the
+competition for the facade of S. Lorenzo. Leonardo, understanding
+this, departed and went into France, where the King, having had
+works by his hand, bore him great affection; and he desired that he
+should colour the cartoon of S. Anne, but Leonardo, according to his
+custom, put him off for a long time with words.
+
+Finally, having grown old, he remained ill many months, and, feeling
+himself near to death, asked to have himself diligently informed of
+the teaching of the Catholic faith, and of the good way and holy
+Christian religion; and then, with many moans, he confessed and was
+penitent; and although he could not raise himself well on his feet,
+supporting himself on the arms of his friends and servants, he was
+pleased to take devoutly the most holy Sacrament, out of his bed.
+The King, who was wont often and lovingly to visit him, then came
+into the room; wherefore he, out of reverence, having raised himself
+to sit upon the bed, giving him an account of his sickness and the
+circumstances of it, showed withal how much he had offended God and
+mankind in not having worked at his art as he should have done.
+Thereupon he was seized by a paroxysm, the messenger of death; for
+which reason the King having risen and having taken his head, in
+order to assist him and show him favour, to the end that he might
+alleviate his pain, his spirit, which was divine, knowing that it
+could not have any greater honour, expired in the arms of the King,
+in the seventy-fifth year of his age.
+
+[Illustration: FRAGMENT FROM "THE BATTLE OF THE STANDARD"
+
+(_After the cartoon attributed to_ Leonardo da Vinci. _Oxford:
+Ashmolean Museum_)
+
+_Reproduced by permission of the Visitors of the Ashmolean Museum_]
+
+The loss of Leonardo grieved beyond measure all those who had known
+him, since there was never any one who did so much honour to
+painting. With the splendour of his aspect, which was very
+beautiful, he made serene every broken spirit: and with his
+words he turned to yea, or nay, every obdurate intention. By his
+physical force he could restrain any outburst of rage: and with his
+right hand he twisted the iron ring of a door-bell, or a horse-shoe,
+as if it were lead. With his liberality he would assemble together
+and support his every friend, poor or rich, if only he had intellect
+and worth. He adorned and honoured, in every action, no matter what
+mean and bare dwelling; wherefore, in truth, Florence received a
+very great gift in the birth of Leonardo, and an incalculable loss
+in his death. In the art of painting, he added to the manner of
+colouring in oils a certain obscurity, whereby the moderns have
+given great force and relief to their figures. And in statuary, he
+proved his worth in the three figures of bronze that are over the
+door of S. Giovanni, on the side towards the north, executed by
+Giovan Francesco Rustici, but contrived with the advice of Leonardo;
+which are the most beautiful pieces of casting, the best designed,
+and the most perfect that have as yet been seen in modern days. By
+Leonardo we have the anatomy of the horse, and that of man even more
+complete. And so, on account of all his qualities, so many and so
+divine, although he worked much more by words than by deeds, his
+name and fame can never be extinguished; wherefore it was thus said
+in his praise by Messer Giovan Battista Strozzi:
+
+  Vince costui pur solo
+  Tutti altri; e vince Fidia e vince Apelle
+  E tutto il lor vittorioso stuolo.
+
+[Illustration: MAN AND WOMAN PRAYING
+
+(_After the panel by =Giovan Antonio Boltraffio=. Milan: Brera,
+281_)
+
+_Anderson_]
+
+A disciple of Leonardo was Giovan Antonio Boltraffio of Milan, a
+person of great skill and understanding, who, in the year 1500,
+painted with much diligence, for the Church of the Misericordia,
+without Bologna, a panel in oils containing Our Lady with the Child
+in her arms, S. John the Baptist, S. Sebastian naked, and the patron
+who caused it to be executed, portrayed from the life, on his
+knees--a truly beautiful work, on which he wrote his name, calling
+himself a disciple of Leonardo. He has made other works, both at
+Milan and elsewhere; but it must be enough here to have named this,
+which is the best. Another (of his disciples) was Marco Oggioni, who
+painted, in S. Maria della Pace, the Passing of Our Lady and the
+Marriage of Cana in Galilee.
+
+FOOTNOTE:
+
+[10] Two accurate literal translations of the same original
+must often coincide; and in dealing with this beautiful Life, the
+translator has had to take the risk either of seeming to copy the
+almost perfect rendering of Mr. H. P. Horne, or of introducing
+unsatisfactory variants for mere variety's sake. Having rejected the
+latter course, he feels doubly bound to record once more his deep
+obligation to Mr. Horne's example.
+
+[11] This name is missing in the text.
+
+
+
+
+GIORGIONE DA CASTELFRANCO
+
+
+
+
+LIFE OF GIORGIONE DA CASTELFRANCO
+
+PAINTER OF VENICE
+
+
+At the same time when Florence was acquiring such fame by reason of
+the works of Leonardo, no little adornment was conferred on Venice
+by the talent and excellence of one of her citizens, who surpassed
+by a great measure not only the Bellini, whom the Venetians held in
+such esteem, but also every other master who had painted up to that
+time in that city. This was Giorgio, who was born at Castelfranco in
+the territory of Treviso, in the year 1478, when the Doge was
+Giovanni Mozzenigo, brother of Doge Piero. In time, from the nature
+of his person and from the greatness of his mind, Giorgio came to be
+called Giorgione; and although he was born from very humble stock,
+nevertheless he was not otherwise than gentle and of good breeding
+throughout his whole life. He was brought up in Venice, and took
+unceasing delight in the joys of love; and the sound of the lute
+gave him marvellous pleasure, so that in his day he played and sang
+so divinely that he was often employed for that purpose at various
+musical assemblies and gatherings of noble persons. He studied
+drawing, and found it greatly to his taste; and in this nature
+favoured him so highly, that he, having become enamoured of her
+beauties, would never represent anything in his works without
+copying it from life; and so much was he her slave, imitating her
+continuously, that he acquired the name not only of having surpassed
+Giovanni and Gentile Bellini, but also of being the rival of the
+masters who were working in Tuscany and who were the creators of the
+modern manner. Giorgione had seen some things by the hand of
+Leonardo with a beautiful gradation of colours, and with
+extraordinary relief, effected, as has been related, by means of
+dark shadows; and this manner pleased him so much that he was for
+ever studying it as long as he lived, and in oil-painting he
+imitated it greatly. Taking pleasure in the delights of good work,
+he was ever selecting, for putting into his pictures, the greatest
+beauty and the greatest variety that he could find. And nature gave
+him a spirit so benign, and with this, both in oil-painting and in
+fresco, he made certain living forms and other things so soft, so
+well harmonized, and so well blended in the shadows, that many of
+the excellent masters of his time were forced to confess that he had
+been born to infuse spirit into figures and to counterfeit the
+freshness of living flesh better than any other painter, not only in
+Venice, but throughout the whole world.
+
+[Illustration: GIORGIONE DA CASTELFRANCO: FIGURES IN A LANDSCAPE
+
+(_Venice: Prince Giovanelli. Canvas_)]
+
+In his youth he executed in Venice many pictures of Our Lady and
+other portraits from nature, which are very lifelike and beautiful;
+of which we still have proof in three most beautiful heads in oils
+by his hand, which are in the study of the Very Reverend Grimani,
+Patriarch of Aquileia. One represents David--and it is reported to
+be his own portrait--with long locks reaching to the shoulders, as
+was the custom of those times; it is so vivacious and so fresh in
+colouring that it seems to be living flesh, and there is armour on
+the breast, as there is on the arm with which he is holding the
+severed head of Goliath. The second is a much larger head, portrayed
+from nature; one hand is holding the red cap of a commander, and
+there is a cape of fur, below which is one of the old-fashioned
+doublets. This is believed to represent some military leader. The
+third is that of a boy, as beautiful as could be, with fleecy hair.
+These works demonstrate the excellence of Giorgione, and no less the
+affection which that great Patriarch has ever borne to his genius,
+holding them very dear, and that rightly. In Florence, in the house
+of the sons of Giovanni Borgherini, there is a portrait by his hand
+of the said Giovanni, taken when he was a young man in Venice, and
+in the same picture is the master who was teaching him; and there
+are no two heads to be seen with better touches in the flesh-colours
+or with more beautiful tints in the shadows. In the house of Anton
+de' Nobili there is another head of a captain in armour, very lively
+and spirited, which is said to be one of the captains whom Consalvo
+Ferrante took with him to Venice when he visited Doge Agostino
+Barberigo; at which time, it is related, Giorgione made a
+portrait of the great Consalvo in armour, which was a very rare
+work, insomuch that there was no more beautiful painting than this
+to be seen, and Consalvo took it away with him. Giorgione made many
+other portraits which are scattered throughout many parts of Italy;
+all very beautiful, as may be believed from that of Leonardo
+Loredano, painted by Giorgione when Leonardo was Doge, which I saw
+exhibited on one Ascension day, when I seemed to see that most
+illustrious Prince alive. There is also one at Faenza, in the house
+of Giovanni da Castel Bolognese, an excellent engraver of cameos and
+crystals; which work, executed for his father-in-law, is truly
+divine, since there is such a harmony in the gradation of the
+colours that it appears to be rather in relief than painted.
+
+Giorgione took much delight in painting in fresco, and one among
+many works that he executed was the whole of a facade of the Ca
+Soranzo on the Piazza di S. Polo; wherein, besides many pictures and
+scenes and other things of fancy, there may be seen a picture
+painted in oils on the plaster, a work which has withstood rain,
+sun, and wind, and has remained fresh up to our own day. There is
+also a Spring, which appears to me to be one of the most beautiful
+works that he painted in fresco, and it is a great pity that time
+has consumed it so cruelly. For my part, I know nothing that injures
+works in fresco more than the sirocco, and particularly near the
+sea, where it always brings a salt moisture with it.
+
+There broke out at Venice, in the year 1504, in the Fondaco de'
+Tedeschi by the Ponte del Rialto, a most terrible fire, which
+consumed the whole building and all the merchandise, to the very
+great loss of the merchants; wherefore the Signoria of Venice
+ordained that it should be rebuilt anew, and it was speedily
+finished with more accommodation in the way of living-rooms, and
+with greater magnificence, adornment, and beauty. Thereupon, the
+fame of Giorgione having grown great, it was ordained after
+deliberation by those who had charge of the matter, that Giorgione
+should paint it in fresco with colours according to his own fancy,
+provided only that he gave proof of his genius and executed an
+excellent work, since it would be in the most beautiful place and
+most conspicuous site in the city. And so Giorgione put his hand to
+the work, but thought of nothing save of making figures according
+to his own fancy, in order to display his art, so that, in truth,
+there are no scenes to be found there with any order, or
+representing the deeds of any distinguished person, either ancient
+or modern; and I, for my part, have never understood them, nor have
+I found, for all the inquiries that I have made, anyone who
+understands them, for in one place there is a woman, in another a
+man, in diverse attitudes, while one has the head of a lion near
+him, and another an angel in the guise of a Cupid, nor can one tell
+what it may all mean. There is, indeed, over the principal door,
+which opens into the Merceria, a woman seated who has at her feet
+the severed head of a giant, almost in the form of a Judith; she is
+raising the head with her sword, and speaking with a German, who is
+below her; but I have not been able to determine for what he
+intended her to stand, unless, indeed, he may have meant her to
+represent Germany. However, it may be seen that his figures are well
+grouped, and that he was ever making progress; and there are in it
+heads and parts of figures very well painted, and most vivacious in
+colouring. In all that he did there he aimed at being faithful to
+nature, without any imitation of another's manner; and the work is
+celebrated and famous in Venice, no less for what he painted therein
+than through its convenience for commerce and its utility to the
+commonwealth.
+
+He executed a picture of Christ bearing the Cross, with a Jew
+dragging him along, which in time was placed in the Church of S.
+Rocco, and which now, through the veneration that many feel for it,
+works miracles, as all may see. He worked in various places, such as
+Castelfranco, and throughout the territory of Treviso, and he made
+many portraits for Italian Princes; and many of his works were sent
+out of Italy, as things truly worthy to bear testimony that if
+Tuscany had a superabundance of craftsmen in every age, the region
+beyond, near the mountains, was not always abandoned and forgotten
+by Heaven.
+
+[Illustration: PORTRAIT OF A YOUNG MAN
+
+(_After the painting by =Giorgione da Castelfranco=. Berlin: Kaiser
+Friedrich Museum, 12A_)
+
+_Bruckmann_]
+
+It is related that Giorgione, at the time when Andrea Verrocchio was
+making his bronze horse, fell into an argument with certain
+sculptors, who maintained, since sculpture showed various attitudes
+and aspects in one single figure to one walking round it, that for
+this reason it surpassed painting, which only showed one side
+of a figure. Giorgione was of the opinion that there could be shown
+in a painted scene, without any necessity for walking round, at one
+single glance, all the various aspects that a man can present in
+many gestures--a thing which sculpture cannot do without a change of
+position and point of view, so that in her case the points of view
+are many, and not one. Moreover, he proposed to show in one single
+painted figure the front, the back, and the profile on either side,
+a challenge which brought them to their senses; and he did it in the
+following way. He painted a naked man with his back turned, at whose
+feet was a most limpid pool of water, wherein he painted the
+reflection of the man's front. At one side was a burnished cuirass
+that he had taken off, which showed his left profile, since
+everything could be seen on the polished surface of the piece of
+armour; and on the other side was a mirror, which reflected the
+other profile of the naked figure; which was a thing of most
+beautiful and bizarre fancy, whereby he sought to prove that
+painting does in fact, with more excellence, labour, and effect,
+achieve more at one single view of a living figure than does
+sculpture. And this work was greatly extolled and admired, as
+something ingenious and beautiful.
+
+[Illustration: JUDITH
+
+(_After the painting by =Giorgione da Castelfranco=. S. Petersburg:
+Hermitage, 112_)
+
+_M.S._]
+
+He also made a portrait from life of Caterina, Queen of Cyprus,
+which I once saw in the hands of the illustrious Messer Giovanni
+Cornaro. There is in our book a head coloured in oils, the portrait
+of a German of the Fugger family, who was at that time one of the
+chief merchants in the Fondaco de' Tedeschi, which is an admirable
+work; together with other sketches and drawings made by him with the
+pen.
+
+While Giorgione was employed in doing honour both to himself and to
+his country, and frequenting many houses in order to entertain his
+various friends with his music, he became enamoured of a lady, and
+they took much joy, one with another, in their love. Now it happened
+that in the year 1511 she became infected with plague, without,
+however, knowing anything about it; and Giorgione, visiting her as
+usual, caught the plague in such a manner, that in a short time, at
+the age of thirty-four, he passed away to the other life, not
+without infinite grief on the part of his many friends, who loved
+him for his virtues, and great hurt to the world, which thus lost
+him. However, they could bear up against this hurt and loss, in that
+he left behind him two excellent disciples in Sebastiano, the
+Venetian, who afterwards became Friar of the Piombo[12] at Rome, and
+Tiziano da Cadore, who not only equalled him, but surpassed him
+greatly; of both of whom we will speak at the proper time,
+describing fully the honour and benefit that they have conferred on
+art.
+
+[Illustration: CATERINA, QUEEN OF CYPRUS
+
+(_After the painting by =Giorgione da Castelfranco= (?). Milan:
+Crespi Collection_)
+
+_Anderson_]
+
+FOOTNOTE:
+
+[12] Signet-office, for the sealing of Papal Bulls and
+other papers of the Papal Court.
+
+
+
+
+ANTONIO DA CORREGGIO
+
+
+
+
+LIFE OF ANTONIO DA CORREGGIO
+
+PAINTER
+
+
+I do not wish to leave that country wherein our great mother Nature,
+in order not to be thought partial, gave to the world extraordinary
+men of that sort with which she had already for many and many a year
+adorned Tuscany; among whom was one endowed with an excellent and
+very beautiful genius, by name Antonio da Correggio, a most rare
+painter, who acquired the modern manner so perfectly, that in a few
+years, what with his natural gifts and his practice in art, he
+became a most excellent and marvellous craftsman. He was very timid
+by nature, and with great discomfort to himself he was continually
+labouring at the exercise of his art, for the sake of his family,
+which weighed upon him; and although it was a natural goodness that
+impelled him, nevertheless he afflicted himself more than was right
+in bearing the burden of those sufferings which are wont to crush
+mankind. He was very melancholy in his practice of art, a slave to
+her labours, and an unwearying investigator of all the difficulties
+of her realm; to which witness is borne by a vast multitude of
+figures in the Duomo of Parma, executed in fresco and well finished,
+which are to be found in the great tribune of the said church, and
+are seen foreshortened from below with an effect of marvellous
+grandeur.
+
+Antonio was the first who began to work in the modern manner in
+Lombardy; wherefore it is thought that if he, with his genius, had
+gone forth from Lombardy and lived in Rome, he would have wrought
+miracles, and would have brought the sweat to the brow of many who
+were held to be great men in his time. For, his works being such as
+they are without his having seen any of the ancient or the best of
+the modern, it necessarily follows that, if he had seen them, he
+would have vastly improved his own, and, advancing from good to
+better, would have reached the highest rank. It may, at least, be
+held for certain that no one ever handled colours better than he,
+and that no craftsman ever painted with greater delicacy or with
+more relief, such was the softness of his flesh-painting, and such
+the grace with which he finished his works.
+
+[Illustration: ANTONIO DA CORREGGIO: ANTIOPE
+
+(_Paris: Louvre, 1118. Canvas_)]
+
+In the same place, also, he painted two large pictures executed in
+oils, in one of which, among other figures, there may be seen a Dead
+Christ, which was highly extolled. And in S. Giovanni, in the same
+city, he painted a tribune in fresco, wherein he represented Our
+Lady ascending into Heaven amidst a multitude of angels, with other
+saints around; as to which, it seems impossible that he should have
+been able, I do not say to express it with his hand, but even to
+conceive it in his imagination, so beautiful are the curves of the
+draperies and the expressions that he gave to those figures. Of
+these there are some drawings in our book, done in red chalk by his
+hand, with some very beautiful borders of little boys, and other
+borders drawn in that work by way of ornament, with various fanciful
+scenes of sacrifices in the ancient manner. And in truth, if Antonio
+had not brought his works to that perfection which is seen in them,
+his drawings (although they show excellence of manner, and the charm
+and practised touch of a master) would not have gained for him among
+craftsmen the name that he has won with his wonderful paintings.
+This art is so difficult, and has so many branches, that very often
+a craftsman is not able to practise them all to perfection; for
+there have been many who have drawn divinely well, but have shown
+some imperfection in colouring, and others have been marvellous in
+colouring, but have not drawn half so well. All this depends on
+choice, and on the practice bestowed, in youth, in one case on
+drawing, in another on colour. But since all is learnt in order to
+carry works to the height of perfection, which is to put good
+colouring, together with draughtsmanship, into everything that is
+executed, for this reason Correggio deserves great praise, having
+attained to the height of perfection in the works that he coloured
+either in oils or in fresco; as he did in the Church of the Frati
+de' Zoccoli di S. Francesco, in the same city, where he painted
+an Annunciation in fresco so well, that, when it became necessary to
+pull it down in making some changes in that building, those friars
+caused the wall round it to be bound with timber strengthened with
+iron, and, cutting it away little by little, they saved it; and it
+was built by them into a more secure place in the same convent.
+
+He painted, also, over one of the gates of that city, a Madonna who
+has the Child in her arms; and it is an astounding thing to see the
+lovely colouring of this work in fresco, through which he has won
+from passing strangers, who have seen nothing else of his, infinite
+praise and honour. For S. Antonio, likewise in that city, he painted
+a panel wherein is a Madonna, with S. Mary Magdalene; and near them
+is a boy in the guise of a little angel, holding a book in his hand,
+who is smiling, with a smile that seems so natural that he moves
+whoever beholds him to smile also, nor can any person, be his nature
+ever so melancholy, see him without being cheered. There is also a
+S. Jerome; and the whole work is coloured in a manner so wonderful
+and so astounding, that painters revere it for the marvel of its
+colouring, and it is scarcely possible to paint better.
+
+In like manner, he executed square pictures and other paintings for
+many lords throughout Lombardy; and, among other works, two pictures
+in Mantua for Duke Federigo II, to be sent to the Emperor, a gift
+truly worthy of such a Prince. Giulio Romano, seeing these works,
+said that he had never seen any colouring that attained to such
+perfection. One was a naked Leda, and the other a Venus; both so
+soft in colouring, with the shadows of the flesh so well wrought,
+that they appeared to be not colours, but flesh. In one there was a
+marvellous landscape, nor was there ever a Lombard who painted such
+things better than he; and, besides this, hair so lovely in colour,
+and executed in detail with such exquisite finish, that it is not
+possible to see anything better. There were also certain Loves,
+executed with beautiful art, who were making trial of their arrows,
+some of gold and some of lead, on a stone; and what lent most grace
+to the Venus was a clear and limpid stream, which ran among some
+stones and bathed her feet, but scarcely concealed any part of them,
+so that the sight of their delicate whiteness was a moving thing
+for the eye to behold. For which reason Antonio most certainly
+deserved all praise and honour during his lifetime, and the greatest
+glory from the lips and pens of men after his death.
+
+In Modena, also, he painted a panel-picture of Our Lady, which is
+held in esteem by all painters, as the best picture in that city. In
+Bologna, likewise, in the house of the Ercolani, gentlemen of that
+city, there is a work by his hand, a Christ appearing to Mary
+Magdalene in the Garden, which is very beautiful. In Reggio there
+was a rare and most beautiful picture; and not long since, Messer
+Luciano Pallavigino, who takes much delight in noble paintings,
+passing through the city and seeing it, gave no thought to the cost,
+and, as if he had bought a jewel, sent it to his house in Genoa. At
+Reggio, likewise, is a panel containing a Nativity of Christ,
+wherein the splendour radiating from Him throws its light on the
+shepherds and all around on the figures that are contemplating Him;
+and among the many conceptions shown in that subject, there is a
+woman who, wishing to gaze intently at Christ, and not being able
+with her mortal sight to bear the light of His Divinity, which seems
+to be beating upon her with its rays, places a hand before her eyes;
+which is expressed so well that it is a marvel. Over the hut is a
+choir of angels singing, who are so well executed, that they appear
+rather to have rained down from Heaven than to have been made by the
+hand of a painter. And in the same city there is a little picture, a
+foot square, the rarest and most beautiful work that is to be seen
+by his hand, of Christ in the Garden, representing an effect of
+night, and painted with little figures; wherein the Angel, appearing
+to Christ, illumines Him with the splendour of his light, with such
+truth to nature, that nothing better can be imagined or expressed.
+Below, on a plain at the foot of the mountain, are seen the three
+Apostles sleeping, over whom the mountain on which Christ is praying
+casts a shadow, giving those figures a force which one is not able
+to describe. Far in the background, over a distant landscape, there
+is shown the appearing of the dawn; and on one side are seen coming
+some soldiers, with Judas. And although it is so small, this scene
+is so well conceived, that there is no work of the same kind to
+equal it either in patience or in study.
+
+[Illustration: S. THOMAS AND S. JAMES THE LESS
+
+(_Detail, after the fresco by =Antonio da Correggio=. Parma: S.
+Giovanni Evangelista_)
+
+_Anderson_]
+
+Many things might be said of the works of this master; but since,
+among the eminent men of our art, everything that is to be seen by
+his hand is admired as something divine, I will say no more. I have
+used all possible diligence in order to obtain his portrait, but,
+since he himself did not make it, and he was never portrayed by
+others, for he always lived in retirement, I have not been able to
+find one. He was, in truth, a person who had no opinion of himself,
+nor did he believe himself to be an able master of his art,
+contrasting his deficiencies with that perfection which he would
+have liked to achieve. He was contented with little, and he lived
+like an excellent Christian.
+
+[Illustration: THE MADONNA AND CHILD WITH S. JEROME
+
+(_After the painting by =Antonio da Correggio=. Parma: Gallery,
+351_)
+
+_Anderson_]
+
+Antonio, like a man who was weighed down by his family, was anxious
+to be always saving, and he had thereby become as miserly as he
+could well be. Wherefore it is related that, having received at
+Parma a payment of sixty crowns in copper coins, and wishing to take
+them to Correggio to meet some demand, he placed the money on his
+back and set out to walk on foot; but, being smitten by the heat of
+the sun, which was very great, and drinking water to refresh
+himself, he was seized by pleurisy, and had to take to his bed in a
+raging fever, nor did he ever raise his head from it, but finished
+the course of his life at the age of forty, or thereabout.
+
+His pictures date about 1512; and he bestowed a very great gift on
+painting by his handling of colours, which was that of a true
+master; and it was by means of him that men's eyes were opened in
+Lombardy, where so many beautiful intellects have been seen in
+painting, following him in making works worthy of praise and memory.
+Thus, by showing them his treatment of hair, executed with such
+facility, for all the difficulty of painting it, he taught them how
+it should be painted; for which all painters owe him an everlasting
+debt. At their instance the following epigram was written to him by
+Messer Fabio Segni, a gentleman of Florence:
+
+  Hujus cum regeret mortales spiritus artus
+    Pictoris, Charites supplicuere Jovi.
+  Non alia pingi dextra, Pater alme, rogamus;
+    Hunc praeter, nulli pingere nos liceat.
+  Annuit his votis summi regnator Olympi,
+    Et juvenem subito sidera ad alta tulit,
+  Ut posset melius Charitum simulacra referre
+    Praesens, et nudas cerneret inde Deas.
+
+At this same time lived Andrea del Gobbo of Milan, a very pleasing
+painter and colourist, many of whose works are scattered about in
+the houses of his native city of Milan. There is a large
+panel-picture of the Assumption of Our Lady, by his hand, in the
+Certosa of Pavia, but it was left unfinished, on account of death
+overtaking him; which panel shows how excellent he was, and how
+great a lover of the labours of art.
+
+[Illustration: ANTONIO DA CORREGGIO: THE ADORATION OF THE MAGI
+
+(_Milan: Brera, 427. Canvas_)]
+
+
+
+
+PIERO DI COSIMO
+
+
+
+
+LIFE OF PIERO DI COSIMO
+
+PAINTER OF FLORENCE
+
+
+While Giorgione and Correggio, to their own great credit and glory,
+were honouring the regions of Lombardy, Tuscany, on her part, was
+not wanting in men of beautiful intellect; among whom, not one of
+the least was Piero, the son of one Lorenzo, a goldsmith, and a
+pupil of Cosimo Rosselli, after whom he was always called Piero di
+Cosimo, and known by no other name. And in truth, when a man teaches
+us excellence and gives us the secret of living rightly, he deserves
+no less gratitude from us, and should be held no less as a true
+father, than he who begets us and gives us life and nothing more.
+
+Piero was entrusted by his father, who saw in his son a lively
+intelligence and an inclination to the art of design, to the care of
+Cosimo, who took him with no ordinary willingness; and seeing him
+grow no less in ability than in years, among the many disciples that
+he had, he bore him love as to a son, and always held him as such.
+This young man had by nature a most lofty spirit, and he was very
+strange, and different in fancy from the other youths who were
+working with Cosimo in order to learn the same art. He was at times
+so intent on what he was doing, that when some subject was being
+discussed, as often happens, at the end of the discussion it was
+necessary to go back to the beginning and tell him the whole, so far
+had his brain wandered after some other fancy of his own. And he was
+likewise so great a lover of solitude, that he knew no pleasure save
+that of going off by himself with his thoughts, letting his fancy
+roam and building his castles in the air. Right good reason had
+Cosimo, his master, for wishing him well, seeing that he made so
+much use of him in his works, that very often he caused him to
+execute things of great importance, knowing that Piero had a more
+beautiful manner, as well as better judgment, than himself. For this
+reason he took Piero with him to Rome, when he was summoned thither
+by Pope Sixtus in order to paint the scenes in his chapel; in one of
+which Piero executed a very beautiful landscape, as was related in
+the Life of Cosimo.
+
+And since Piero drew most excellently from the life, he made in Rome
+many portraits of distinguished persons; in particular, those of
+Virginio Orsino and Ruberto Sanseverino, which he placed in the
+aforesaid scenes. Afterwards, also, he made a portrait of Duke
+Valentino, the son of Pope Alexander VI; which painting, to my
+knowledge, is not now to be found; but the cartoon by his hand still
+exists, being in the possession of the reverend and cultured M.
+Cosimo Bartoli, Provost of S. Giovanni. In Florence, he painted many
+pictures for a number of citizens, which are dispersed among their
+various houses, and of such I have seen some that are very good; and
+so, also, various things for many other persons. In the Noviciate of
+S. Marco is a picture by his hand of Our Lady, standing, with the
+Child in her arms, coloured in oils. And for the Chapel of Gino
+Capponi, in the Church of S. Spirito at Florence, he painted a panel
+wherein is the Visitation of Our Lady, with S. Nicholas, and a S.
+Anthony who is reading with a pair of spectacles on his nose, a very
+spirited figure. Here he counterfeited a book bound in parchment,
+somewhat old, which seems to be real, and also some balls that he
+gave to the S. Nicholas, shining and casting gleams of light and
+reflections from one to another; from which even by that time men
+could perceive the strangeness of his brain, and his constant
+seeking after difficulties.
+
+[Illustration: PIERO DI COSIMO: THE DEATH OF PROCRIS
+
+(_London: National Gallery, 698. Panel_)]
+
+Even better did he show this after the death of Cosimo, when he kept
+himself constantly shut up, and would not let himself be seen at
+work, leading the life of a man who was less man than beast. He
+would never have his rooms swept, he would only eat when hunger came
+to him, and he would not let his garden be worked or his fruit-trees
+pruned; nay, he allowed his vines to grow, and the shoots to trail
+over the ground, nor were his fig-trees ever trimmed, or any other
+trees, for it pleased him to see everything wild, like his own
+nature; and he declared that Nature's own things should be left to
+her to look after, without lifting a hand to them. He set himself
+often to observe such animals, plants, or other things as Nature at
+times creates out of caprice, or by chance; in which he found a
+pleasure and satisfaction that drove him quite out of his mind with
+delight; and he spoke of them so often in his discourse, that at
+times, although he found pleasure in them, it became wearisome to
+others. He would sometimes stop to gaze at a wall against which sick
+people had been for a long time discharging their spittle, and from
+this he would picture to himself battles of horsemen, and the most
+fantastic cities and widest landscapes that were ever seen; and he
+did the same with the clouds in the sky.
+
+He gave his attention to colouring in oils, having seen some works
+of Leonardo's, executed with that gradation of colour, and finished
+with that extraordinary diligence, which Leonardo used to employ
+when he wished to display his art. And so Piero, being pleased with
+his method, sought to imitate it, although he was afterwards very
+distant from Leonardo, and worlds away from any other manner. It may
+be said, in truth, that he changed his manner almost for every work
+that he executed.
+
+If Piero had not been so solitary, and had taken more care of
+himself in his way of living than he did, he would have made known
+the greatness of his intellect in such a way that he would have been
+revered, whereas, by reason of his uncouth ways, he was rather held
+to be a madman, although in the end he did no harm save to himself
+alone, while his works were beneficial and useful to his art. For
+which reason every good intellect and every excellent craftsman
+should always be taught, from such an example, to keep his eyes on
+the end of life.
+
+Nor will I refrain from saying that Piero, in his youth, being
+fanciful and extravagant in invention, was much employed for the
+masquerades that are held during the Carnival; and he became very
+dear to the young noblemen of Florence, having improved their
+festivals much in invention, adornment, grandeur, and pomp. As to
+that kind of pastime, it is said that he was one of the first to
+contrive to marshal them in the form of triumphal processions; at
+least, he improved them greatly, by accompanying the invention of
+the story represented, not only with music and with words suited to
+the subject, but also with a train of incredible pomp, formed of
+men on foot and on horseback, with habits and ornaments in keeping
+with the story; which produced a very rich and beautiful effect, and
+had in it something both grand and ingenious. And it was certainly a
+very beautiful thing to see, by night, twenty-five or thirty pairs
+of horses, most richly caparisoned, with their riders in costume,
+according to the subject of the invention, and six or eight grooms
+to each rider, with torches in their hands, and all clothed in one
+and the same livery, sometimes more than four hundred in number; and
+then the chariot, or triumphal car, covered with ornaments,
+trophies, and most bizarre things of fancy; altogether, a thing
+which makes men's intellects more subtle, and gives great pleasure
+and satisfaction to the people.
+
+[Illustration: PERSEUS DELIVERING ANDROMEDA
+
+(_After the panel by =Piero di Cosimo=. Florence: Uffizi, 1312_)
+
+_Brogi_]
+
+Among these spectacles, which were numerous and ingenious, it is my
+pleasure to give a brief description of one, which was contrived
+mostly by Piero, when he was already of a mature age, and which was
+not, like many, pleasing through its beauty, but, on the contrary,
+on account of a strange, horrible, and unexpected invention, gave no
+little satisfaction to the people: for even as in the matter of food
+bitter things sometimes give marvellous delight to the human palate,
+so do horrible things in such pastimes, if only they be carried out
+with judgment and art; which is evident in the representation of
+tragedies. This was the Car of Death, wrought by him with the
+greatest secrecy in the Sala del Papa, so that nothing could ever be
+found out about it, until it was seen and known at one and the same
+moment. This triumphal chariot was an enormous car drawn by
+buffaloes, black all over and painted with skeletons and white
+crosses; and upon the highest point of the car stood a colossal
+figure of Death, scythe in hand, and right round the car were a
+number of covered tombs; and at all the places where the procession
+halted for the chanting of dirges, these tombs opened, and from them
+issued figures draped in black cloth, upon which were painted all
+the bones of a skeleton, over their arms, breasts, flanks, and legs;
+which, what with the white over the black, and the appearing in the
+distance of some figures carrying torches, with masks that
+represented a death's head both in front and behind, as well as the
+neck, not only gave an appearance of the greatest reality, but was
+also horrible and terrifying to behold. And these figures of the
+dead, at the sound of certain muffled trumpets, low and mournful in
+tone, came half out of their tombs, and, seating themselves upon
+them, sang to music full of melancholy that song so celebrated at
+the present day: "Dolor, pianto, e penitenzia." Before and after the
+car came a great number of the dead, riding on certain horses picked
+out with the greatest diligence from among the leanest and most
+meagre that could be found, with black caparisons covered with white
+crosses; and each had four grooms draped in the garb of death, with
+black torches, and a large black standard with crosses, bones, and
+death's heads. After the car were trailed ten black standards; and
+as they walked, the whole company sang in unison, with trembling
+voices, that Psalm of David that is called the Miserere.
+
+This dread spectacle, through its novelty and terror, as I have
+said, filled the whole city with fear and marvel together; and
+although at the first sight it did not seem suited to a Carnival,
+nevertheless, being new and very well arranged, it pleased the minds
+of all, and Piero, the creator and inventor of the whole, gained
+consummate praise and commendation for it; and it was the reason
+that afterwards, going from one thing to another, men continued to
+contrive lively and ingenious inventions, so that in truth, for such
+representations and for holding similar festivals, this city has
+never had an equal. And in those old men who saw it there still
+remains a vivid memory of it, nor are they ever weary of celebrating
+this fantastic invention. I have heard from the lips of Andrea di
+Cosimo, who helped him to carry out the work, and of Andrea del
+Sarto, who was Piero's disciple, and who also had a hand in it, that
+it was a common opinion at that time that this invention was
+intended to foreshadow the return of the Medici family to Florence
+in the year 1512, since at the time when the procession was held
+they were exiles, and, so to speak, dead, but destined in a short
+time to come to life; and in this sense were interpreted the
+following words in the song--
+
+  Morti siam come vedete,
+  Cosi morti vedrem voi;
+  Fummo gia come voi siete,
+  Voi sarete come noi, etc.
+
+whereby men wished to signify the return of that family (a
+resurrection, as it were, from death to life), and the expulsion and
+abasement of their enemies; or it may have been that many gave it
+that significance from the subsequent fact of the return of that
+illustrious house to Florence--so prone is the human intellect to
+applying every word and act that has come previously, to the events
+that happen afterwards. Certain it is that this was the opinion of
+many at that time; and it was much spoken of.
+
+[Illustration: VENUS, MARS, AND CUPID
+
+(_After the panel by =Piero di Cosimo=. Berlin: Kaiser Friedrich
+Museum, 107_)
+
+_Hanfstaengl_]
+
+But to return to the art and actions of Piero; he was given the
+commission for a panel in the Church of the Servite Friars, in the
+Chapel of the Tedaldi, where they keep the garment and the pillow of
+S. Filippo, a brother of their Order; wherein he depicted Our Lady
+standing, raised from the ground on a pedestal, and uplifting her
+head towards Heaven, with a book in her hand, but without her Son;
+and above her is the Holy Spirit, bathing her with light. Nor did he
+wish that any other light than that of the Dove should illumine her
+and the figures that are round her, such as a S. Margaret and a S.
+Catherine, who are on their knees, adoring her, while S. Peter and
+S. John the Evangelist are standing, contemplating her, together
+with S. Filippo, the Servite Friar, and S. Antonino, Archbishop of
+Florence. Moreover, he made there a landscape that is very bizarre,
+what with the strange trees and certain grottoes. And in truth,
+there are some very beautiful things in this work, such as certain
+heads that reveal both draughtsmanship and grace; besides the
+colouring, which is very harmonious, for it is certain that Piero
+was a great master of colouring in oils. In the predella he painted
+some little scenes, very well executed; and, among others, there is
+one of S. Margaret issuing from the belly of the Dragon, wherein he
+made that animal so monstrous and hideous, that I do not think that
+there is anything better of that kind to be seen, for with its eyes
+it reveals venom, fire, and death, in an aspect truly terrifying.
+And certainly, as for such things, I do not believe that any one
+ever did them better than he, or came near him in imagining them; to
+which witness is borne by a marine monster that he made and
+presented to the Magnificent Giuliano de' Medici, which is so
+extravagant, bizarre, and fantastic in its deformity, that it seems
+impossible that Nature should produce anything so deformed and
+strange among her creations. This monster is now in the guardaroba
+of Duke Cosimo de' Medici, as is also a book, likewise by the hand
+of Piero, of animals of the same kind, most beautiful and bizarre,
+hatched very diligently with the pen, and finished with an
+incredible patience; which book was presented to him by M. Cosimo
+Bartoli, Provost of S. Giovanni, who is very much my friend, as he
+is of all our craftsmen, being a man who has always delighted, and
+still delights, in our profession.
+
+He also executed, round a chamber in the house of Francesco del
+Pugliese, various scenes with little figures; nor is it possible to
+describe the different fantastic things that he delighted to paint
+in all those scenes, what with the buildings, the animals, the
+costumes, the various instruments, and any other fanciful things
+that came into his head, since the stories were drawn from fables.
+These scenes, after the death of Francesco del Pugliese and his
+sons, were taken away, nor do I know what has become of them; and
+the same thing has happened to a picture of Mars and Venus, with her
+Loves and Vulcan, executed with great art and with an incredible
+patience.
+
+Piero painted, for the elder Filippo Strozzi, a picture with little
+figures of Perseus delivering Andromeda from the Monster, in which
+are some very beautiful things. It is now in the house of Signor
+Sforza Almeni, First Chamberlain to Duke Cosimo, having been
+presented to him by Messer Giovanni Battista, the son of Lorenzo
+Strozzi, who knew how much that nobleman delighted in painting and
+sculpture; and he holds it in great account, for Piero never made a
+more lovely or more highly finished picture than this one, seeing
+that it is not possible to find a more bizarre or more fantastic
+sea-monster than that which Piero imagined and painted, or a fiercer
+attitude than that of Perseus, who is raising his sword in the air
+to smite the beast. In it, trembling between fear and hope,
+Andromeda is seen bound, most beautiful in countenance; and in the
+foreground are many people in various strange costumes, playing
+instruments and singing; among whom are some heads, smiling and
+rejoicing at seeing the deliverance of Andromeda, that are divine.
+The landscape is very beautiful, and the colouring sweet and full of
+grace. In short, with regard to the harmony and gradation of the
+colours, he executed this work with the greatest possible diligence.
+
+He painted, also, a picture containing a nude Venus, with a Mars,
+likewise nude, who is sleeping in a meadow full of flowers, and all
+around are various Loves, who are carrying away, some here, some
+there, the helmet, armlets, and other pieces of armour of Mars;
+there is a grove of myrtle, with a Cupid that is afraid of a rabbit,
+and there are also the Doves of Venus and the other emblems of Love.
+This picture is at Florence, in the house of Giorgio Vasari, who
+keeps it in memory of that master, whose caprices have always
+pleased him.
+
+The Director of the Hospital of the Innocenti was much the friend of
+Piero; and wishing to have a panel painted, which was to be placed
+in the Pugliese Chapel, near the entrance into the church, on the
+left hand, he gave the commission for it to Piero, who brought it to
+completion at his leisure; but first he reduced his patron to
+despair, for on no account would he let him see it until it was
+finished. How strange this seemed to the patron, both because of
+their friendship, and because of his supplying Piero continually
+with money, without seeing what was being done, he himself showed,
+when, on the occasion of the final payment, he refused to give it to
+him without seeing the work. But, on Piero threatening that he would
+destroy all that he had painted, he was forced to give him the rest,
+and to wait patiently, in a greater rage than ever, for it to be set
+in place. This picture contains much that is truly beautiful.
+
+He undertook to paint a panel for a chapel in the Church of S. Piero
+Gattolini, and in this he represented Our Lady seated, with four
+figures round her, and two angels in the sky, who are crowning her;
+which work, executed with such diligence that it brought him praise
+and honour, is now to be seen in S. Friano, the other church having
+been ruined. For the tramezzo[13] of the Church of S. Francesco, at
+Fiesole, he painted a little panel-picture of the Conception, which
+is a passing good little work, the figures being of no great size.
+For Giovanni Vespucci, who lived in a house now belonging to Piero
+Salviati, opposite to S. Michele, in the Via de' Servi, he executed
+some bacchanalian scenes, which are round an apartment; wherein he
+made such strange fauns, satyrs, sylvan gods, little boys, and
+bacchanals, that it is a marvel to see the diversity of the bay
+horses and garments, and the variety of the goatlike features, and
+all with great grace and most vivid truth to nature. In one scene is
+Silenus riding on an ass, with many children, some supporting him,
+and some giving him drink; and throughout the whole is a feeling of
+the joy of life, produced by the great genius of Piero. And in
+truth, in all that there is to be seen by his hand, one recognizes a
+spirit very different and far distant from that of other painters,
+and a certain subtlety in the investigation of some of the deepest
+and most subtle secrets of Nature, without grudging time or labour,
+but only for his own delight and for his pleasure in the art. And it
+could not well be otherwise; since, having grown enamoured of her,
+he cared nothing for his own comfort, and reduced himself to eating
+nothing but boiled eggs, which, in order to save firing, he cooked
+when he was boiling his glue, and not six or eight at a time, but in
+fifties; and, keeping them in a basket, he would eat them one by
+one. In this life he found such peculiar pleasure that any other, in
+comparison with his own, seemed to him slavery. He could not bear
+the crying of children, the coughing of men, the sound of bells, and
+the chanting of friars; and when the rain was pouring in torrents
+from the sky, it pleased him to see it streaming straight down from
+the roofs and splashing on the ground. He had the greatest terror of
+lightning; and, when he heard very loud thunder, he wrapped himself
+in his mantle, and, having closed the windows and the door of the
+room, he crouched in a corner until the storm should pass. He was
+very varied and original in his discourse, and sometimes said such
+beautiful things, that he made his hearers burst with laughter. But
+when he was old, and near the age of eighty, he had become so
+strange and eccentric that nothing could be done with him. He would
+not have assistants standing round him, so that his misanthropy had
+robbed him of all possible aid. He was sometimes seized by a desire
+to work, but was not able, by reason of the palsy, and fell into
+such a rage that he tried to force his hands to labour; but, as he
+muttered to himself, the mahlstick fell from his grasp, and even his
+brushes, so that it was pitiable to behold. Flies enraged him, and
+even shadows annoyed him. And so, having become ill through old age,
+he was visited by one or two friends, who besought him to make his
+peace with God; but he would not believe that he was dying, and put
+them off from one day to another; not that he was hard of heart, or
+an unbeliever, for he was a most zealous Christian, although his
+life was that of a beast. He discoursed at times on the torments of
+those ills that destroy men's bodies, and of the suffering endured
+by those who come to die with their strength wasting away little by
+little, which he called a great affliction. He spoke evil of
+physicians, apothecaries, and those who nurse the sick, saying that
+they cause them to die of hunger; besides the tortures of syrups,
+medicines, clysters, and other martyrdoms, such as not being allowed
+to sleep when you are drowsy, making your will, seeing your
+relatives round you, and staying in a dark room. He praised death by
+the hand of justice, saying that it was a fine thing to go to your
+death in that way; to see the broad sky about you, and all that
+throng; to be comforted with sweetmeats and with kind words; to have
+the priest and the people praying for you; and to go into Paradise
+with the Angels; so that whoever departed from this life at one
+blow, was very fortunate. And as he discoursed, he would twist
+everything to the strangest meanings that were ever heard.
+Wherefore, living in such strange fashion, he reduced himself to
+such a state with his extravagant fancies, that one morning he was
+found dead at the foot of a staircase, in the year 1521; and he was
+given burial in S. Piero Maggiore.
+
+His disciples were many, and one among them was Andrea del Sarto,
+who was a host in himself. Piero's portrait I received from
+Francesco da San Gallo, who was much his friend and intimate
+companion, and who made it when Piero was old; which Francesco still
+has a work by the hand of Piero that I must not pass by, a very
+beautiful head of Cleopatra, with an asp wound round her neck, and
+two portraits, one of his father Giuliano, and the other of his
+grandfather Francesco Giamberti, which seem to be alive.
+
+[Illustration: FRANCESCO GIAMBERTI
+
+(_After the panel by =Piero di Cosimo=. Hague: Royal Museum, 255_)
+
+_Bruckmann_]
+
+FOOTNOTE:
+
+[13] See note on p. 57, Vol. I.
+
+
+
+
+BRAMANTE DA URBINO
+
+
+
+
+LIFE OF BRAMANTE DA URBINO
+
+ARCHITECT
+
+
+Of very great advantage to architecture, in truth, was the new
+method of Filippo Brunelleschi, who imitated and restored to the
+light, after many ages, the noble works of the most learned and
+marvellous ancients. But no less useful to our age was Bramante, in
+following the footsteps of Filippo, and making the path of his
+profession of architecture secure for all who came after him, by
+means of his courage, boldness, intellect, and science in that art,
+wherein he had the mastery not of theory only, but of supreme skill
+and practice. Nor could nature have created a more vigorous
+intellect, or one to exercise his art and carry it into execution
+with greater invention and proportion, or with a more thorough
+knowledge, than Bramante. But no less essential than all this was
+the election to the Pontificate, at that time, of Julius II, a Pope
+of great spirit, full of desire to leave memorials behind him. And
+it was fortunate both for us and for Bramante that he found such a
+Prince (a thing which rarely happens to men of great genius), at
+whose expense he might be able to display the worth of his
+intellect, and that mastery over difficulties which he showed in
+architecture. His ability was so universal in the buildings that he
+erected, that the outlines of the cornices, the shafts of the
+columns, the graceful capitals, the bases, the consoles and corners,
+the vaults, the staircases, the projections, and every detail of
+every Order of architecture, contrived from the counsel or model of
+this craftsman, never failed to astonish all who saw them. Wherefore
+it appears to me that the everlasting gratitude which is due to the
+ancients from the intellects that study their works, is also due
+from them to the labours of Bramante; for if the Greeks were the
+inventors of architecture, and the Romans their imitators, Bramante
+not only imitated what he saw, with new invention, and taught it to
+us, but also added very great beauty and elaboration to the art,
+which we see embellished by him at the present day.
+
+He was born at Castel Durante, in the State of Urbino, of poor but
+honest parentage. In his boyhood, besides reading and writing, he
+gave much attention to arithmetic; but his father, who had need that
+he should earn money, perceiving that he delighted much in drawing,
+applied him, when still a mere boy, to the art of painting;
+whereupon Bramante gave much study to the works of Fra Bartolommeo,
+otherwise called Fra Carnovale da Urbino, who painted the
+panel-picture of S. Maria della Bella at Urbino. But since he always
+delighted in architecture and perspective, he departed from Castel
+Durante, and made his way to Lombardy, where he went now to one
+city, and now to another, working as best he could, but not on
+things of great cost or much credit, having as yet neither name nor
+reputation. For this reason he determined at least to see some
+noteworthy work, and betook himself to Milan, in order to see the
+Duomo. In that city there was then living one Cesare Cesariano,
+reputed to be a good geometrician and an able architect, who wrote a
+commentary on Vitruvius, and, out of despair at not having received
+for this the remuneration that he had expected, became so strange
+that he would work no more; and, having grown almost savage, he died
+more like a beast than like a human being. There was also one
+Bernardino da Trevio, a Milanese, engineer and architect for the
+Duomo, and an excellent draughtsman, who was held by Leonardo da
+Vinci to be a rare master, although his manner was rather crude and
+somewhat hard in painting. By his hand is a Resurrection of Christ
+to be seen at the upper end of the cloister of the Grazie, with some
+very beautiful foreshortenings; and a chapel in fresco in S.
+Francesco, containing the deaths of S. Peter and S. Paul. He painted
+many other works in Milan, and he also made a good number in the
+surrounding district, which are held in esteem; and in our book
+there is a head of a very beautiful woman, in charcoal and
+lead-white, which still bears witness to the manner that he
+followed.
+
+[Illustration: INTERIOR OF SACRISTY
+
+(_After_ Bramante da Urbino. _Milan: S. Satiro_)
+
+_Brogi_]
+
+But to return to Bramante; having studied that building, and having
+come to know those engineers, he so took courage, that he resolved
+to devote himself wholly to architecture. Having therefore departed
+from Milan, he betook himself, just before the holy year of 1500, to
+Rome, where he was recognized by some friends, both from his own
+country and from Lombardy, and received a commission to paint, over
+the Porta Santa of S. Giovanni Laterano, which is opened for the
+Jubilee, the coat of arms of Pope Alexander VI, to be executed in
+fresco, with angels and other figures acting as supporters.
+
+Bramante had brought some money from Lombardy, and he earned some
+more in Rome by executing certain works; and this he spent with the
+greatest economy, since he wished to be able to live independently,
+and at the same time, without having to work, to be free to take
+measurements, at his ease, of all the ancient buildings in Rome. And
+having put his hand to this, he set out, alone with his thoughts;
+and within no great space of time he had measured all the buildings
+in that city and in the Campagna without; and he went as far as
+Naples, and wherever he knew that there were antiquities. He
+measured all that was at Tivoli and in the Villa of Hadrian, and, as
+will be related afterwards in the proper place, made great use of
+it. The mind of Bramante becoming known in this way, the Cardinal of
+Naples, having noticed him, began to favour him. Whereupon, while
+Bramante was continuing his studies, the desire came to the said
+Cardinal to have the cloister of the Frati della Pace rebuilt in
+travertine, and he gave the charge of this cloister to Bramante, and
+he, desiring to earn money and to gain the good will of that
+Cardinal, set himself to work with all possible industry and
+diligence, and brought it quickly to perfect completion. And
+although it was not a work of perfect beauty, it gave him a very
+great name, since there were not many in Rome who followed the
+profession of architecture with such zeal, study, and resolution as
+Bramante.
+
+At the beginning he served as under-architect to Pope Alexander VI
+for the fountain of Trastevere, and likewise for that which was made
+on the Piazza di S. Pietro. He also took part, together with other
+excellent architects, when his reputation had increased, in the
+planning of a great part of the Palace of S. Giorgio, and of the
+Church of S. Lorenzo in Damaso, at the commission of Raffaello
+Riario, Cardinal of S. Giorgio, near the Campo di Fiore; which
+palace, whatever better work may have been executed afterwards,
+nevertheless was and still is held, on account of its greatness, to
+be a commodious and magnificent habitation; and the building of this
+edifice was carried out by one Antonio Montecavallo. Bramante was
+consulted with regard to the enlargement of S. Jacopo degli
+Spagnuoli, on the Piazza Navona, and likewise in the deliberations
+for the building of S. Maria de Anima, which was afterwards carried
+out by a German architect. From his design, also, was the Palace of
+Cardinal Adriano da Corneto in the Borgo Nuovo, which was built
+slowly, and then finally remained unfinished by reason of the flight
+of that Cardinal; and in like manner, the enlargement of the
+principal chapel of S. Maria del Popolo was executed from his
+design.
+
+These works brought him so much credit in Rome, that he was
+considered the best architect, in that he was resolute, prompt, and
+most fertile in invention; and he was continually employed by all
+the great persons in that city for their most important
+undertakings. Wherefore, after Julius II had been elected Pope, in
+the year 1503, he entered into his service. The fancy had taken that
+Pontiff to so transform the space that lay between the Belvedere and
+the Papal Palace, as to give it the aspect of a square theatre,
+embracing a little valley that ran between the old Papal Palace and
+the new buildings that Innocent VIII had erected as a habitation for
+the Popes; and he intended, by means of two corridors, one on either
+side of this little valley, to make it possible to go from the
+Belvedere to the Palace under loggie, and also to go from the Palace
+to the Belvedere in the same way, and likewise, by means of various
+flights of steps, to ascend to the level of the Belvedere. Whereupon
+Bramante, who had very good judgment and an inventive genius in such
+matters, distributed two ranges of columns along the lowest part;
+first, a very beautiful Doric loggia, similar to the Colosseum of
+the Savelli (although, in place of half-columns, he used pilasters),
+and all built of travertine; and over this a second range of the
+Ionic Order, full of windows, of such a height as to come to the
+level of the first-floor rooms of the Papal Palace, and to the
+level of those of the Belvedere; intending to make, afterwards, a
+loggia more than four hundred paces long on the side towards Rome,
+and likewise another on the side towards the wood, with which, one
+on either hand, he proposed to enclose the valley; into which, after
+it had been levelled, was to be brought all the water from the
+Belvedere; and for this a very beautiful fountain was to be made. Of
+this design, Bramante finished the first corridor, which issues from
+the Palace and leads to the Belvedere on the side towards Rome,
+except the upper loggia, which was to go above it. As for the
+opposite part, on the side towards the wood, the foundations,
+indeed, were laid, but it could not be finished, being interrupted
+by the death of Julius, and then by that of Bramante. His design was
+held to be so beautiful in invention, that it was believed that from
+the time of the ancients until that day, Rome had seen nothing
+better. But of the other corridor, as has been said, he left only
+the foundations, and the labour of finishing it has dragged on down
+to our own day, when Pius IV has brought it almost to completion.
+
+Bramante also erected the head-wall of the Museum of ancient statues
+in the Belvedere, together with the range of niches; wherein were
+placed, in his lifetime, the Laocoon, one of the rarest of ancient
+statues, the Apollo, and the Venus; and the rest of the statues were
+set up there afterwards by Leo X, such as the Tiber, the Nile, and
+the Cleopatra, with some others added by Clement VII; and in the
+time of Paul III and Julius III many important improvements were
+made, at great expense.
+
+But to return to Bramante; he was very resolute, although he was
+hindered by the avarice of those who supplied him with the means to
+work, and he had a marvellous knowledge of the craft of building.
+This construction at the Belvedere was executed by him with
+extraordinary speed, and such was his eagerness as he worked, and
+that of the Pope, who would have liked to see the edifice spring up
+from the ground, without needing to be built, that the builders of
+the foundations brought the sand and the solid foundation-clay by
+night and let[14] it down by day in the presence of Bramante, who
+caused the foundations to be made without seeing anything more of
+the work. This inadvertence was the reason that all his buildings
+have cracked, and are in danger of falling down, as did this same
+corridor, of which a piece eighty braccia in length fell to the
+ground in the time of Clement VII, and was afterwards rebuilt by
+Pope Paul III, who also had the foundations restored and the whole
+strengthened.
+
+From his design, also, are many flights of steps in the Belvedere,
+varied according to their situations, whether high or low, in the
+Doric, Ionic, and Corinthian Orders--a very beautiful work, executed
+with extraordinary grace. And he had made a model for the whole,
+which is said to have been a marvellous thing, as may still be
+imagined from the beginning of the work, unfinished as it is.
+Moreover, he made a spiral staircase upon mounting columns, in such
+a way that one can ascend it on horseback; wherein the Doric passes
+into the Ionic, and the Ionic into the Corinthian, rising from one
+into the other; a work executed with supreme grace, and with truly
+excellent art, which does him no less honour than any other thing by
+his hand that is therein. This invention was copied by Bramante from
+S. Niccolo at Pisa, as was said in the Lives of Giovanni and Niccola
+of Pisa.
+
+The fancy took Bramante to make, in a frieze on the outer facade of
+the Belvedere, some letters after the manner of ancient
+hieroglyphics, representing the name of the Pope and his own, in
+order to show his ingenuity: and he had begun thus, "Julio II, Pont.
+Massimo," having caused a head in profile of Julius Caesar to be
+made, and a bridge, with two arches, which signified, "Julio II,
+Pont.," and an obelisk from the Circus Maximus, to represent "Max."
+At which the Pope laughed, and caused him to make the letters in the
+ancient manner, one braccio in height, which are there at the
+present day; saying that he had copied this folly from a door at
+Viterbo, over which one Maestro Francesco, an architect, had placed
+his name, carved in the architrave, and represented by a S. Francis
+(S. Francesco), an arch (arco), a roof (tetto), and a tower (torre),
+which, interpreted in his own way, denoted, "Maestro Francesco
+Architettore." The Pope, on account of his ability in architecture,
+was very well disposed towards him.
+
+[Illustration: TEMPIETTO
+
+(_After_ Bramante da Urbino. _Rome: S. Pietro in Montorio_)
+
+_Anderson_]
+
+For these reasons he was rightly held worthy by the aforesaid Pope,
+who loved him very dearly for his great gifts, to be appointed to
+the Office of the Piombo, for which he made a machine for printing
+Bulls, with a very beautiful screw. In the service of that Pontiff
+Bramante went to Bologna, in the year 1504, when that city returned
+to the Church; and he occupied himself, throughout the whole war
+against Mirandola, on many ingenious things of the greatest
+importance. He made many designs for ground-plans and complete
+buildings, which he drew very well; and of such there are some to be
+seen in our book, accurately drawn and executed with very great art.
+He taught many of the rules of architecture to Raffaello da Urbino;
+designing for him, for example, the buildings that Raffaello
+afterwards drew in perspective in that apartment of the Pope wherein
+there is Mount Parnassus; in which apartment he made a portrait of
+Bramante taking measurements with a pair of compasses.
+
+The Pope resolved, having had the Strada Julia straightened out by
+Bramante, to place in it all the public offices and tribunals of
+Rome, on account of the convenience which this would bring to the
+merchants in their business, which up to that time had always been
+much hindered. Wherefore Bramante made a beginning with the palace
+that is to be seen by S. Biagio sul Tevere, wherein there is still
+an unfinished Corinthian temple, a thing of rare excellence. The
+rest of this beginning is in rustic work, and most beautiful; and it
+is a great pity that a work so honourable, useful, and magnificent,
+which is held by the masters of the profession to be the most
+beautiful example of design in that kind that has ever been seen,
+should not have been finished. He made, also, in the first cloister
+of S. Pietro a Montorio, a round temple of travertine, than which
+nothing more shapely or better conceived, whether in proportion,
+design, variety, or grace, could be imagined; and even more
+beautiful would it have been, if the whole extent of the cloister,
+which is not finished, had been brought to the form that is to be
+seen in a drawing by his hand. He directed the building, in the
+Borgo, of the palace which afterwards belonged to Raffaello da
+Urbino, executed with bricks and mould-castings, the columns and
+bosses being of the Doric Order and of rustic work--a very
+beautiful work--with a new invention in the making of these
+castings. He also made the design and preparations for the
+decoration of S. Maria at Loreto, which was afterwards continued by
+Andrea Sansovino; and an endless number of models for palaces and
+temples, which are in Rome and throughout the States of the Church.
+
+So sublime was the intellect of this marvellous craftsman, that he
+made a vast design for restoring and rearranging the Papal Palace.
+And so greatly had his courage grown, on seeing the powers and
+desires of the Pope rise to the level of his own wishes and genius,
+that, hearing that he was minded to throw the Church of S. Pietro to
+the ground, in order to build it anew, he made him an endless number
+of designs. And among those that he made was one that was very
+wonderful, wherein he showed the greatest possible judgment, with
+two bell-towers, one on either side of the facade, as we see it in
+the coins afterwards struck for Julius II and Leo X by Caradosso, a
+most excellent goldsmith, who had no peer in making dies, as may
+still be seen from the medal of Bramante, executed by him, which is
+very beautiful. And so, the Pope having resolved to make a beginning
+with the vast and sublime structure of S. Pietro, Bramante caused
+half of the old church to be pulled down, and put his hand to the
+work, with the intention that it should surpass, in beauty, art,
+invention, and design, as well as in grandeur, richness, and
+adornment, all the buildings that had been erected in that city by
+the power of the Commonwealth, and by the art and intellect of so
+many able masters; and with his usual promptness he laid the
+foundations, and carried the greater part of the building, before
+the death of the Pope and his own, to the height of the cornice,
+where are the arches to all the four piers; and these he turned with
+supreme expedition and art. He also executed the vaulting of the
+principal chapel, where the recess is, giving his attention at the
+same time to pressing on the building of the chapel that is called
+the Chapel of the King of France.
+
+For this work he invented the method of casting vaults in wooden
+moulds, in such a manner that patterns of friezes and foliage, like
+carvings, come out in the plaster; and in the arches of this edifice
+he showed how they could be turned with flying scaffoldings, a
+method that we have since seen followed by Antonio da San Gallo. In
+the part that was finished by him, the cornice that runs right round
+the interior is seen to be so graceful, that no other man's hand
+could take away or alter anything from its design without spoiling
+it. It is evident from his capitals, which are of olive leaves
+within, and from all the Doric work on the outer side, which is
+extraordinarily beautiful, how sublime was the courage of Bramante,
+whereby, in truth, if he had possessed physical powers equal to the
+intellect that adorned his spirit, he would most certainly have
+achieved even more unexampled things than he did. This work, as will
+be related in the proper places, since his death and down to the
+present day, has been much mutilated by other architects, insomuch
+that it may be said that with the exception of four arches which
+support the tribune, nothing of his has remained there. For
+Raffaello da Urbino and Giuliano da San Gallo, who carried on the
+work after the death of Julius II, together with Fra Giocondo of
+Verona, thought fit to begin to alter it; and after the death of
+those masters, Baldassarre Peruzzi, in building the Chapel of the
+King of France, in the transept on the side towards the Campo Santo,
+changed Bramante's design; and under Paul III Antonio da San Gallo
+changed it again entirely. Finally, Michelagnolo Buonarroti,
+sweeping away the countless opinions and superfluous expenses, has
+brought it to such beauty and perfection as not one of those others
+ever thought of, which all comes from his judgment and power of
+design; although he said to me several times that he was only the
+executor of the design and arrangements of Bramante, seeing that he
+who originally lays the foundations of a great edifice is its true
+creator. Vast, indeed, seemed the conception of Bramante in this
+work, and he gave it a very great beginning, which, even if he had
+begun on a smaller scale, neither San Gallo nor the others, nor even
+Buonarroti, would have had enough power of design to increase,
+although they were able to diminish it; so immense, stupendous, and
+magnificent was this edifice, and yet Bramante had conceived
+something even greater.
+
+It is said that he was so eager to see this structure making
+progress, that he pulled down many beautiful things in S. Pietro,
+such as tombs of Popes, paintings, and mosaics, and that for this
+reason we have lost all trace of many portraits of distinguished
+persons, which were scattered throughout that church, which was the
+principal church of all Christendom. He preserved only the altar of
+S. Pietro, and the old tribune, round which he made a most beautiful
+ornament of the Doric Order, all of peperino-stone, to the end that
+when the Pope came to S. Pietro to say Mass, he might be able to
+stand within it with all his Court and with the Ambassadors of the
+Christian Princes; but death prevented him from finishing it
+entirely, and the Sienese Baldassarre afterwards brought it to
+completion.
+
+Bramante was a very merry and pleasant person, ever delighting to
+help his neighbour. He was very much the friend of men of ability,
+and favoured them in whatever way he could; as may be seen from his
+kindness to the gracious Raffaello da Urbino, most celebrated of
+painters, whom he brought to Rome. He always lived in the greatest
+splendour, doing honour to himself; and in the rank to which his
+merits had raised him, what he possessed was nothing to what he
+would have been able to spend. He delighted in poetry, and loved to
+improvise upon the lyre, or to hear others doing this: and he
+composed some sonnets, if not as polished as we now demand them, at
+least weighty and without faults. He was much esteemed by the
+prelates, and was received by an endless number of noblemen who made
+his acquaintance. In his lifetime he had very great renown, and even
+greater after his death, because of which the building of S. Pietro
+was interrupted for many years. He lived to the age of seventy, and
+he was borne to his tomb in Rome, with most honourable obsequies, by
+the Court of the Pope and by all the sculptors, architects, and
+painters. He was buried in S. Pietro, in the year 1514.
+
+[Illustration: PALAZZO GIRAUD
+
+(_After_ Bramante da Urbino. _Rome_)
+
+_Anderson_]
+
+Very great was the loss that architecture suffered in the death of
+Bramante, who was the discoverer of many good methods wherewith he
+enriched that art, such as the invention of casting vaults, and the
+secret of stucco; both of which were known to the ancients, but had
+been lost until his time through the ruin of their buildings. And
+those who occupy themselves with measuring ancient works of
+architecture, find in the works of Bramante no less science and
+design than in any of the former; wherefore, among those who are
+versed in the profession, he can be accounted one of the rarest
+intellects that have adorned our age. He left behind him an intimate
+friend, Giuliano Leno, who had much to do with the buildings of his
+time, but was employed rather to make preparations and to carry out
+the wishes of whoever designed them, than to work on his own
+account, although he had judgment and great experience.
+
+During his lifetime, Bramante employed in his works one Ventura, a
+carpenter of Pistoia, who was a man of very good ability, and drew
+passing well. This Ventura, while in Rome, delighted much in taking
+measurements of antiquities; and afterwards, wishing to live once
+more in his native place, he returned to Pistoia. Now it happened in
+that city, in the year 1509, that a Madonna, which is now called the
+Madonna della Umilta, worked miracles; and since many offerings were
+brought to her, the Signoria that was then governing the city
+determined to build a temple in her honour. Whereupon Ventura,
+confronted with this opportunity, made with his own hand a model of
+an octagonal temple ...[15] braccia in breadth and ... braccia in
+height, with a vestibule or closed portico in front, very ornate
+within and truly beautiful. This having given satisfaction to the
+Signoria and to the chief men of the city, the building was begun
+according to the plans of Ventura, who, having laid the foundations
+of the vestibule and the temple, completely finished the vestibule,
+which he made very rich in pilasters and cornices of the Corinthian
+Order, with other carved stonework; while all the vaults in that
+work were made in like manner, with squares surrounded by mouldings,
+also in stone, and filled with rosettes. Afterwards, the octagonal
+temple was also carried to the height of the last cornice, from
+which the vaulting of the tribune was to rise, during the lifetime
+of Ventura; and since he was not very experienced in works of that
+size, he did not consider how the weight of the tribune might be
+safely laid on the building, but made within the thickness of the
+wall, at the first range of windows, and at the second, where the
+others are, a passage that runs right round, whereby he contrived to
+weaken the walls so much, that, the edifice being without buttresses
+at the base, it was dangerous to raise a vault over it, and
+particularly on the angles at the corners, upon which all the weight
+of the vault of that tribune must rest. Wherefore, after the death
+of Ventura, there was no architect with courage enough to raise that
+vault: nay, they had caused long and stout beams of timber to be
+brought to the place, in order to make a tent-shaped roof; but this
+did not please the citizens, and they would not have it put into
+execution. And so the building remained for many years without a
+roof, until, in the year 1561, the Wardens of Works besought Duke
+Cosimo that his Excellency should so favour them as to cause that
+tribune to be vaulted. Whereupon, in order to meet their wishes, the
+Duke ordered Giorgio Vasari to go there and see whether he could
+find some method of vaulting it; and he, having done this, made a
+model raising the building to the height of eight braccia above the
+cornice that Ventura had left, in order to make buttresses for it;
+and he decreased the breadth of the passage that runs right round
+between the walls, and reinforced the building with buttresses,
+besides binding the corners and the parts below the passages that
+Ventura had made, between the windows, with stout keys of iron,
+double at the angles; which secured the whole in such a manner that
+the vault could be raised with safety. Whereupon his Excellency was
+pleased to visit the place, and, being satisfied with everything,
+gave orders for the work to be executed; and so all the buttresses
+have been built, and a beginning has already been made with the
+raising of the cupola. Thus, then, the work of Ventura will become
+richer, greater in size and adornment, and better in proportions;
+but he truly deserves to have record made of him, since that
+building is the most noteworthy modern work in the city of Pistoia.
+
+FOOTNOTE:
+
+[14] The word "calavano" has been substituted here for the
+"cavavano" of the text, which gives no sense.
+
+[15] These numbers are missing from the text.
+
+
+
+
+FRA BARTOLOMMEO DI SAN MARCO
+
+
+
+
+LIFE OF FRA BARTOLOMMEO DI SAN MARCO
+
+[_BACCIO DELLA PORTA_]
+
+PAINTER OF FLORENCE
+
+
+Near the territory of Prato, which is ten miles distant from
+Florence, in a village called Savignano, was born Bartolommeo,
+known, according to the Tuscan custom, by the name of Baccio. He,
+having shown in his childhood not merely inclination, but also
+aptitude, for drawing, was placed, through the good services of
+Benedetto da Maiano, with Cosimo Rosselli, and lodged in the house
+of some relatives of his own, who lived at the Porta a S. Piero
+Gattolini; where he stayed for many years, so that he was never
+called or known by any other name than that of Baccio della Porta.
+
+After taking his leave of Cosimo Rosselli, he began to study with
+great devotion the works of Leonardo da Vinci; and in a short time
+he made such proficience and such progress in colouring, that he
+acquired the name and reputation of being one of the best young men
+of his art, both in colouring and in drawing. He had a companion in
+Mariotto Albertinelli, who in a short time acquired his manner
+passing well; and together with him he executed many pictures of Our
+Lady, which are scattered throughout Florence. To speak of all these
+would take too long, and I will mention only some excellently
+painted by Baccio. There is one, containing a Madonna, in the house
+of Filippo di Averardo Salviati, which is most beautiful, and which
+he holds very dear and in great price. Another was bought not long
+since, at a sale of old furniture, by Pier Maria delle Pozze, a
+person greatly devoted to pictures, who, having recognized its
+beauty, will not let it go for any sum of money; in which work is a
+Madonna executed with extraordinary diligence. Piero del Pugliese
+had a little Madonna of marble, in very low relief, a very rare work
+by the hand of Donatello, for which, in order to do it honour, he
+caused a wooden tabernacle to be made, with two little doors to
+enclose it. This he gave to Baccio della Porta, who painted, on the
+inner side of the doors, two little scenes, of which one was the
+Nativity of Christ, and the other His Circumcision; which Baccio
+executed with little figures after the manner of miniatures, in such
+a way that it would not be possible to do better work in oils; and
+then he painted Our Lady receiving the Annunciation from the Angel,
+in chiaroscuro, and likewise in oils, on the outer side of the same
+little doors, so as to be seen when they are closed. This work is
+now in the study of Duke Cosimo, wherein he keeps all his little
+antique figures of bronze, medals, and other rare pictures in
+miniature; and it is treasured by his most illustrious Excellency as
+a rare thing, as indeed it is.
+
+[Illustration: FRA BARTOLOMMEO DI SAN MARCO: THE DEPOSITION FROM THE
+CROSS
+
+(_Florence: Pitti, 64. Panel_)]
+
+Baccio was beloved in Florence for his virtues, for he was assiduous
+in his work, quiet and good by nature, and a truly God-fearing man;
+he had a great liking for a life of peace, and he shunned vicious
+company, delighted much in hearing sermons, and always sought the
+society of learned and serious persons. And in truth, it is seldom
+that nature creates a man of good parts and a gentle craftsman,
+without also providing him, after some time, with peace and favour,
+as she did for Baccio, who, as will be told below, obtained all that
+he desired. The report having spread abroad that he was no less good
+than able, his fame so increased that he was commissioned by Gerozzo
+di Monna Venna Dini to paint the chapel wherein the bones of the
+dead are kept, in the cemetery of the Hospital of S. Maria Nuova.
+There he began a Judgment in fresco, which he executed with such
+diligence and beauty of manner in the part which he finished, that
+he acquired extraordinary fame thereby, in addition to what he had
+already, and became greatly celebrated, on account of his having
+represented with excellent conceptions the Glory of Paradise, and
+Christ with the twelve Apostles judging the twelve Tribes, wherein
+the figures are soft in colouring and most beautifully draped.
+Moreover, in those figures that are being dragged to Hell, in the
+part that was designed but left unfinished, one sees the despair,
+grief, and shame of everlasting death, even as one perceives
+contentment and gladness in those that are being saved; although
+this work remained unfinished, since Baccio was inclined to give his
+attention more to religion than to painting. For there was living in
+S. Marco, at this time, Fra Girolamo Savonarola of Ferrara, of the
+Order of Preaching Friars, a very famous theologian; and Baccio,
+going continually to hear his preaching, on account of the devotion
+that he felt for him, contracted a very strait intimacy with him,
+and passed almost all his time in the convent, having also become
+the friend of the other friars. Now it happened that Fra Girolamo,
+continuing his preaching, and crying out every day from the pulpit
+that lascivious pictures, music, and amorous books often lead the
+mind to evil, became convinced that it was not right to keep in
+houses where there were young girls painted figures of naked men and
+women. And at the next Carnival--when it was the custom in the city
+to make little huts of faggots and other kinds of wood on the public
+squares, and on the Tuesday evening, according to ancient use, to
+burn these, with amorous dances, in which men and women, joining
+hands, danced round these fires, singing certain airs--the people
+were so inflamed by Fra Girolamo, and he wrought upon them so
+strongly with his words, that on that day they brought to the place
+a vast quantity of nude figures, both in painting and in sculpture,
+many by the hand of excellent masters, and likewise books, lutes,
+and volumes of songs, which was a most grievous loss, particularly
+for painting. Thither Baccio carried all the drawings of nudes that
+he had made by way of studies, and he was followed by Lorenzo di
+Credi and by many others, who had the name of Piagnoni. And it was
+not long before Baccio, on account of the affection that he bore to
+Fra Girolamo, made a very beautiful portrait of him in a picture,
+which was then taken to Ferrara; but not long ago it came back to
+Florence, and it is now in the house of Filippo di Alamanno
+Salviati, who, since it is by the hand of Baccio, holds it very
+dear.
+
+It happened, after this, that one day the opponents of Fra Girolamo
+rose against him, in order to take him and deliver him over to the
+hands of justice, on account of the disturbances that he had caused
+in the city; and his friends, seeing this, also banded themselves
+together, to the number of more than five hundred, and shut
+themselves up in S. Marco, and Baccio with them, on account of the
+great affection that he had for their party. It is true that, being
+a person of little courage, nay, even timorous and mean-spirited,
+and hearing an attack being made a little time after this on the
+convent, and men being wounded and killed, he began to have serious
+doubts about himself. For which reason he made a vow that if he were
+to escape from that turmoil, he would straightway assume the habit
+of that Order; which vow he carried out afterwards most faithfully,
+for when the uproar had ceased, and Fra Girolamo had been taken and
+condemned to death, as the writers of history relate with more
+detail, Baccio betook himself to Prato and became a monk in S.
+Domenico, in that city, on July 26, in the year 1500, as is found
+written in the chronicles of that same convent in which he assumed
+the habit; to the great displeasure of all his friends, who were
+grieved beyond measure at having lost him, and particularly because
+they heard that he had taken it into his head to forsake his
+painting.
+
+Whereupon Mariotto Albertinelli, his friend and companion, at the
+entreaties of Gerozzo Dini, took over the materials of Fra
+Bartolommeo--which was the name given by the Prior to Baccio, on
+investing him with the habit--and brought to completion the work of
+the Ossa in S. Maria Nuova; where he portrayed from life the
+Director of the Hospital at that time, and some friars skilled in
+surgery, with Gerozzo, the patron of the work, and his wife,
+full-length figures on their knees, upon the walls on either side;
+and in a nude figure that is seated, he portrayed Giuliano
+Bugiardini, his pupil, as a young man, with long locks according to
+the custom of that time, in which each separate hair might be
+counted, so carefully are they painted. He made there, likewise, his
+own portrait, in the head, with long locks, of a figure that is
+issuing from one of the tombs; and in that work, in the region of
+the blessed, there is also the portrait of Fra Giovanni da Fiesole,
+the painter, whose Life we have written. This painting was executed
+wholly in fresco, both by Fra Bartolommeo and by Mariotto, so that
+it has remained, and still remains, marvellously fresh, and is held
+in esteem by craftsmen, since it is scarcely possible to do better
+in that kind of work.
+
+[Illustration: THE HOLY FAMILY
+
+(_After the panel by =Fra Bartolommeo di San Marco=. Rome: Corsini
+Gallery, 579_)
+
+_Anderson_]
+
+When Fra Bartolommeo had been many months in Prato, he was sent by
+his superiors to take up his abode in S. Marco at Florence, and on
+account of his virtues he was received very warmly by the friars of
+that convent. In those days Bernardo del Bianco had caused to be
+erected, in the Badia of Florence, a chapel of grey-stone, full of
+carving, and very rich and beautiful, from the design of Benedetto
+da Rovezzano: which chapel was and still is much esteemed on account
+of some ornamental work of great variety, wherein Benedetto Buglioni
+placed, in some niches, angels and other figures made of glazed
+terra-cotta, in the round, to adorn it the more, with friezes
+containing cherubs and the devices of Bianco. And Bernardo, wishing
+to set up in the chapel a panel-picture that should be worthy of
+that adornment, and conceiving the idea that Fra Bartolommeo would
+be the right man for the work, sought in every possible way, through
+the intervention of his friends, to persuade him. Fra Bartolommeo
+was living in his convent, giving his attention to nothing save the
+divine offices and the duties of his Rule, although often besought
+by the Prior and by his dearest friends that he should work again at
+his painting; and for more than four years he had refused to touch a
+brush. But on this occasion, being pressed by Bernardo del Bianco,
+at length he began the panel-picture of S. Bernard, in which the
+Saint is writing, and gazing with such deep contemplation at the
+Madonna, with the Child in her arms, being borne by many angels and
+children, all coloured with great delicacy, that there is clearly
+perceived in him a certain celestial quality, I know not what, which
+seems, to him who studies it with attention, to shine out over that
+work, into which Baccio put much diligence and love; not to mention
+an arch executed in fresco, which is above it. He also made some
+pictures for Cardinal Giovanni de' Medici; and for Agnolo Doni he
+painted a picture of Our Lady, which stands on the altar of a chapel
+in his house--a work of extraordinary beauty.
+
+At this time the painter Raffaello da Urbino came to Florence to
+study his art, and taught the best principles of perspective to Fra
+Bartolommeo; and desiring to acquire the friar's manner of
+colouring, and being pleased with his handling of colours and his
+method of harmonizing them, Raffaello was always in his company.
+Fra Bartolommeo painted about the same time, in S. Marco at
+Florence, a panel with an infinite number of figures, which is now
+in the possession of the King of France, having been presented to
+him after being exposed to view for many months in S. Marco.
+Afterwards, he painted another in that convent, containing an
+endless number of figures, in place of the one that was sent into
+France; in which picture are some children who are flying in the air
+and holding open a canopy, executed with such good drawing and art,
+and with such strong relief, that they appear to stand out from the
+panel, while the colouring of the flesh reveals that beauty and
+excellence which every able craftsman seeks to give to his pictures;
+and this work is still considered at the present day to be most
+excellent. In it are many figures surrounding a Madonna, all most
+admirable, and executed with grace, feeling, boldness, spirit, and
+vivacity; and coloured, moreover, in so striking a manner, that they
+seem to be in relief, since he wished to show that he was able not
+only to draw, but also to give his figures force and make them stand
+out by means of the darkness of the shadows, as may be seen in some
+children who are round a canopy, upholding it, who, as they fly
+through the air, almost project from the panel. Besides this, there
+is an Infant Christ who is marrying S. Catherine the Nun, than which
+it would not be possible to paint anything more lifelike with the
+dark colouring that he used. There is a circle of saints on one side
+diminishing in perspective, round the depth of a great recess, who
+are distributed with such fine design that they seem to be real; and
+the same may be seen on the other side. And in truth, in this manner
+of colouring, he imitated to a great extent the works of Leonardo;
+particularly in the darks, for which he used printer's smoke-black
+and the black of burnt ivory. This panel has now become much darker
+than it was when he painted it, on account of those blacks, which
+have kept growing heavier and darker. In the foreground, among the
+principal figures, he made a S. George in armour, who has a standard
+in his hand, a bold, spirited, and vivacious figure, in a beautiful
+attitude. There is also a S. Bartholomew, standing, a figure that
+deserves the highest praise; with two children who are playing, one
+on a lute, and the other on a lyre, one of whom he made with a leg
+drawn up and his instrument resting upon it, and with the hands
+touching the strings in the act of running over them, an ear intent
+on the harmony, the head upraised, and the mouth slightly open, in
+such a way that whoever beholds him cannot persuade himself that he
+should not also hear the voice. No less lifelike is the other, who,
+leaning on one side, and bending over with one ear to the lyre,
+appears to be listening to learn how far it is in accord with the
+sound of the lute and the voice, while, with his eyes fixed on the
+ground, and his ear turned intently towards his companion, who is
+playing and singing, he seeks to follow in harmony with the air.
+These conceptions and expressions are truly ingenious; the children,
+who are seated, and clothed in veiling, are marvellous and executed
+with great industry by the practised hand of Fra Bartolommeo; and
+the whole work is brought out into strong relief by a fine gradation
+of dark shadows.
+
+A little time afterwards he painted another panel, to stand opposite
+to the former, and containing a Madonna surrounded by some saints,
+which is held to be a good work. He won extraordinary praise for
+having introduced a method of blending the colouring of his figures
+in such a way as to add a marvellous degree of harmony to art,
+making them appear to be in relief and alive, and executing them
+with supreme perfection of manner.
+
+Hearing much of the noble works made in Rome by Michelagnolo, and
+likewise those of the gracious Raffaello, and being roused by the
+fame, which was continually reaching him, of the marvels wrought by
+those two divine craftsmen, with leave from his Prior he betook
+himself to Rome. There he was entertained by Fra Mariano Fetti,
+Friar of the Piombo, for whom he painted two pictures of S. Peter
+and S. Paul at his Convent of S. Silvestro a Monte Cavallo. But
+since he did not succeed in working as well in the air of Rome as he
+had done in that of Florence, while the vast number of works that he
+saw, what with the ancient and the modern, bewildered him so that
+much of the ability and excellence that he believed himself to
+possess, fell away from him, he determined to depart, leaving to
+Raffaello the charge of finishing one of those pictures, that of S.
+Peter, which he had not completed; which picture was retouched all
+over by the hand of the marvellous Raffaello, and given to Fra
+Mariano.
+
+Thus, then, Fra Bartolommeo returned to Florence. There he had been
+accused many times of not knowing how to paint nudes; for which
+reason he resolved to put himself to the test, and to show by means
+of his labour that he was as well fitted as any other master for the
+highest achievements of his art. Whereupon, to prove this, he
+painted a picture of S. Sebastian, naked, very lifelike in the
+colouring of the flesh, sweet in countenance, and likewise executed
+with corresponding beauty of person, whereby he won infinite praise
+from the craftsmen. It is said that, while this figure was exposed
+to view in the church, the friars found, through the confessional,
+women who had sinned at the sight of it, on account of the charm and
+melting beauty of the lifelike reality imparted to it by the genius
+of Fra Bartolommeo; for which reason they removed it from the church
+and placed it in the chapter-house, where it did not remain long
+before it was bought by Giovan Battista della Palla and sent to the
+King of France.
+
+[Illustration: S. MARK
+
+(_After the painting by =Fra Bartolommeo di San Marco=. Florence:
+Pitti, 125_)
+
+_Anderson_]
+
+Fra Bartolommeo had fallen into a rage against the joiners who made
+the ornamental frames for his panels and pictures, for it was their
+custom, as it still is at the present day, always to cover an eighth
+part of the figures with the projecting inner edges of the frames.
+He determined, therefore, to invent some means of doing without
+frames for panels; and for this S. Sebastian he caused the panel to
+be made in the form of a half-circle, wherein he drew a niche in
+perspective, which has the appearance of being carved in relief in
+the panel. Thus, painting a frame all round, he made an ornament for
+the figure in the middle; and he did the same for our S. Vincent,
+and for the S. Mark that will be described after the S. Vincent. For
+the arch of a door leading into the sacristy, he painted in oils, on
+wood, a figure of S. Vincent, a brother of that Order, representing
+him in the act of preaching on the Judgment, so that there may be
+perceived in his gestures, and particularly in his head, that
+vehemence and fury which are generally seen in the faces of
+preachers, when they are doing their utmost, with threats of the
+vengeance of God, to lead men hardened in sin into the perfect life;
+in such a manner that this figure appears, to one who studies it
+with attention, to be not painted but real and alive, with such
+strong relief is it executed; and it is a pity that it is all
+cracking and spoiling, on account of its having been painted with
+fresh coats of colour on fresh size, as I said of the works of
+Pietro Perugino in the Convent of the Ingesuati.
+
+The fancy took him, in order to show that he was able to make large
+figures--for he had been told that his manner was that of a
+miniaturist--to paint on panel, for the wall in which is the door of
+the choir, a figure of S. Mark the Evangelist, five braccia in
+height, and executed with very good draughtsmanship and supreme
+excellence.
+
+After this, Salvadore Billi, a Florentine merchant, on his return
+from Naples, having heard the fame of Fra Bartolommeo, and having
+seen his works, caused him to paint a panel-picture of Christ the
+Saviour, in allusion to his own name, with the four Evangelists
+round Him; wherein, at the foot, are also two little boys upholding
+the globe of the world, whose flesh, fresh and tender, is
+excellently painted, as is the whole work, in which there are
+likewise two prophets that are much extolled. This panel stands in
+the Nunziata at Florence, below the great organ, according to the
+wish of Salvadore; it is a very beautiful work, finished by Fra
+Bartolommeo with much lovingness and great perfection; and it is
+surrounded by an ornament of marble, all carved by the hand of
+Pietro Rosselli.
+
+Afterwards, having need of a change of air, the Prior at that time,
+who was his friend, sent him away to a monastery of his Order,
+wherein, while he stayed there, he combined the labour of his hands
+with the contemplation of death, with profit[16] both for his soul
+and for the convent. For S. Martino in Lucca he painted a panel
+wherein, at the feet of a Madonna, there is a little angel playing
+on a lute, together with S. Stephen and S. John; in which picture,
+executed with excellent draughtsmanship and colouring, he proved his
+ability. For S. Romano, likewise, he painted a panel on canvas of
+the Madonna della Misericordia, who is placed on a pedestal of
+stone, with some angels holding her mantle; and together with her
+he depicted a throng of people on some steps, some standing, others
+seated, and others kneeling, but all gazing at a figure of Christ on
+high, who is sending down lightnings and thunderbolts upon the
+people. Clearly did Fra Bartolommeo prove in this work how well he
+was able to manage the gradation of shadows and darks in painting,
+giving extraordinary relief to his figures, and showing a rare and
+excellent mastery over the difficulties of his art in colouring,
+drawing, and invention; and the work is as perfect as any that he
+ever made. For the same church he painted another panel, also on
+canvas, containing a Christ and S. Catherine the Martyr, together
+with a S. Catherine of Siena, rapt in ecstasy from the earth, a
+figure as good as any that could possibly be painted in that manner.
+
+[Illustration: GOD THE FATHER, WITH SS. MARY MAGDALEN AND CATHARINE
+
+(_After the painting by =Fra Bartolommeo di San Marco=. Lucca:
+Gallery, 12_)
+
+_Alinari_]
+
+Returning to Florence, he gave some attention to the study of music;
+and, delighting much therein, he would sometimes sing to pass the
+time. At Prato, opposite to the prison, he painted a panel-picture
+of the Assumption. He executed some pictures of Our Lady for the
+house of the Medici, and also other paintings for various people,
+such as a picture of Our Lady which Lodovico di Lodovico Capponi has
+in his apartment, and likewise another of the Virgin holding the
+Child in her arms, with two heads of saints, that is in the
+possession of the very Excellent Messer Lelio Torelli, Chief
+Secretary to the most Illustrious Duke Cosimo, who holds it very
+dear both on account of the genius of Fra Bartolommeo, and because
+he delights in, loves, and favours not only the men of our art, but
+every fine intellect. In the house of Piero del Pugliese, which now
+belongs to Matteo Botti, a citizen and merchant of Florence, in an
+antechamber at the head of a staircase, he painted a S. George in
+armour, on horseback, who is slaying the Dragon with his lance--a
+very spirited figure. This he executed in chiaroscuro, in oils, a
+method that he much delighted to use for all his works, sketching
+them in the manner of a cartoon, with ink or with bitumen, before
+colouring them; as may still be seen from many beginnings of
+pictures and panels, which he left unfinished on account of his
+death, and as may also be perceived from many drawings by his hand,
+executed in chiaroscuro, of which the greater part are now in the
+Monastery of S. Caterina da Siena on the Piazza di S. Marco, in
+the possession of a nun who paints, and of whom record will be made
+in the proper place; while many made in the same way adorn our book
+of drawings, honouring his memory, and some are in the hands of
+Messer Francesco del Garbo, a most excellent physician.
+
+Fra Bartolommeo always liked to have living objects before him when
+he was working; and in order to be able to draw draperies, armour,
+and other suchlike things, he caused a life-size figure of wood to be
+made, which moved at the joints; and this he clothed with real
+draperies, from which he painted most beautiful things, being able
+to keep them in position as long as he pleased, until he had brought
+his work to perfection. This figure, worm-eaten and ruined as it is,
+is in our possession, treasured in memory of him.
+
+At Arezzo, for the Abbey of the Black Friars, he made a head of
+Christ in dark tints--a very beautiful work. He painted, also, the
+panel of the Company of the Contemplanti, which was preserved in the
+house of the Magnificent Messer Ottaviano de' Medici, and has now
+been placed in a chapel of that house, with many ornaments, by his
+son Messer Alessandro, who holds it very dear in memory of Fra
+Bartolommeo, and also because he takes vast pleasure in painting. In
+the chapel of the Noviciate of S. Marco there is a panel-picture of
+the Purification, very lovely, which he executed with good
+draughtsmanship and high finish. At S. Maria Maddalena, a seat of
+the Friars of his Order, without Florence, while staying there for
+his own pleasure, he made a Christ and a Magdalene; and he also
+painted certain things in fresco in that convent. In like manner, he
+wrought in fresco an arch over the strangers' apartment in S. Marco,
+in which he painted Christ with Cleophas and Luke, and made a
+portrait of Fra Niccolo della Magna, who was then a young man, and
+who afterwards became Archbishop of Capua, and finally a Cardinal.
+He began a panel for S. Gallo, afterwards finished by Giuliano
+Bugiardini, which is now on the high-altar of S. Jacopo fra Fossi,
+on the Canto degli Alberti; and likewise a picture of the Rape of
+Dinah, now in the possession of Messer Cristofano Rinieri, and
+afterwards coloured by the same Giuliano, in which are buildings and
+conceptions that are much extolled.
+
+From Piero Soderini he received the commission for the panel of the
+Council Chamber, which he began in such a manner, drawing it in
+chiaroscuro, that it seemed destined to do him very great credit;
+and, unfinished as it is, it now has a place of honour in the Chapel
+of the Magnificent Ottaviano de' Medici, in S. Lorenzo. In it are
+all the Patron Saints of the city of Florence, and those saints on
+whose days that city has gained her victories; and there is also the
+portrait of Fra Bartolommeo himself, made by him with a mirror. He
+had begun this picture, and had drawn the whole design, when it
+happened that, from working continually under a window, with the
+light from it beating on his back, he became completely paralyzed on
+that side of his body, and quite unable to move. Thereupon he was
+advised--such being the orders of his physicians--to go to the baths
+of San Filippo; where he stayed a long time, but became very little
+better thereby. Now Fra Bartolommeo was a great lover of fruit,
+which pleased his palate mightily, although it was ruinous to his
+health. Wherefore one morning, having eaten many figs, there came
+upon him, in addition to his other infirmity, a very violent fever,
+which cut short the course of his life in four days, at the age of
+forty-eight; when, still wholly conscious, he rendered up his soul
+to Heaven.
+
+His death grieved his friends, and particularly the friars, who gave
+him honourable sepulture in their burial-place in S. Marco, on
+October 8, in the year 1517. He had a dispensation from attending
+any of the offices in the choir with the other friars, and the gains
+from his works went to the convent, enough money being left in his
+hands to pay for colours and other materials necessary for his
+painting.
+
+He left disciples in Cecchino del Frate, Benedetto Cianfanini,
+Gabriele Rustici, and Fra Paolo Pistoiese, the latter inheriting all
+his possessions. This Fra Paolo painted many panels and pictures
+from his master's drawings, after his death; of which three are in
+S. Domenico at Pistoia, and one at S. Maria del Sasso in the
+Casentino.
+
+Fra Bartolommeo gave such grace to his figures with his colouring,
+and made them so novel and so modern in manner, that for these
+reasons he deserves to be numbered by us among the benefactors of
+art.
+
+FOOTNOTE:
+
+[16] The word "utilmente" is substituted here for the
+"ultimamente" of the text, which makes no sense.
+
+
+
+
+MARIOTTO ALBERTINELLI
+
+
+
+
+LIFE OF MARIOTTO ALBERTINELLI
+
+PAINTER OF FLORENCE
+
+
+Mariotto Albertinelli, the closest and most intimate friend of Fra
+Bartolommeo--his other self, one might call him, not only on account
+of the constant connection and intercourse between them, but also
+through their similarity of manner during the period when Mariotto
+gave proper attention to art--was the son of Biagio di Bindo
+Albertinelli. At the age of twenty he abandoned his calling of
+gold-beater, in which he had been employed up to that time; and he
+learnt the first rudiments of painting in the workshop of Cosimo
+Rosselli, where he formed such an intimacy with Baccio della Porta,
+that they were one soul and one body. Such, indeed, was the
+brotherly friendship between them, that when Baccio took his leave
+of Cosimo, in order to practise his art as a master by himself,
+Mariotto went off with him; whereupon they lived for a long time,
+both one and the other, at the Porta a S. Piero Gattolini, executing
+many works in company. And since Mariotto was not so well grounded
+in drawing as was Baccio, he devoted himself to the study of such
+antiquities as were then in Florence, the greater part and the best
+of which were in the house of the Medici. He made a number of
+drawings of certain little panels in half-relief that were under the
+loggia in the garden, on the side towards S. Lorenzo, in one of
+which is Adonis with a very beautiful dog, and in another two nude
+figures, one seated, with a dog at its feet, and the other standing
+with the legs crossed, leaning on a staff. Both these panels are
+marvellous; and there are likewise two others of the same size, in
+one of which are two little boys carrying Jove's thunderbolt, while
+in the other is the nude figure of an old man, with wings on his
+shoulders and feet, representing Chance, and balancing a pair of
+scales in his hands. In addition to these works, that garden was
+full of torsi of men and women, which were a school not only for
+Mariotto, but for all the sculptors and painters of his time. A good
+part of these are now in the guardaroba of Duke Cosimo, and others,
+such as the two torsi of Marsyas, the heads over the windows, and
+those of the Emperors over the doors, are still in the same place.
+
+By studying these antiquities, Mariotto made great proficience in
+drawing; and he entered into the service of the mother of Duke
+Lorenzo, Madonna Alfonsina, who, desiring that he should devote
+himself to becoming an able master, offered him all possible
+assistance. Dividing his time, therefore, between drawing and
+colouring, he became a passing good craftsman, as is proved by some
+pictures that he executed for that lady, which were sent by her to
+Rome, for Carlo and Giordano Orsini, and which afterwards came into
+the hands of Caesar Borgia. He made a very good portrait of Madonna
+Alfonsina from the life; and it seemed to him, on account of his
+friendship with her, that his fortune was made, when, in the year
+1494, Piero de' Medici was banished, and her assistance and favour
+failed him. Whereupon he returned to the workshop of Baccio, where
+he set himself with even greater zeal to make models of clay and to
+increase his knowledge, labouring at the study of nature, and
+imitating the works of Baccio, so that in a few years he became a
+sound and practised master. And then, seeing his work succeeding so
+well, he so grew in courage, that, imitating the manner and method
+of his companion, the hand of Mariotto was taken by many for that of
+Fra Bartolommeo.
+
+[Illustration: THE MADONNA ENTHRONED, WITH SAINTS
+
+(_After the panel by =Mariotto Albertinelli=. Florence: Accademia,
+167_)
+
+_Alinari_]
+
+But when he heard that Baccio had gone off to become a monk,
+Mariotto was almost overwhelmed and out of his mind; and so strange
+did the news seem to him, that he was in despair, and nothing could
+cheer him. If it had not been, indeed, that Mariotto could not then
+endure having anything to do with monks, against whom he was ever
+railing, and belonged to the party that was opposed to the faction
+of Fra Girolamo of Ferrara, his love for Baccio would have wrought
+upon him so strongly, that it would have forced him to don the cowl
+in the same convent as his companion. However, he was besought by
+Gerozzo Dini, who had given the commission for the Judgment that
+Baccio had left unfinished in the Ossa, that he, having a manner
+similar to Baccio's, should undertake to finish it; whereupon, being
+also moved by the circumstance that the cartoon completed by the
+hand of Baccio and other drawings were there, and by the entreaties
+of Fra Bartolommeo himself, who had received money on account of the
+painting, and was troubled in conscience at not having kept his
+promise, he finished the work, and executed all that was wanting
+with diligence and love, in such a way that many, not knowing this,
+think that it was painted by one single hand; and this brought him
+vast credit among craftsmen.
+
+In the Chapter-house of the Certosa of Florence he executed a
+Crucifixion, with Our Lady and the Magdalene at the foot of the
+Cross, and some angels in the sky, who are receiving the blood of
+Christ; a work wrought in fresco, with diligence and lovingness, and
+passing well painted. Now some of the young men who were learning
+art under him, thinking that the friars were not giving them proper
+food, had counterfeited, without the knowledge of Mariotto, the keys
+of those windows opening into the friar's rooms, through which their
+pittance is passed; and sometimes, in secret, they stole some of it,
+now from one and now from another. There was a great uproar about
+this among the friars, since in the matter of eating they are as
+sensitive as any other person; but the lads did it with great
+dexterity, and, since they were held to be honest fellows, the blame
+fell on some of the friars, who were said to be doing it from hatred
+of one another. However, one day the truth was revealed, and the
+friars, to the end that the work might be finished, gave a double
+allowance to Mariotto and his lads, who finished the work with great
+glee and laughter.
+
+For the Nuns of S. Giuliano in Florence he painted the panel of
+their high-altar, which he executed in a room that he had in the
+Gualfonda; together with another for the same church, with a
+Crucifix, some Angels, and God the Father, representing the Trinity,
+in oils and on a gold ground.
+
+Mariotto was a most restless person, devoted to the pleasures of
+love, and a good liver in the matter of eating; wherefore,
+conceiving a hatred for the subtleties and brain-rackings of
+painting, and being often wounded by the tongues of other painters
+(according to the undying custom among them, handed down from one to
+another), he resolved to turn to a more humble, less fatiguing, and
+more cheerful art. And so, having opened a very fine inn, without
+the Porta S. Gallo, and a tavern and inn on the Ponte Vecchio, at
+the Dragon, he followed that calling for many months, saying that he
+had chosen an art without foreshortenings, muscles, and
+perspectives, and, what was much more important, free from censure,
+and that the art which he had given up was quite the contrary of his
+new one, since the former imitated flesh and blood, and the latter
+made both blood and flesh; and now, having good wine, he heard
+himself praised all day long, whereas before he used to hear nothing
+but censure.
+
+[Illustration: MARIOTTO ALBERTINELLI: THE SALUTATION
+
+(_Florence: Uffizi, 1259. Panel_)]
+
+However, having grown weary of this as well, and ashamed of the
+baseness of his calling, he returned to painting, and executed
+pictures and paintings for the houses of citizens in Florence. For
+Giovan Maria Benintendi he painted three little scenes with his own
+hand; and for the house of the Medici, at the election of Leo X, he
+painted a round picture of his arms, in oils, with Faith, Hope, and
+Charity, which hung for a long time over the door of their palace.
+He undertook to make, in the Company of S. Zanobi, near the
+Chapter-house of S. Maria del Fiore, a panel-picture of the
+Annunciation, which he executed with great labour. For this he
+caused special windows to be made, wishing to work on the spot, in
+order to be able to make the views recede, where they were high and
+distant, by lowering the tones, or to bring them forward, at his
+pleasure. Now he had conceived the idea that pictures which have no
+relief and force, combined with delicacy, are of no account; but
+since he knew that they cannot be made to stand out from the surface
+without shadows, which, if they are too dark, remain indistinct,
+while, if they are delicate, they have no force, he was eager to
+combine this delicacy with a certain method of treatment to which up
+to that time, so it seemed to him, art had not attained in any
+satisfactory manner. Wherefore, looking on this work as an
+opportunity for accomplishing this, he set himself, to this end, to
+make extraordinary efforts, which may be recognized in a figure
+of God the Father, which is in the sky, and in some little children,
+who stand out from the panel in strong relief against a dark
+background in perspective that he made there with a ceiling in the
+form of a barrel-shaped vault, which, with its arches curving and
+its lines diminishing to a point, recedes inwards in such a manner
+that it appears to be in relief; besides which, there are some
+angels scattering flowers as they fly, that are very graceful.
+
+This work was painted out and painted in again many times by
+Mariotto before he could bring it to completion. He was for ever
+changing the colouring, making it now lighter, now darker, and
+sometimes more lively and glowing, sometimes less; but, never being
+completely satisfied, and never persuaded that he had done justice
+with his hand to the thoughts of his intellect, he wished to find a
+white that should be more brilliant than lead-white, and set
+himself, therefore, to clarify the latter, in order to be able to
+heighten the highest light to his own satisfaction. However, having
+recognized that he was not able to express by means of art all that
+the intelligence of the human brain grasps and comprehends, he
+contented himself with what he had achieved, since he could not
+attain to what it was not possible to reach. This work brought
+Mariotto praise and honour among craftsmen, but by no means as much
+profit as he hoped to gain from his patrons in return for his
+labours, since a dispute arose between him and those who had
+commissioned him to paint it. But Pietro Perugino, then an old man,
+Ridolfo Ghirlandajo, and Francesco Granacci valued it, and settled
+the price of the work by common consent.
+
+For S. Pancrazio, in Florence, Mariotto painted a semicircular
+picture of the Visitation of Our Lady. For S. Trinita, likewise, he
+executed with diligence a panel-picture of Our Lady, S. Jerome, and
+S. Zanobi, at the commission of Zanobi del Maestro; and for the
+Church of the Congregation of the Priests of S. Martino, he painted
+a picture on panel of the Visitation, which is much extolled. He was
+invited to the Convent of La Quercia, without Viterbo; but after
+having begun a panel there, he conceived a desire to see Rome.
+Having made his way to that city, therefore, he executed to
+perfection for the Chapel of Fra Mariano Fetti in S. Silvestro di
+Monte Cavallo, a panel-picture in oils of S. Dominic, S. Catherine
+of Siena, with Christ marrying her, and Our Lady, in a delicate
+manner. He then returned to La Quercia, where he had a mistress, to
+whom, on account of the desire that he had felt while he was in Rome
+and could not enjoy her love, he sought to show that he was valiant
+in the lists; wherefore he exerted himself so much, that, being no
+longer young and so stalwart in such efforts, he was forced to take
+to his bed. And laying the blame for this on the air of the place,
+he had himself carried to Florence in a litter; but no expedients or
+remedies availed him in his sickness, from which he died in a few
+days, at the age of forty-five. He was buried in S. Piero Maggiore,
+in that city.
+
+There are some drawings by the hand of this master in our book,
+executed with the pen and in chiaroscuro, which are very good;
+particularly a spiral staircase, drawn with great ingenuity in
+perspective, of which he had a good knowledge.
+
+Mariotto had many disciples; among others, Giuliano Bugiardini and
+Franciabigio, both Florentines, and Innocenzio da Imola, of whom we
+will speak in the proper place. Visino, a painter of Florence, was
+likewise his disciple, and excelled all these others in drawing,
+colouring, and industry, showing, also, a better manner in the works
+that he made, which he executed with great diligence. A few of them
+are still in Florence; and one can study his work at the present day
+in the house of Giovan Battista d' Agnol Doni, in a mirror[17]--picture
+painted in oils after the manner of a miniature, wherein are Adam and
+Eve naked, eating the apple, a work executed with great care; and from
+another picture, of Christ being taken down from the Cross, together
+with the Thieves, in which there is a beautifully contrived
+complication of ladders, with some men aiding each other to take down
+the body of Christ, and others bearing one of the Thieves on their
+shoulders to burial, and all the figures in varied and fantastic
+attitudes, suited to that subject, and proving that he was an able
+man. The same master was brought by some Florentine merchants to
+Hungary, where he executed many works and gained great renown. But the
+poor man was soon in danger of coming to an evil end, because, being
+of a frank and free-spoken nature, he was not able to endure the
+wearisome persistence of some Hungarians, who kept tormenting him all
+day long with praises of their own country, as if there were no
+pleasure or happiness in anything except eating and drinking in their
+stifling rooms, and no grandeur or nobility save in their King and his
+Court, all the rest of the world being rubbish. It seemed to him (and
+indeed it is true) that in Italy there was another kind of excellence,
+culture, and beauty; and one day, being weary of their nonsense, and
+chancing to be a little merry, he let slip the opinion that a flask of
+Trebbiano and a berlingozzo[18] were worth all the Kings and Queens
+that had ever reigned in those regions. And if the matter had not
+happened to fall into the hands of a Bishop, who was a gentleman and a
+man of the world, and also, above all, a tactful person, both able and
+willing to turn the thing into a joke, Visino would have learnt not to
+play with savages; for those brutes of Hungarians, not understanding
+his words, and thinking that he had uttered something terrible, such
+as a threat that he would rob their King of his life and throne,
+wished to give him short shrift and crucify him by mob-law. But the
+good Bishop drew him out of all embarrassment, and, appraising the
+merit of the excellent master at its true value, and putting a good
+complexion on the affair, restored him to the favour of the King, who,
+on hearing the story, was much amused by it. His good fortune,
+however, did not last long, for, not being able to endure the stifling
+rooms and the cold air, which ruined his constitution, in a short time
+this brought his life to an end; although his repute and fame survived
+in the memory of those who knew him when alive, and of those who saw
+his works in the years after his death. His pictures date about the
+year 1512.
+
+FOOTNOTE:
+
+[17] The words of the text, "un quadro d' una spera," are a
+little obscure; but the translator has been strengthened in his
+belief that his rendering is correct by seeing a little picture,
+painted on a mirror, and numbered 7697, in the Victoria and Albert
+Museum. The subject of this picture, which the translator was
+enabled to see by the courtesy of Mr. B. S. Long, of the Department
+of Paintings, is the same as that of the work mentioned by Vasari,
+and it may be a copy.
+
+[18] Florentine puff-pastry.
+
+
+
+
+RAFFAELLINO DEL GARBO
+
+
+
+
+LIFE OF RAFFAELLINO DEL GARBO
+
+PAINTER OF FLORENCE
+
+
+Raffaello del Garbo, while he was a little boy, was called by the pet
+name of Raffaellino, which he retained ever afterwards; and in his
+earliest days he gave such promise in his art, that he was already
+numbered among the most excellent masters, a thing which happens to
+few. But still fewer meet the fate which afterwards came upon him,
+in that from a splendid beginning and almost certain hopes, he
+arrived at a very feeble end. For it is a general rule, in the world
+both of nature and of art, for things to grow gradually from small
+beginnings, little by little, until they reach their highest
+perfection. It is true, however, that many laws both of art and of
+nature are unknown to us, nor do they hold to one unvarying order at
+all times and in every case, a thing which very often renders
+uncertain the judgments of men. How this may happen is seen in
+Raffaellino, since it appeared that in him nature and art did their
+utmost to set out from extraordinary beginnings, the middle stage of
+which was below mediocrity, and the end almost nothing.
+
+In his youth he drew as much as any painter who has ever exercised
+himself in drawing in order to become perfect; wherefore there may
+still be seen, throughout the world of art, a great number of his
+drawings, which have been dispersed by a son of his for ridiculous
+prices, partly drawn with the style, partly with the pen or in
+water-colours, but all on tinted paper, heightened with lead-white,
+and executed with marvellous boldness and mastery; and there are
+many of them in our book, drawn in a most beautiful manner. Besides
+this, he learnt to paint so well in distemper and in fresco, that
+his first works were executed with an incredible patience and
+diligence, as has been related.
+
+In the Minerva, round the tomb of Cardinal Caraffa, he painted the
+vaulted ceiling, with such delicacy, that it seems like the work of
+an illuminator; wherefore it was held in great estimation by
+craftsmen at that time. His master, Filippo, regarded him in some
+respects as a much better painter than himself; and Raffaellino had
+acquired Filippo's manner so well, that there were few who could
+distinguish the one from the other. Later, after having left his
+master, he gave much more delicacy to that manner in the draperies,
+and greater softness to hair and to the expressions of the heads;
+and he was held in such expectation by craftsmen, that, while he
+followed this manner, he was considered the first of the young
+painters of his day. Now the family of the Capponi, having built a
+chapel that is called the Paradiso, on the hill below the Church of
+S. Bartolommeo a Monte Oliveto, without the Porta a S. Friano,
+wished to have the panel executed by Raffaellino, and gave him the
+commission; whereupon he painted in oils the Resurrection of Christ,
+with some soldiers who have fallen, as if dead, round the Sepulchre.
+These figures are very spirited and beautiful, and they have the
+most graceful heads that it is possible to see; among which, in the
+head of a young man, is a marvellous portrait of Niccola Capponi,
+while, in like manner, the head of one who is crying out because the
+stone covering of the tomb has fallen upon him, is most beautiful
+and bizarre. Wherefore the Capponi, having seen that Raffaellino's
+picture was a rare work, caused a frame to be made for it, all
+carved, with round columns richly adorned with burnished gold on a
+ground of bole. Before many years had passed, the campanile of that
+building was struck by lightning, which pierced the vault and fell
+near that panel, which, having been executed in oils, suffered no
+harm; but where the fluid passed near the gilt frame, it consumed
+the gold, leaving nothing there but the bare bole. It has seemed to
+me right to say that much with regard to oil-painting, to the end
+that all may see how important it is to know how to guard against
+such injury, which lightning has done not only to this work, but to
+many others.
+
+[Illustration: THE RESURRECTION
+
+(_After the panel by =Raffaellino del Garbo=. Florence: Accademia,
+90_)
+
+_Anderson_]
+
+He painted in fresco, at the corner of a house that now belongs to
+Matteo Botti, between the Canto del Ponte alla Carraja and the Canto
+della Cuculia, a little shrine containing Our Lady with the Child
+in her arms, with S. Catherine and S. Barbara kneeling, a very
+graceful and carefully executed work. For the Villa of Marignolle,
+belonging to the Girolami, he painted two most beautiful panels,
+with Our Lady, S. Zanobi, and other saints; and he filled the
+predella below both of these with little figures representing scenes
+from the lives of those saints, executed with great diligence. On
+the wall above the door of the Church of the Nuns of S. Giorgio, he
+painted a Pieta, with a group of the Maries; and in like manner, in
+another arch below this, a figure of Our Lady, a work worthy of
+great praise, executed in the year 1504. In the Church of S. Spirito
+at Florence, in a panel over that of the Nerli, which his master
+Filippo had executed, he painted a Pieta, which is held to be a very
+good and praiseworthy work; but in another, representing S. Bernard,
+he fell short of that standard. Below the door of the sacristy are
+two panel-pictures by his hand; one showing S. Gregory the Pope
+saying Mass, when Christ appears to him, naked, with the Cross on
+His shoulder, and shedding blood from His side, with the deacon and
+sub-deacon, in their vestments, serving the Mass, and two angels
+swinging censers over the body of Christ. For another chapel, lower
+down, he executed a panel-picture containing Our Lady, S. Jerome,
+and S. Bartholomew. On these two works he bestowed no little labour;
+but he went on deteriorating from day to day. I do not know to what
+I should attribute his misfortune, for poor Raffaellino was not
+wanting in industry, diligence, and application; yet they availed
+him little. It is believed, indeed, that, becoming overburdened and
+impoverished by the cares of a family, and being compelled to use
+for his daily needs whatever he earned, not to mention that he was a
+man of no great spirit and undertook to do work for small prices, in
+this way he went on growing worse little by little; although there
+is always something of the good to be seen in his works.
+
+For the Monks of Cestello, on the wall of their refectory, he
+painted a large scene coloured in fresco, in which he depicted the
+miracle wrought by Jesus Christ with the five loaves and two fishes,
+with which he satisfied five thousand people. For the Abbot de'
+Panichi he executed the panel-picture of the high-altar in the
+Church of S. Salvi, without the Porta alla Croce, painting therein
+Our Lady, S. Giovanni Gualberto, S. Salvi, S. Bernardo, a Cardinal
+of the Uberti family, and S. Benedetto the Abbot, and, at the sides,
+S. Batista and S. Fedele in armour, in two niches on either hand of
+the picture, which had a rich frame; and in the predella are several
+scenes, with little figures, from the Life of S. Giovanni Gualberto.
+In all this he acquitted himself very well, because he was assisted
+in his wretchedness by that Abbot, who took pity on him for the sake
+of his talents; and in the predella of the panel Raffaellino made a
+portrait of him from life, together with one of the General who was
+then ruling his Order. In S. Piero Maggiore, on the right as one
+enters the church, there is a panel by his hand, and in the Murate
+there is a picture of S. Sigismund, the King. For Girolamo
+Federighi, in that part of S. Pancrazio where he was afterwards
+buried, he painted a Trinity in fresco, with portraits of him and of
+his wife on their knees; and here he began to decline into pettiness
+of manner. He also made two figures in distemper for the Monks of
+Cestello, a S. Rocco and a S. Ignazio, which are in the Chapel of S.
+Sebastiano. And in a little chapel on the abutment of the Ponte
+Rubaconte, on the side towards the Mills, he painted a Madonna, a S.
+Laurence, and another saint.
+
+In the end he was reduced to undertaking any work, however mean; and
+he was employed by certain nuns and other persons, who were
+embroidering a quantity of church vestments and hangings at that
+time, to make designs in chiaroscuro and ornamental borders
+containing saints and stories, for ridiculous prices. For although
+he had deteriorated, there sometimes issued from his hand most
+beautiful designs and fancies, as is proved by many drawings that
+were sold and dispersed after the death of those who used them for
+embroidery; of which there are many in the book of the illustrious
+hospital-director,[19] that show how able he was in draughtsmanship.
+This was the reason that many vestments, hangings, and ornaments,
+which are held to be very beautiful, were made for the churches of
+Florence and throughout the Florentine territory, and also for
+Cardinals and Bishops in Rome. At the present day this method of
+embroidery, which was used by Paolo da Verona, the Florentine
+Galieno, and others like them, is almost lost, and another method,
+with wide stitches, has been introduced, which has neither the same
+beauty nor the same careful workmanship, and is much less durable
+than the other. Wherefore, in return for this benefit, although
+poverty caused him misery and hardship during his lifetime, he
+deserves to have honour and glory for his talents after his death.
+
+And in truth Raffaellino was unfortunate in his connections, for he
+always mixed with poor and humble people, like a man who had sunk
+and become ashamed of himself, seeing that in his youth he had given
+such great promise, and now knew how distant he was from the
+extraordinary excellence of the works that he had made at that time.
+And thus, growing old, he fell away so much from his early standard,
+that his works no longer appeared to be by his hand; and forgetting
+his art more and more every day, he was reduced to painting, in
+addition to his usual panels and pictures, the meanest kinds of
+works. And he sank so low that everything was a torment to him, but
+above all his burdensome family of children, which turned all his
+ability in art into mere clumsiness. Wherefore, being overtaken by
+infirmities and impoverished, he finished his life in misery at the
+age of fifty-eight, and was buried in S. Simone, at Florence, by the
+Company of the Misericordia, in the year 1524.
+
+He left behind him many pupils who became able masters. One, who
+went in his boyhood to learn the rudiments of art from Raffaellino,
+was the Florentine painter Bronzino, who afterwards acquitted
+himself so well under the wing of Jacopo da Pontormo, another
+painter of Florence, that he has made as much proficience in the art
+as his master Jacopo. The portrait of Raffaellino was copied from a
+drawing that belonged to Bastiano da Monte Carlo, who was also his
+disciple, and who, for a man with no draughtsmanship, became a
+passing good master.
+
+FOOTNOTE:
+
+[19] Don Vincenzio Borghini.
+
+
+
+
+TORRIGIANO
+
+
+
+
+LIFE OF TORRIGIANO
+
+SCULPTOR OF FLORENCE
+
+
+Great is the power of anger in the soul of one who is seeking, with
+arrogance and pride, to gain a reputation for excellence in some
+profession, when he sees rising in the same art, at a time when he
+does not expect it, some unknown man of beautiful genius, who not
+only equals him, but in time surpasses him by a great measure. Of
+such persons, in truth, it may be said that there is no iron that
+they would not gnaw in their rage, nor any evil which they would not
+do if they were able, for it seems to them too grievous an affront
+in the eyes of the world, that children whom they saw born should
+have reached maturity almost in one bound from their cradles. They
+do not reflect that every day one may see the will of young men,
+spurred on by zeal in their tender years, and exercised by them in
+continual studies, rise to infinite heights; while the old, led by
+fear, pride, and ambition, lose the cunning of their hands, so that
+the better they think to work, the worse they do it, and where they
+believe that they are advancing, they are going backwards.
+Wherefore, out of envy, they never give credit to the young for the
+perfection of their works, however clearly they may see it, on
+account of the obstinacy that possesses them. And it is known from
+experience that when, in order to show what they can do, they exert
+themselves to the utmost of their power, they often produce works
+that are ridiculous and a mere laughing-stock. In truth, when
+craftsmen have reached the age when the eye is no longer steady and
+the hand trembles, their place, if they have saved the wherewithal
+to live, is to give advice to men who can work, for the reason that
+the arts of painting and sculpture call for a mind in every way
+vigorous and awake (as it is at the age when the blood is boiling),
+full of burning desire, and a capital enemy of the pleasures of the
+world. And whoever is not temperate with regard to the delights of
+the world should shun the studies of any art or science whatsoever,
+seeing that such pleasures and study can never agree well together.
+Since, therefore, these arts involve so many burdens, few, indeed,
+are they who attain to the highest rank; and those who start with
+eagerness from the post are greater in number than those who run
+well in the race and win the prize.
+
+Now there was more pride than art, although he was very able, to be
+seen in Torrigiano, a sculptor of Florence, who in his youth was
+maintained by the elder Lorenzo de' Medici in the garden which that
+magnificent citizen possessed on the Piazza di S. Marco in Florence.
+This garden was in such wise filled with the best ancient statuary,
+that the loggia, the walks, and all the apartments were adorned with
+noble ancient figures of marble, pictures, and other suchlike
+things, made by the hands of the best masters who ever lived in
+Italy or elsewhere. And all these works, in addition to the
+magnificence and adornment that they conferred on that garden, were
+as a school or academy for the young painters and sculptors, as well
+as for all others who were studying the arts of design, and
+particularly for the young nobles; since the Magnificent Lorenzo had
+a strong conviction that those who are born of noble blood can
+attain to perfection in all things more readily and more speedily
+than is possible, for the most part, for men of humble birth, in
+whom there are rarely seen those conceptions and that marvellous
+genius which are perceived in men of illustrious stock. Moreover,
+the less highly born, having generally to defend themselves from
+hardship and poverty, and being forced in consequence to undertake
+any sort of work, however mean, are not able to exercise their
+intellect, or to attain to the highest degree of excellence.
+Wherefore it was well said by the learned Alciato--when speaking of
+men of beautiful genius, born in poverty, who are not able to raise
+themselves, because, in proportion as they are impelled upwards by
+the wings of their genius, so are they held down by their poverty--
+
+  Ut me pluma levat, sic grave mergit onus.
+
+Lorenzo the Magnificent, then, always favoured men of genius, and
+particularly such of the nobles as showed an inclination for these
+our arts; wherefore it is no marvel that from that school there
+should have issued some who have amazed the world. And what is more,
+he not only gave the means to buy food and clothing to those who,
+being poor, would otherwise not have been able to pursue the studies
+of design, but also bestowed extraordinary gifts on any one among
+them who had acquitted himself in some work better than the others;
+so that the young students of our arts, competing thus with each
+other, thereby became very excellent, as I will relate.
+
+The guardian and master of these young men, at that time, was the
+Florentine sculptor Bertoldo, an old and practised craftsman, who
+had once been a disciple of Donato. He taught them, and likewise had
+charge of the works in the garden, and of many drawings, cartoons,
+and models by the hand of Donato, Pippo,[20] Masaccio, Paolo
+Uccello, Fra Giovanni, Fra Filippo, and other masters, both native
+and foreign. It is a sure fact that these arts can only be acquired
+by a long course of study in drawing and diligently imitating works
+of excellence; and whoever has not such facilities, however much he
+may be assisted by nature, can never arrive at perfection, save late
+in life.
+
+But to return to the antiquities of the garden; they were in great
+part dispersed in the year 1494, when Piero, the son of the
+aforesaid Lorenzo, was banished from Florence, all being sold by
+auction. The greater part of them, however, were restored to the
+Magnificent Giuliano in the year 1512, at the time when he and the
+other members of the House of Medici returned to their country; and
+at the present day they are for the most part preserved in the
+guardaroba of Duke Cosimo. Truly magnificent was the example thus
+given by Lorenzo, and whenever Princes and other persons of high
+degree choose to imitate it, they will always gain everlasting
+honour and glory thereby; since he who assists and favours, in their
+noble undertakings, men of rare and beautiful genius, from whom the
+world receives such beauty, honour, convenience and benefit,
+deserves to live for ever in the minds and memories of mankind.
+
+Among those who studied the arts of design in that garden, the
+following all became very excellent masters; Michelagnolo, the son
+of Lodovico Buonarroti; Giovan Francesco Rustici; Torrigiano
+Torrigiani; Francesco Granacci; Niccolo, the son of Jacopo[21]
+Soggi; Lorenzo di Credi, and Giuliano Bugiardini; and, among the
+foreigners, Baccio da Montelupo, Andrea Contucci of Monte Sansovino,
+and others, of whom mention will be made in the proper places.
+
+Torrigiano, then, whose Life we are now about to write, was a
+student in the garden with those named above; and he was not only
+powerful in person, and proud and fearless in spirit, but also by
+nature so overbearing and choleric, that he was for ever tyrannizing
+over all the others both with words and deeds. His chief profession
+was sculpture, yet he worked with great delicacy in terra-cotta, in
+a very good and beautiful manner. But not being able to endure that
+any one should surpass him, he would set himself to spoil with his
+hands such of the works of others as showed an excellence that he
+could not achieve with his brain; and if these others resented this,
+he often had recourse to something stronger than words. He had a
+particular hatred for Michelagnolo, for no other reason than that he
+saw him attending zealously to the study of art, and knew that he
+used to draw in secret at his own house by night and on feast-days,
+so that he came to succeed better in the garden than all the others,
+and was therefore much favoured by Lorenzo the Magnificent.
+Wherefore, moved by bitter envy, Torrigiano was always seeking to
+affront him, both in word and deed; and one day, having come to
+blows, Torrigiano struck Michelagnolo so hard on the nose with his
+fist, that he broke it, insomuch that Michelagnolo had his nose
+flattened for the rest of his life. This matter becoming known to
+Lorenzo, he was so enraged that Torrigiano, if he had not fled from
+Florence, would have suffered some heavy punishment.
+
+[Illustration: TOMB OF HENRY VII
+
+(_After_ Torrigiano. _London: Westminster Abbey_)
+
+_Mansell_]
+
+Having therefore made his way to Rome, where Alexander VI was then
+pressing on the work of the Borgia Tower, Torrigiano executed in it
+a great quantity of stucco-work, in company with other masters.
+Afterwards, money being offered in the service of Duke Valentino,
+who was making war against the people of Romagna, Torrigiano was
+led away by certain young Florentines; and, having changed himself
+in a moment from a sculptor to a soldier, he bore himself valiantly
+in those campaigns of Romagna. He did the same under Paolo Vitelli
+in the war with Pisa; and he was with Piero de' Medici at the action
+on the Garigliano, where he won the right to arms, and the name of a
+valiant standard-bearer.
+
+But in the end, recognizing that he was never likely to reach the
+rank of captain that he desired, although he deserved it, and that
+he had saved nothing in the wars, and had, on the contrary, wasted
+his time, he returned to sculpture. For certain Florentine
+merchants, then, he made small works in marble and bronze, little
+figures, which are scattered throughout the houses of citizens in
+Florence, and he executed many drawings in a bold and excellent
+manner, as may be seen from some by his hand that are in our book,
+together with others which he made in competition with Michelagnolo.
+And having been brought by those merchants to England, he executed
+there, in the service of the King, an endless number of works in
+marble, bronze, and wood, competing with some masters of that
+country, to all of whom he proved superior. For this he was so well
+and so richly rewarded, that, if he had not been as reckless and
+unbridled as he was proud, he might have lived a life of ease and
+ended his days in comfort; but what happened to him was the very
+opposite.
+
+After this, having been summoned from England into Spain, he made
+many works there, which are scattered about in various places, and
+are held in great estimation; and, among others, he made a Crucifix
+of terra-cotta, which is the most marvellous thing that there is in
+all Spain. For a monastery of Friars of S. Jerome, without the city
+of Seville, he made another Crucifix; a S. Jerome in Penitence, with
+his lion, the figure of that Saint being a portrait of an old
+house-steward of the Botti family, Florentine merchants settled in
+Spain; and a Madonna with the Child. This last figure was so
+beautiful that it led to his making another like it for the Duke of
+Arcus, who, in order to obtain it, made such promises to Torrigiano,
+that he believed that it would make him rich for the rest of his
+life. The work being finished, the Duke gave him so many of those
+coins that are called "maravedis," which are worth little or
+nothing, that Torrigiano, to whose house there came two persons
+laden with them, became even more confirmed in his belief that he
+was to be a very rich man. But afterwards, having shown this money
+to a Florentine friend of his, and having asked him to count it and
+reckon its value in Italian coin, he saw that all that vast sum did
+not amount to thirty ducats; at which, holding himself to have been
+fooled, he went in a violent rage to where the figure was that he
+had made for the Duke, and wholly destroyed it. Whereupon that
+Spaniard, considering himself affronted, denounced Torrigiano as a
+heretic; on which account he was thrown into prison, and after being
+examined every day, and sent from one inquisitor to the other, he
+was finally judged to deserve the severest penalty. But this was
+never put into execution, because Torrigiano himself was plunged
+thereby into such melancholy, that, remaining many days without
+eating, and thus becoming very weak, little by little he put an end
+to his own life; and in this way, by denying himself his food, he
+avoided the shame into which he would perchance have fallen, for it
+was believed that he had been condemned to death.
+
+The works of this master date about the year of our salvation, 1515,
+and he died in the year 1522.
+
+FOOTNOTE:
+
+[20] Filippo Brunelleschi.
+
+[21] The name given in the text is Domenico.
+
+
+
+
+GIULIANO AND ANTONIO DA SAN GALLO
+
+
+
+
+LIVES OF GIULIANO AND ANTONIO DA SAN GALLO
+
+ARCHITECTS OF FLORENCE
+
+
+Francesco di Paolo Giamberti, who was a passing good architect in
+the time of Cosimo de' Medici, and was much employed by him, had two
+sons, Giuliano and Antonio, whom he apprenticed to the art of
+wood-carving. One of these two sons, Giuliano, he placed with
+Francione, a joiner, an ingenious person, who gave attention at the
+same time to wood-carving and to perspective, and with whom
+Francesco was very intimate, since they had executed many works in
+company, both in carving and in architecture, for Lorenzo de'
+Medici. This Giuliano learnt so well all that Francione taught him,
+that the carvings and beautiful perspectives that he afterwards
+executed by himself in the choir of the Duomo of Pisa are still
+regarded not without marvel at the present day, even among the many
+new perspectives.
+
+While Giuliano was studying design, and his young blood ran hot in
+his veins, the army of the Duke of Calabria, by reason of the hatred
+which that lord bore to Lorenzo de' Medici, encamped before
+Castellina, in order to occupy the dominions of the Signoria of
+Florence, and also, if this should be successful, in order to
+accomplish some greater design. Wherefore Lorenzo the Magnificent
+was forced to send an engineer to Castellina, who might make mills
+and bastions, and should have the charge of handling the artillery,
+which few men at that time were able to do; and he sent thither
+Giuliano, considering him to have a mind more able, more ready, and
+more resolute than any other man, and knowing him already as the son
+of Francesco, who had been a devoted servant of the House of Medici.
+
+Arriving at Castellina, therefore, Giuliano fortified that place
+with good walls and mills, both within and without, and furnished
+it with everything else necessary for the defence. Then, observing
+that the artillery-men stood at a great distance from their pieces,
+handling, loading, and discharging them with much timidity, he gave
+his attention to this, and so contrived that from that time onwards
+the artillery did harm to no one, whereas it had previously killed
+many of them, since they had not had judgment and knowledge enough
+to avoid suffering injury from the recoil. Having therefore taken
+charge of the artillery, Giuliano showed great skill in discharging
+it to the best possible advantage; and the Duke's forces so lost
+heart by reason of this and other adverse circumstances, that they
+were glad to make terms and depart from the town. In consequence of
+this Giuliano won no little praise from Lorenzo in Florence, and was
+looked upon with favour and affection ever afterwards.
+
+Having meanwhile given his attention to architecture, he began the
+first cloister of the Monastery of Cestello, and executed that part
+of it that is seen to be of the Ionic Order; placing capitals on the
+columns with volutes curving downwards to the collarino, where the
+shaft of the column ends, and making, below the ovoli and the
+fusarole, a frieze, one-third in height of the diameter of the
+column. This capital was copied from a very ancient one of marble,
+found at Fiesole by Messer Leonardo Salutati, Bishop of that place,
+who kept it for some time, together with other antiquities, in a
+house and garden that he occupied in the Via di S. Gallo, opposite
+to S. Agata; and it is now in the possession of Messer Giovan
+Battista da Ricasoli, Bishop of Pistoia, and is prized for its beauty
+and variety, since among the ancient capitals there has not been
+seen another like it. But that cloister remained unfinished, because
+those monks were not then able to bear such an expense.
+
+Meanwhile Giuliano had come into even greater credit with Lorenzo;
+and the latter, who was intending to build a palace at Poggio a
+Cajano, a place between Florence and Pistoia, and had caused several
+models to be made for it by Francione and by others, commissioned
+Giuliano, also, to make one of the sort of building that he proposed
+to erect. And Giuliano made it so completely different in form from
+the others, and so much to Lorenzo's fancy, that he began
+straightway to have it carried into execution, as the best of all
+the models; on which account he took Giuliano even more into his
+favour, and ever afterwards gave him an allowance.
+
+After this, Giuliano wishing to make a vaulted ceiling for the great
+hall of that palace in the manner that we call barrel-shaped,
+Lorenzo could not believe, on account of the great space, that it
+could be raised. Whereupon Giuliano, who was building a house for
+himself in Florence, made a ceiling for his hall according to the
+design of the other, in order to convince the mind of that
+Magnificent Prince; and Lorenzo therefore gave orders for the
+ceiling at the Poggio to be carried out, which was successfully
+done.
+
+By that time the fame of Giuliano had so increased, that, at the
+entreaty of the Duke of Calabria, he was commissioned by Lorenzo the
+Magnificent to make the model for a palace that was to be built at
+Naples; and he spent a long time over executing it. Now while he was
+working at this, the Castellan of Ostia, then Bishop della Rovere,
+who after a time became Pope Julius II, wishing to restore that
+stronghold and to put it into good order, and having heard the fame
+of Giuliano, sent to Florence for him; and, having supplied him with
+a good provision, he kept him employed for two years in making
+therein all the useful improvements that he was able to execute by
+means of his art. And to the end that the model for the Duke of
+Calabria might not be neglected, but might be brought to conclusion,
+he left it to his brother Antonio, who finished it according to his
+directions, which, in executing it and carrying it to completion, he
+followed with great diligence, for he was no less competent in that
+art than Giuliano himself. Now Giuliano was advised by the elder
+Lorenzo to present it in person, to the end that he might show from
+the model itself the difficulties that he had triumphed over in
+making it. Whereupon he departed for Naples, and, having presented
+the work, was received with honour; for men were as much impressed
+by the gracious manner in which the Magnificent Lorenzo had sent
+him, as they were struck with marvel at the masterly work in the
+model, which gave such satisfaction that the building was
+straightway begun near the Castel Nuovo.
+
+After Giuliano had been some time in Naples, he sought leave from
+the Duke to return to Florence; whereupon he was presented by the
+King with horses and garments, and, among other things, with a
+silver cup containing some hundreds of ducats. These things Giuliano
+would not accept, saying that he served a patron who had no need of
+silver or gold, but that if he did indeed wish to give him some
+present or some token of approbation, to show that he had been in
+that city, he might bestow upon him some of his antiquities, which
+he would choose himself. These the King granted to him most
+liberally, both for love of the Magnificent Lorenzo and on account
+of Giuliano's own worth; and they were a head of the Emperor
+Hadrian, which is now above the door of the garden at the house of
+the Medici, a nude woman, more than life-size, and a Cupid sleeping,
+all in marble and in the round. Giuliano sent them as presents to
+the Magnificent Lorenzo, who expressed vast delight at the gift, and
+never tired of praising the action of this most liberal of
+craftsmen, who had refused gold and silver for the sake of art, a
+thing which few would have done. That Cupid is now in the guardaroba
+of Duke Cosimo.
+
+[Illustration: FACADE OF S. MARIA DELLE CARCERI
+
+(_After_ Giuliano da San Gallo. _Prato_)
+
+_Alinari_]
+
+Having then returned to Florence, Giuliano was received most
+graciously by the Magnificent Lorenzo. Now the fancy had taken that
+Prince to build a convent capable of holding a hundred friars,
+without the Porta S. Gallo, in order to give satisfaction to Fra
+Mariano da Ghinazzano, a most learned member of the Order of Eremite
+Friars of S. Augustine. For this convent models were made by many
+architects, and in the end that of Giuliano was put into execution,
+which was the reason that Lorenzo, from this work, gave him the name
+of Giuliano da San Gallo. Wherefore Giuliano, who heard himself
+called by everyone "da San Gallo," said one day in jest to the
+Magnificent Lorenzo, "By giving me this new name of 'da San Gallo,'
+you are making me lose the ancient name of my house, so that, in
+place of going forward in the matter of lineage, as I thought to do,
+I am going backward." Whereupon Lorenzo answered that he would
+rather have him become the founder of a new house through his own
+worth, than depend on others; at which Giuliano was well content.
+
+Meanwhile the work of S. Gallo was carried on, together with
+Lorenzo's other buildings; but neither the convent nor the others
+were finished, by reason of the death of Lorenzo. And even the
+completed part of this structure of S. Gallo did not long remain
+standing, because in 1530, on account of the siege of Florence, it
+was destroyed and thrown to the ground, together with the whole
+suburb, the piazza of which was completely surrounded by very
+beautiful buildings; and at the present day there is no trace to be
+seen there of house, church, or convent.
+
+At this time there took place the death of the King of Naples,
+whereupon Giuliano Gondi, a very rich Florentine merchant, returned
+from that city to Florence, and commissioned Giuliano da San Gallo,
+with whom he had become very intimate on account of his visit to
+Naples, to build him a palace in rustic work, opposite to S.
+Firenze, above the place where the lions used to be. This palace was
+to form the angle of the piazza and to face the old Mercatanzia; but
+the death of Giuliano Gondi put a stop to the work. In it, among
+other things, Giuliano made a chimney-piece, very rich in carvings,
+and so varied and beautiful in composition, that up to that time
+there had never been seen the like, nor one with such a wealth of
+figures. The same master made a palace for a Venetian in Camerata,
+without the Porta a Pinti, and many houses for private citizens, of
+which there is no need to make mention.
+
+Lorenzo the Magnificent, in order to benefit the commonwealth and
+adorn the State, and at the same time to leave behind him some
+splendid monument, in addition to the endless number that he had
+already erected, wished to execute the fortification of the Poggio
+Imperiale, above Poggibonsi, on the road to Rome, with a view to
+founding a city there; and he would not lay it out without the
+advice and design of Giuliano. Wherefore that master began that most
+famous structure, in which he made the well-designed and beautiful
+range of fortifications that we see at the present day.
+
+These works brought him such fame, that he was then summoned to
+Milan, through the mediation of Lorenzo, by the Duke of Milan, to
+the end that he might make for him the model of a palace; and there
+Giuliano was no less honoured by the Duke than he had previously
+been honoured by the King of Naples, when that Sovereign had invited
+him to that city. For when he had presented the model to him, on
+the part of the Magnificent Lorenzo, the Duke was filled with
+astonishment and marvel at seeing the vast number of beautiful
+adornments in it, so well arranged and distributed, and all
+accommodated in their places with art and grace; for which reason
+all the materials necessary for the work were got together, and they
+began to put it into execution. In the same city, together with
+Giuliano, was Leonardo da Vinci, who was working for the Duke; and
+Leonardo, speaking with Giuliano about the casting of the horse that
+he was proposing to make, received from him some excellent
+suggestions. This work was broken to pieces on the arrival of the
+French, so that the horse was never finished; nor could the palace
+be brought to completion.
+
+Having returned to Florence, Giuliano found that his brother
+Antonio, who worked for him on his models, had become so excellent,
+that there was no one in his day who was a better master in carving,
+particularly for large Crucifixes of wood; to which witness is borne
+by the one over the high-altar of the Nunziata in Florence, by
+another that is kept by the Friars of S. Gallo in S. Jacopo tra
+Fossi, and by a third in the Company of the Scalzo, which are all
+held to be very good. But Giuliano removed him from that profession
+and caused him to give his attention to architecture, in company
+with himself, since he had many works to execute, both public and
+private.
+
+Now it happened, as it is always happening, that Fortune, the enemy
+of talent, robbed the followers of the arts of their hope and
+support by the death of Lorenzo de' Medici, which was a heavy loss
+not only to all able craftsmen and to his country, but also to all
+Italy. Wherefore Giuliano, together with all the other lofty
+spirits, was left wholly inconsolable; and in his grief he betook
+himself to Prato, near Florence, in order to build the Temple of the
+Madonna delle Carcere, since all building in Florence, both public
+and private, was at a standstill. He lived in Prato, therefore,
+three whole years, supporting the expense, discomfort, and sorrow as
+best he could.
+
+At the end of that time, it being proposed to roof the Church of the
+Madonna at Loreto, and to raise the cupola, which had been formerly
+begun but not finished by Giuliano da Maiano, and those who had
+charge of the matter doubting that the piers were too weak to bear
+such a weight, they wrote, therefore, to Giuliano, that if he
+desired such a work, he should go and see it for himself. And having
+gone, like the bold and able man that he was, he showed them that
+the cupola could be raised with ease, and that he had courage enough
+for the task; and so many, and of such a kind, were the reasons that
+he put before them, that the work was allotted to him. After
+receiving this commission, he caused the work in Prato to be
+despatched, and made his way, with the same master-builders and
+stone-cutters, to Loreto. And to the end that this structure,
+besides beauty of form, might be firm, solid, stable, and well bound
+in the stonework, he sent to Rome for pozzolana[22]; nor was any
+lime used that was not mixed with it, nor any stone built in without
+it; and thus, within the space of three years, it was brought to
+perfect completion, ready for use.
+
+Giuliano then went to Rome, where, for Pope Alexander VI, he
+restored the roof of S. Maria Maggiore, which was falling into ruin;
+and he made there the ceiling that is to be seen at the present day.
+While he was thus employed about the Court, Bishop della Rovere, who
+had been the friend of Giuliano from the time when he was Castellan
+of Ostia, and who had been created Cardinal of S. Pietro in Vincula,
+caused him to make a model for the Palace of S. Pietro in Vincula.
+And a little time after, desiring to build a palace in his own city
+of Savona, he wished to have it erected likewise from the design and
+under the eye of Giuliano. But such a journey was difficult for
+Giuliano, for the reason that his ceiling was not yet finished, and
+Pope Alexander would not let him go. He entrusted the finishing of
+it, therefore, to his brother Antonio, who, having a good and
+versatile intelligence, and coming thus into contact with the Court,
+entered into the service of the Pope, who conceived a very great
+affection for him; and this he proved when he resolved to restore,
+with new foundations and with defences after the manner of a castle,
+the Mausoleum of Hadrian, now called the Castello di S. Angelo, for
+Antonio was made overseer of this undertaking, and under his
+direction were made the great towers below, the ditches, and the
+rest of the fortifications that we see at the present day. This work
+brought him great credit with the Pope, and with his son, Duke
+Valentino; and it led to his building the fortress that is now to be
+seen at Civita Castellana. Thus, then, while that Pontiff was alive,
+he was continually employed in building; and while working for him,
+he was rewarded by him no less than he was esteemed.
+
+Giuliano had already carried well forward the work at Savona, when
+the Cardinal returned to Rome on some business of his own, leaving
+many workmen to bring the building to completion after the
+directions and design of Giuliano, whom he took with him to Rome.
+Giuliano made that journey willingly, wishing to see Antonio and his
+works; and he stayed there some months. During that time, however,
+the Cardinal fell into disgrace with the Pope, and departed from
+Rome, in order not to be taken prisoner, and Giuliano, as before,
+went in his company. On arriving at Savona, they set a much greater
+number of master-builders and other artificers to work on the
+building. But the threats of the Pope against the Cardinal becoming
+every day louder, it was not long before he made his way to Avignon.
+From there he sent as a present to the King of France a model for a
+palace that Giuliano had made for him, which was marvellous, very
+rich in ornament, and spacious enough for the accommodation of his
+whole Court. The royal Court was at Lyons when Giuliano presented
+his model; and the gift was so welcome and acceptable to the King,
+that he rewarded Giuliano liberally and gave him infinite praise,
+besides rendering many thanks for it to the Cardinal, who was at
+Avignon.
+
+Meanwhile they received news that the palace at Savona was already
+nearly finished; whereupon the Cardinal determined that Giuliano
+should once more see the work, and Giuliano, having gone for this
+purpose to Savona, had not been there long when it was completely
+finished. Then, desiring to return to Florence, where he had not
+been for a long time, Giuliano took the road for that city together
+with his master-builders. Now at that time the King of France had
+restored Pisa her liberty, and the war between the Florentines and
+the Pisans was still raging; and Giuliano, wishing to pass through
+Pisan territory, had a safe-conduct made out for his company at
+Lucca, for they had no small apprehension about the Pisan soldiers.
+Nevertheless, while passing near Altopascio, they were captured by
+the Pisans, who cared nothing for safe-conducts or for any other
+warrant that they might have. And for six months Giuliano was
+detained in Pisa, his ransom being fixed at three hundred ducats;
+nor was he able to return to Florence until he had paid it.
+
+Antonio had heard this news in Rome, and, desiring to see his native
+city and his brother again, obtained leave to depart from Rome; and
+on his way he designed for Duke Valentino the fortress of
+Montefiascone. Finally, in the year 1503, he reached Florence, where
+the two brothers and their friends took joyful pleasure in each
+other's company.
+
+There now ensued the death of Alexander VI, and the election of Pius
+III, who lived but a short time; whereupon the Cardinal of S. Pietro
+in Vincula was created Pontiff, under the name of Pope Julius II;
+which brought great joy to Giuliano, on account of his having been
+so long in his service, and he determined, therefore, to go to kiss
+the Pope's foot. Having then arrived in Rome, he was warmly received
+and welcomed lovingly, and was straightway commissioned to execute
+the first buildings undertaken by that Pope before the coming of
+Bramante.
+
+Antonio, who had remained in Florence, continued, in the absence of
+Giuliano (Piero Soderini being Gonfalonier), the building of the
+Poggio Imperiale, to which all the Pisan prisoners were sent to
+labour, in order to finish the work the quicker. After this, by
+reason of the troubles at Arezzo, the old fortress was destroyed,
+and Antonio made the model for the new one, with the consent of
+Giuliano, who had come from Rome for this purpose, but soon returned
+thither; and this work was the reason that Antonio was appointed
+architect to the Commune of Florence for all the fortifications.
+
+On the return of Giuliano to Rome, the question was being debated as
+to whether the divine Michelagnolo Buonarroti should make the tomb
+of Pope Julius; whereupon Giuliano exhorted the Pope to pursue that
+undertaking, adding that it seemed to him that it was necessary to
+build a special chapel for such a monument, and that it should not
+be placed in the old S. Pietro, in which there was no space for it,
+whereas a new chapel would bring out all the perfection of the work.
+After many architects, then, had made designs, the matter little by
+little became one of such importance, that, in place of erecting a
+chapel, a beginning was made with the great fabric of the new S.
+Pietro. There had arrived in Rome, about that time, the architect
+Bramante of Castel Durante, who had been in Lombardy; and he went to
+work in such a manner, with various extraordinary means and methods
+of his own, and with his fantastic ideas, having on his side
+Baldassarre Peruzzi, Raffaello da Urbino, and other architects, that
+he put the whole undertaking into confusion; whereby much time was
+consumed in discussions. Finally--so well did he know how to set
+about the matter--the work was entrusted to him, as the man who had
+shown the finest judgment, the best intelligence, and the greatest
+invention.
+
+Giuliano, resenting this, for it appeared to him that he had
+received an affront from the Pope, in view of the faithful service
+that he had rendered to him when his rank was not so high, and of
+the promise made to him by the Pope that he should have that
+building, sought leave to go; and so, notwithstanding that he was
+appointed companion to Bramante for other edifices that were being
+erected in Rome, he departed, and returned, with many gifts received
+from that Pontiff, to Florence.
+
+This was a great joy to Piero Soderini, who straightway set him to
+work. Nor had six months gone by, when Messer Bartolommeo della
+Rovere, the nephew of the Pope, and a friend of Giuliano, wrote to
+him in the name of his Holiness that he should return for his own
+advantage to Rome; but neither terms nor promises availed to move
+Giuliano, who considered that he had been put to shame by the Pope.
+Finally, however, a letter was written to Piero Soderini, urging him
+in one way or another to send Giuliano to Rome, since his Holiness
+wished to finish the fortifications of the Great Round Tower, which
+had been begun by Nicholas V, and likewise those of the Borgo and
+the Belvedere, with other works; and Giuliano allowed himself to be
+persuaded by Soderini, and therefore went to Rome, where he received
+a gracious welcome and many gifts from the Pope.
+
+Having afterwards gone to Bologna, from which the Bentivogli had
+just been driven out, the Pope resolved, by the advice of Giuliano,
+to have a figure of himself in bronze made by Michelagnolo
+Buonarroti; and this was carried out, as will be related in the Life
+of Michelagnolo himself. Giuliano also followed the Pope to
+Mirandola, and after it was taken, having endured much fatigue and
+many discomforts, he returned with the Court to Rome. But the
+furious desire to drive the French out of Italy not having yet got
+out of the head of the Pope, he strove to wrest the government of
+Florence out of the hands of Piero Soderini, whose power was no
+small hindrance to him in the project that he had in mind.
+Whereupon, since the Pontiff, for these reasons, had turned aside
+from building and had embroiled himself in wars, Giuliano, by this
+time weary, and perceiving that attention was being given only to
+the construction of S. Pietro, and not much even to that, sought
+leave from him to depart. But the Pope answered him in anger, "Do
+you believe that you are the only Giuliano da San Gallo to be
+found?" To which he replied that none could be found equal to him in
+faithful service, while he himself would easily find Princes truer
+to their promises than the Pope had been towards him. However, the
+Pontiff would by no means give him leave to go, saying that he would
+speak to him about it another time.
+
+Meanwhile Bramante, having brought Raffaello da Urbino to Rome, set
+him to work at painting the Papal apartments; whereupon Giuliano,
+perceiving that the Pope took great delight in those pictures, and
+knowing that he wished to have the ceiling of the chapel of his
+uncle Sixtus painted, spoke to him of Michelagnolo, adding that he
+had already executed the bronze statue in Bologna. Which news
+pleased the Pope so much that he sent for Michelagnolo, who, on
+arriving in Rome, received the commission for the ceiling of that
+chapel.
+
+A little time after this, Giuliano coming back once more to seek
+leave from the Pope to depart, his Holiness, seeing him determined
+on this, was content that he should return to Florence, without
+forfeiting his favour; and, after having blessed him, he gave him a
+purse of red satin containing five hundred crowns, telling him that
+he might return home to rest, but that he would always be his
+friend. Giuliano, then, having kissed the sacred foot, returned to
+Florence, at the very time when Pisa was surrounded and besieged by
+the army of Florence. No sooner had he arrived, therefore, than
+Piero Soderini, after the due greetings, sent him to the camp to
+help the military commissaries, who had found themselves unable to
+prevent the Pisans from passing provisions into Pisa by way of the
+Arno. Giuliano made a design for a bridge of boats to be built at
+some better season, and then went back to Florence; and when spring
+had come, taking with him his brother Antonio, he made his way to
+Pisa, where they constructed a bridge, which was a very ingenious
+piece of work, since, besides the fact that, rising or falling with
+the water, and being well bound with chains, it stood safe and sound
+against floods, it carried out the desires of the commissaries in
+such a manner, cutting off Pisa from access to the sea by way of the
+Arno, that the Pisans, having no other expedient in their sore
+straits, were forced to come to terms with the Florentines; and so
+they surrendered. Nor was it long before the same Piero Soderini
+again sent Giuliano, with a vast number of master-builders, to Pisa,
+where with extraordinary swiftness he erected the fortress that
+still stands at the Porta a S. Marco, and also the gate itself,
+which he built in the Doric Order. And the while that Giuliano was
+engaged on this work, which was until the year 1512, Antonio went
+through the whole dominion, inspecting and restoring the fortresses
+and other public buildings.
+
+After this, by the favour of the same Pope Julius, the house of
+Medici was reinstated in the government of Florence, from which they
+had been driven out on the invasion of Italy by Charles VIII, King
+of France, and Piero Soderini was expelled from the Palace; and the
+Medici showed their gratitude to Giuliano and Antonio for the
+services that they had rendered in the past to their illustrious
+family. Now Cardinal Giovanni de' Medici having been elected Pope a
+short time after the death of Julius II, Giuliano was forced once
+again to betake himself to Rome; where, Bramante dying not long
+after his arrival, it was proposed to give to Giuliano the charge of
+the building of S. Pietro. But he, being worn out by his labours,
+and crushed down by old age and by the stone, which made his life a
+burden, returned by leave of his Holiness to Florence; and that
+commission was given to the most gracious Raffaello da Urbino. And
+Giuliano, after two years, was pressed so sorely by his malady, that
+he died at the age of seventy-four in the year 1517, leaving his
+name to the world, his body to the earth, and his soul to God.
+
+By his departure he left a heavy burden of sorrow to his brother
+Antonio, who loved him tenderly, and to a son of his own named
+Francesco, who was engaged in sculpture, although he was still quite
+young. This Francesco, who has preserved up to our own day all the
+treasures of his elders, and holds them in veneration, executed many
+works at Florence and elsewhere, both in sculpture and in
+architecture, and by his hand is the Madonna of marble, with the
+Child in her arms, and lying in the lap of S. Anne, that is in
+Orsanmichele; which work, with the figures carved in the round out
+of one single block, was held, as it still is, to be very beautiful.
+He has also executed the tomb that Pope Clement caused to be made
+for Piero de' Medici at Monte Cassino, besides many other works, of
+which no mention is here made because the said Francesco is still
+alive.
+
+After the death of Giuliano, Antonio, being a man who was not
+willing to stay idle, made two large Crucifixes of wood, one of
+which was sent into Spain, while the other, by order of the
+Vice-Chancellor, Cardinal Giulio de' Medici, was taken by Domenico
+Buoninsegni into France. It being then proposed to build the
+fortress of Livorno, Antonio was sent thither by Cardinal de' Medici
+to make the design for it; which he did, although it was afterwards
+not carried completely into execution, nor even after the method
+suggested by Antonio. After this, the men of Montepulciano
+determining, by reason of the miracles wrought by an image of Our
+Lady, to build a temple for it at very great cost, Antonio made the
+model for this, and became head of the undertaking; on which account
+he visited that building twice a year. At the present day it is to
+be seen carried to perfect completion, having been executed with
+supreme grace, and with truly marvellous beauty and variety of
+composition, by the genius of Antonio, and all the masonry is of a
+certain stone that has a tinge of white, after the manner of
+travertine. It stands without the Porta di S. Biagio, on the right
+hand, half-way up the slope of the hill. At this time, he made a
+beginning with a palace in the township of Monte San Sovino, for
+Antonio di Monte, Cardinal of Santa Prassedia; and he built another
+for the same man at Montepulciano, both being executed and finished
+with extraordinary grace.
+
+He made the design for the side of the buildings of the Servite
+Friars (in Florence), on their Piazza, following the order of the
+Loggia of the Innocenti; and at Arezzo he made models for the aisles
+of the Madonna delle Lacrime, although that work was very badly
+conceived, because it is out of harmony with the original part of
+the building, and the arches at the ends are not in true line with
+the centre. He also made a model for the Madonna of Cortona; but I
+do not think that this was put into execution. He was employed in
+the siege on the bastions and fortifications within the city, and in
+this undertaking he had as a companion his nephew Francesco. After
+this, the Giant of the Piazza, executed by the hand of Michelagnolo,
+having been set into place in the time of Giuliano, the brother of
+our Antonio, it was proposed to set up the other, which had been
+made by Baccio Bandinelli; and the task of bringing it safely into
+position was given to Antonio, who, taking Baccio d' Agnolo as his
+companion, carried this out by means of very powerful machines, and
+placed it in safety on the base that had been prepared for that
+purpose.
+
+In the end, having become old, he took no pleasure in anything save
+agriculture, of which he had an excellent knowledge. And then, when
+on account of old age he was no longer able to bear the discomforts
+of this world, he rendered up his soul to God, in the year 1534, and
+was laid to rest by the side of his brother Giuliano in the tomb of
+the Giamberti, in the Church of S. Maria Novella.
+
+The marvellous works of these two brothers will bear witness before
+the world to the extraordinary genius that they possessed; and for
+their lives, their honourable ways, and their every action, they
+were held in estimation by all men. Giuliano and Antonio bequeathed
+to the art of architecture methods that gave the Tuscan Order of
+building better form than any other architect had yet achieved, and
+the Doric Order they enriched with better measures and proportions
+than their predecessors, following the rules and canons of
+Vitruvius, had been wont to use. They collected in their houses at
+Florence an infinite number of most beautiful antiquities in marble,
+which adorned Florence, and still adorn her, no less than those
+masters honoured themselves and their art. Giuliano brought from
+Rome the method of casting vaults with such materials as made them
+ready carved; examples of which may be seen in a room in his own
+house, and in the vaulting of the Great Hall at Poggio a Cajano,
+which is still to be seen there. Wherefore we should acknowledge our
+obligation to their labours, whereby they fortified the dominion of
+Florence, adorned the city, and gave a name, throughout the many
+regions where they worked, to Florence and to the intellects of
+Tuscany, who, to honour their memory, have written to them these
+verses--
+
+  Cedite Romani structores, cedite Graii,
+    Artis, Vitruvi, tu quoque cede parens.
+  Etruscos celebrare viros, testudinis arcus,
+    Urna, tholus, statuae, templa, domusque petunt.
+
+FOOTNOTE:
+
+[22] A friable volcanic tufa.
+
+
+
+
+RAFFAELLO DA URBINO
+
+
+
+
+LIFE OF RAFFAELLO DA URBINO
+
+[_RAFFAELLO SANZIO_]
+
+PAINTER AND ARCHITECT
+
+
+How bountiful and benign Heaven sometimes shows itself in showering
+upon one single person the infinite riches of its treasures, and all
+those graces and rarest gifts that it is wont to distribute among
+many individuals, over a long space of time, could be clearly seen
+in the no less excellent than gracious Raffaello Sanzio da Urbino,
+who was endowed by nature with all that modesty and goodness which
+are seen at times in those who, beyond all other men, have added to
+their natural sweetness and gentleness the beautiful adornment of
+courtesy and grace, by reason of which they always show themselves
+agreeable and pleasant to every sort of person and in all their
+actions. Him nature presented to the world, when, vanquished by art
+through the hands of Michelagnolo Buonarroti, she wished to be
+vanquished, in Raffaello, by art and character together. And in
+truth, since the greater part of the craftsmen who had lived up to
+that time had received from nature a certain element of savagery and
+madness, which, besides making them strange and eccentric, had
+brought it about that very often there was revealed in them rather
+the obscure darkness of vice than the brightness and splendour of
+those virtues that make men immortal, there was right good reason
+for her to cause to shine out brilliantly in Raffaello, as a
+contrast to the others, all the rarest qualities of the mind,
+accompanied by such grace, industry, beauty, modesty, and excellence
+of character, as would have sufficed to efface any vice, however
+hideous, and any blot, were it ever so great. Wherefore it may be
+surely said that those who are the possessors of such rare and
+numerous gifts as were seen in Raffaello da Urbino, are not merely
+men, but, if it be not a sin to say it, mortal gods; and that those
+who, by means of their works, leave an honourable name written in
+the archives of fame in this earthly world of ours, can also hope to
+have to enjoy in Heaven a worthy reward for their labours and
+merits.
+
+[Illustration: RAPHAEL: S. GEORGE AND THE DRAGON
+
+(_S. Petersburg: Hermitage, 39. Panel_)]
+
+Raffaello was born at Urbino, a very famous city in Italy, at three
+o'clock of the night on Good Friday, in the year 1483, to a father
+named Giovanni de' Santi, a painter of no great excellence, and yet
+a man of good intelligence, well able to direct his children on that
+good path which he himself had not been fortunate enough to have
+shown to him in his boyhood. And since Giovanni knew how important
+it is to rear infants, not with the milk of nurses, but with that of
+their own mothers, no sooner was Raffaello born, to whom with happy
+augury he gave that name at baptism, than he insisted that this his
+only child--and he had no more afterwards--should be suckled by his
+own mother, and that in his tender years he should have his
+character formed in the house of his parents, rather than learn less
+gentle or even boorish ways and habits in the houses of peasants or
+common people. When he was well grown, he began to exercise him in
+painting, seeing him much inclined to such an art, and possessed of
+a very beautiful genius: wherefore not many years passed before
+Raffaello, still a boy, became a great help to Giovanni in many
+works that he executed in the state of Urbino. In the end, this good
+and loving father, knowing that his son could learn little from him,
+made up his mind to place him with Pietro Perugino, who, as he heard
+tell, held the first place among painters at that time. He went,
+therefore, to Perugia: but not finding Pietro there, he set himself,
+in order to lessen the annoyance of waiting for him, to execute some
+works in S. Francesco. When Pietro had returned from Rome, Giovanni,
+who was a gentle and well-bred person, formed a friendship with him,
+and, when the time appeared to have come, in the most adroit method
+that he knew, told him his desire. And so Pietro, who was very
+courteous and a lover of beautiful genius, agreed to have Raffaello:
+whereupon Giovanni, going off rejoicing to Urbino, took the boy, not
+without many tears on the part of his mother, who loved him dearly,
+and brought him to Perugia, where Pietro, after seeing Raffaello's
+method of drawing, and his beautiful manners and character,
+formed a judgment of him which time, from the result, proved to be
+very true.
+
+It is a very notable thing that Raffaello, studying the manner of
+Pietro, imitated it in every respect so closely, that his copies
+could not be distinguished from his master's originals, and it was
+not possible to see any clear difference between his works and
+Pietro's; as is still evident from some figures in a panel in S.
+Francesco at Perugia, which he executed in oils for Madonna
+Maddalena degli Oddi. These are a Madonna who has risen into Heaven,
+with Jesus Christ crowning her, while below, round the sepulchre,
+are the twelve Apostles, contemplating the Celestial Glory, and at
+the foot of the panel is a predella divided into three scenes,
+painted with little figures, of the Madonna receiving the
+Annunciation from the Angel, of the Magi adoring Christ, and of
+Christ in the arms of Simeon in the Temple. This work is executed
+with truly supreme diligence; and one who had not a good knowledge
+of the two manners, would hold it as certain that it is by the hand
+of Pietro, whereas it is without a doubt by the hand of Raffaello.
+
+After this work, Pietro returning to Florence on some business of
+his own, Raffaello departed from Perugia and went off with some
+friends to Citta di Castello, where he painted a panel for S.
+Agostino in the same manner, and likewise one of a Crucifixion for
+S. Domenico, which, if his name were not written upon it, no one
+would believe to be a work by Raffaello, but rather by Pietro. For
+S. Francesco, also in the same city, he painted a little
+panel-picture of the Marriage of Our Lady, in which one may
+recognize the excellence of Raffaello increasing and growing in
+refinement, and surpassing the manner of Pietro. In this work is a
+temple drawn in perspective with such loving care, that it is a
+marvellous thing to see the difficulties that he was for ever
+seeking out in this branch of his profession.
+
+Meanwhile, when he had acquired very great fame by following his
+master's manner, Pope Pius II[23] had given the commission for
+painting the library of the Duomo at Siena to Pinturicchio; and he,
+being a friend of Raffaello, and knowing him to be an excellent
+draughtsman, brought him to Siena, where Raffaello made for him some
+of the drawings and cartoons for that work. The reason that he did
+not continue at it was that some painters in Siena kept extolling
+with vast praise the cartoon that Leonardo da Vinci had made in the
+Sala del Papa[24] of a very beautiful group of horsemen, to be
+painted afterwards in the Hall of the Palace of the Signoria, and
+likewise some nudes executed by Michelagnolo Buonarroti in
+competition with Leonardo, and much better; and Raffaello, on
+account of the love that he always bore to the excellent in art, was
+seized by such a desire to see them, that, putting aside that work
+and all thought of his own advantage and comfort, he went off to
+Florence.
+
+Having arrived there, and being pleased no less with the city than
+with those works, which appeared to him to be divine, he determined
+to take up his abode there for some time; and thus he formed a
+friendship with some young painters, among whom were Ridolfo
+Ghirlandajo, Aristotile da San Gallo, and others, and became much
+honoured in that city, particularly by Taddeo Taddei, who, being one
+who always loved any man inclined to excellence, would have him ever
+in his house and at his table. And Raffaello, who was gentleness
+itself, in order not to be beaten in courtesy, made him two
+pictures, which incline to his first manner, derived from Pietro,
+but also to the other much better manner that he afterwards acquired
+by study, as will be related; which pictures are still in the house
+of the heirs of the said Taddeo.
+
+[Illustration: LO SPOSALIZIO
+
+(_After the panel by =Raffaello da Urbino=. Milan: Brera, 472_)
+
+_Anderson_]
+
+Raffaello also formed a very great friendship with Lorenzo Nasi; and
+for this Lorenzo, who had taken a wife about that time, he painted a
+picture in which he made a Madonna, and between her legs her Son, to
+whom a little S. John, full of joy, is offering a bird, with great
+delight and pleasure for both of them. In the attitude of each is a
+certain childlike simplicity which is wholly lovely, besides that
+they are so well coloured, and executed with such diligence, that
+they appear to be rather of living flesh than wrought by means of
+colour and draughtsmanship; the Madonna, likewise, has an air truly
+full of grace and divinity; and the foreground, the landscapes, and
+in short all the rest of the work, are most beautiful. This
+picture was held by Lorenzo Nasi, as long as he lived, in very great
+veneration, both in memory of Raffaello, who had been so much his
+friend, and on account of the dignity and excellence of the work;
+but afterwards, on August 9, in the year 1548, it met an evil fate,
+when, on account of the collapse of the hill of S. Giorgio, the
+house of Lorenzo fell down, together with the ornate and beautiful
+houses of the heirs of Marco del Nero, and other neighbouring
+dwellings. However, the pieces of the picture being found among the
+fragments of the ruins, the son of Lorenzo, Battista, who was a great
+lover of art, had them put together again as well as was possible.
+
+[Illustration: MADDALENA DONI
+
+(_After the panel by =Raffaello da Urbino=. Florence: Pitti, 59_)
+
+_Anderson_]
+
+After these works, Raffaello was forced to depart from Florence and
+go to Urbino, where, on account of the death of his mother and of
+his father Giovanni, all his affairs were in confusion. While he was
+living in Urbino, therefore, he painted for Guidobaldo da
+Montefeltro, then Captain of the Florentines, two pictures of Our
+Lady, small but very beautiful, and in his second manner, which are
+now in the possession of the most illustrious and excellent
+Guidobaldo, Duke of Urbino. For the same patron he painted a little
+picture of Christ praying in the Garden, with the three Apostles
+sleeping at some distance from Him. This painting is so highly
+finished, that a miniature could not be better, or in any way
+different; and after having been a long time in the possession of
+Francesco Maria, Duke of Urbino, it was then presented by the most
+illustrious Signora Leonora, his consort, to the Venetians Don Paolo
+Giustiniano and Don Pietro Quirini, hermits of the holy Hermitage of
+Camaldoli, who afterwards placed it, as a relic and a very rare
+thing, and, in a word, as a work by the hand of Raffaello da Urbino,
+and also to honour the memory of that most illustrious lady, in the
+apartment of the Superior of that hermitage, where it is held in the
+veneration that it deserves.
+
+Having executed these works and settled his affairs, Raffaello
+returned to Perugia, where he painted a panel-picture of Our Lady,
+S. John the Baptist, and S. Nicholas, for the Chapel of the Ansidei
+in the Church of the Servite Friars. And in the Chapel of the
+Madonna in S. Severo, a little monastery of the Order of Camaldoli,
+in the same city, he painted in fresco a Christ in Glory, and a God
+the Father with angels round Him, and six saints seated, S.
+Benedict, S. Romualdo, S. Laurence, S. Jerome, S. Mauro, and S.
+Placido, three on either side; and on this picture, which was held
+at that time to be most beautiful for a work in fresco, he wrote his
+name in large and very legible letters. In the same city, also, he
+was commissioned by the Nuns of S. Anthony of Padua to paint a
+panel-picture of Our Lady, with Jesus Christ fully dressed, as it
+pleased those simple and venerable sisters, in her lap, and on
+either side of the Madonna S. Peter, S. Paul, S. Cecilia, and S.
+Catherine; to which two holy virgins he gave the sweetest and most
+lovely expressions of countenance and the most beautifully varied
+head-dresses that are anywhere to be seen, which was a rare thing in
+those times. Above this panel, in a lunette, he painted a very
+beautiful God the Father, and in the predella of the altar three
+scenes with little figures, of Christ praying in the Garden, bearing
+the Cross (wherein are some soldiers dragging Him along with most
+beautiful movements), and lying dead in the lap of His Mother. This
+work is truly marvellous and devout; and it is held in great
+veneration by those nuns, and much extolled by all painters.
+
+I will not refrain from saying that it was recognized, after he had
+been in Florence, that he changed and improved his manner so much,
+from having seen many works by the hands of excellent masters, that
+it had nothing to do with his earlier manner; indeed, the two might
+have belonged to different masters, one much more excellent than the
+other in painting.
+
+Before he departed from Perugia, Madonna Atalanta Baglioni besought
+him that he should consent to paint a panel for her chapel in the
+Church of S. Francesco; but since he was not able to meet her wishes
+at that time, he promised her that, after returning from Florence,
+whither he was obliged to go on some affairs, he would not fail her.
+And so, having come to Florence, where he applied himself with
+incredible labour to the studies of his art, he made the cartoon for
+that chapel, with the intention of going, as he did, as soon as the
+occasion might present itself, to put it into execution.
+
+[Illustration: RAFFAELLO DA URBINO: ANGELO DONI
+
+(_Florence: Pitti, 61. Panel_)]
+
+While he was thus staying in Florence, Agnolo Doni--who was very
+careful of his money in other things, but willing to spend it,
+although still with the greatest possible economy, on works of
+painting and sculpture, in which he much delighted--caused him to
+make portraits of himself and of his wife; and these may be seen,
+painted in his new manner, in the possession of Giovan Battista, his
+son, in the beautiful and most commodious house that the same Agnolo
+built on the Corso de' Tintori, near the Canto degli Alberti, in
+Florence. For Domenico Canigiani, also, he painted a picture of Our
+Lady, with the Child Jesus welcoming a little S. John brought to Him
+by S. Elizabeth, who, as she holds him, is gazing with a most
+animated expression at a S. Joseph, who is standing with both his
+hands leaning on a staff, and inclines his head towards her, as
+though praising the greatness of God and marvelling that she, so
+advanced in years, should have so young a child. And all appear to
+be amazed to see with how much feeling and reverence the two
+cousins, for all their tender age, are caressing one another; not to
+mention that every touch of colour in the heads, hands, and feet
+seems to be living flesh rather than a tint laid on by a master of
+that art. This most noble picture is now in the possession of the
+heirs of the said Domenico Canigiani, who hold it in the estimation
+that is due to a work by Raffaello da Urbino.
+
+This most excellent of painters studied in the city of Florence the
+old works of Masaccio; and what he saw in those of Leonardo and
+Michelagnolo made him give even greater attention to his studies, in
+consequence of which he effected an extraordinary improvement in his
+art and manner. While he was living in Florence, Raffaello, besides
+other friendships, became very intimate with Fra Bartolommeo di San
+Marco, being much pleased with his colouring, and taking no little
+pains to imitate it: and in return he taught that good father the
+principles of perspective, to which up to that time the monk had not
+given any attention.
+
+But at the very height of this friendly intercourse, Raffaello was
+recalled to Perugia, where he began by finishing the work for the
+aforesaid Madonna Atalanta Baglioni in S. Francesco, for which, as
+has been related, he had made the cartoon in Florence. In this most
+divine picture there is a Dead Christ being borne to the Sepulchre,
+executed with such freshness and such loving care, that it seems to
+the eye to have been only just painted. In the composition of this
+work, Raffaello imagined to himself the sorrow that the nearest and
+most affectionate relatives of the dead one feel in laying to rest
+the body of him who has been their best beloved, and on whom, in
+truth, the happiness, honour, and welfare of a whole family have
+depended. Our Lady is seen in a swoon; and the heads of all the
+figures are very gracious in their weeping, particularly that of S.
+John, who, with his hands clasped, bows his head in such a manner as
+to move the hardest heart to pity. And in truth, whoever considers
+the diligence, love, art, and grace shown by this picture, has great
+reason to marvel, for it amazes all who behold it, what with the air
+of the figures, the beauty of the draperies, and, in short, the
+supreme excellence that it reveals in every part.
+
+[Illustration: "THE SCHOOL OF ATHENS"
+
+(_After the fresco by =Raffaello da Urbino=. Rome: The Vatican_)
+
+_Anderson_]
+
+This work finished, he returned to Florence, where he received from
+the Dei, citizens of that city, the commission for an altar-panel
+that was to be placed in their chapel in S. Spirito; and he began
+it, and brought the sketch very nearly to completion. At the same
+time he painted a picture that was afterwards sent to Siena,
+although, on the departure of Raffaello, it was left with Ridolfo
+Ghirlandajo, to the end that he might finish a piece of blue drapery
+that was wanting. This happened because Bramante da Urbino, who was
+in the service of Julius II, wrote to Raffaello, on account of his
+being distantly related to him and also his compatriot, that he had
+so wrought upon the Pope, who had caused some new rooms to be made
+(in the Vatican), that Raffaello would have a chance of showing his
+worth in them. This proposal pleased Raffaello: wherefore,
+abandoning his works in Florence, and leaving the panel for the Dei
+unfinished, in the state in which Messer Baldassarre da Pescia had
+it placed in the Pieve of his native city after the death of
+Raffaello, he betook himself to Rome. Having arrived there, he found
+that most of the rooms in the Palace had been painted, or were still
+being painted, by a number of masters. To be precise, he saw that
+there was one room in which a scene had been finished by Piero della
+Francesca; Luca da Cortona had brought one wall nearly to
+completion; and Don Pietro[25] della Gatta, Abbot of S. Clemente
+at Arezzo, had begun some works there. Bramantino, the Milanese, had
+likewise painted many figures, which were mostly portraits from
+life, and were held to be very beautiful. After his arrival,
+therefore, having been received very warmly by Pope Julius,
+Raffaello began in the Camera della Segnatura a scene of the
+theologians reconciling Philosophy and Astrology with Theology:
+wherein are portraits of all the sages in the world, disputing in
+various ways. Standing apart are some astrologers, who have made
+various kinds of figures and characters of geomancy and astrology on
+some little tablets, which they send to the Evangelists by certain
+very beautiful angels; and these Evangelists are expounding them.
+Among them is Diogenes with his cup, lying on the steps, and lost in
+thought, a figure very well conceived, which, for its beauty and the
+characteristic negligence of its dress, is worthy to be extolled.
+There, also, are Aristotle and Plato, one with the Timaeus in his
+hand, the other with the Ethics; and round them, in a circle, is a
+great school of philosophers. Nor is it possible to express the
+beauty of those astrologers and geometricians who are drawing a vast
+number of figures and characters with compasses on tablets: among
+whom, in the figure of a young man, shapely and handsome, who is
+throwing out his arms in admiration, and inclining his head, is the
+portrait of Federigo II, Duke of Mantua, who was then in Rome. There
+is also a figure that is stooping to the ground, holding in its hand
+a pair of compasses, with which it is making a circle on a tablet:
+this is said to be the architect Bramante, and it is no less the man
+himself than if he were alive, so well is it drawn. Beside a figure
+with its back turned and holding a globe of the heavens in its hand,
+is the portrait of Zoroaster; and next to him is Raffaello, the
+master of the work, who made his own portrait by means of a mirror,
+in a youthful head with an air of great modesty, filled with a
+pleasing and excellent grace, and wearing a black cap.
+
+Nor is one able to describe the beauty and goodness that are to be
+seen in the heads and figures of the Evangelists, to whose
+countenances he gave an air of attention and intentness very true to
+life, and particularly in those who are writing. Thus, behind S.
+Matthew, who is copying the characters from the tablet wherein are
+the figures (which is held before him by an angel), and writing them
+down in a book, he painted an old man who, having placed a piece of
+paper on his knee, is copying all that S. Matthew writes down; and
+while intent on his work in that uncomfortable position, he seems to
+twist his head and his jaws in time with the motion of the pen. And
+in addition to the details of the conceptions, which are numerous
+enough, there is the composition of the whole scene, which is truly
+arranged with so much order and proportion, that he may be said to
+have given therein such a proof of his powers as made men understand
+that he was resolved to hold the sovereignty, without question,
+among all who handled the brush.
+
+He also adorned this work with a view in perspective and with many
+figures, executed in such a sweet and delicate manner, that Pope
+Julius was induced thereby to cause all the scenes of the other
+masters, both the old and the new, to be thrown to the ground, so
+that Raffaello alone might have the glory of all the labours that
+had been devoted to these works up to that time. The work of
+Giovanni Antonio Sodoma of Vercelli, which was above Raffaello's
+painting, was to be thrown down by order of the Pope; but Raffaello
+determined to make use of its compartments and grotesques. There
+were also some medallions, four in number, and in each of these he
+made a figure as a symbol of the scenes below, each figure being on
+the same side as the scene that it represented. Over the first
+scene, wherein he painted Philosophy, Astrology, Geometry, and
+Poetry making peace with Theology, is a woman representing
+Knowledge, who is seated on a throne that is supported on either
+side by a figure of the Goddess Cybele, each with those many breasts
+which in ancient times were the attributes of Diana Polymastes; and
+her dress is of four colours, standing for the four elements; from
+the head downwards there is the colour of fire, below the girdle
+that of the sky, from the groin to the knees there is the colour of
+earth, and the rest, down to the feet, is the colour of water. With
+her, also, are some truly beautiful little boys. In another
+medallion, on the side towards the window that looks over the
+Belvedere, is a figure of Poetry, who is in the form of Polyhymnia,
+crowned with laurel, and holds an antique musical instrument in one
+hand, and a book in the other, and has her legs crossed. With a more
+than human beauty of expression in her countenance, she stands with
+her eyes uplifted towards Heaven, accompanied by two little boys,
+who are lively and spirited, and who make a group of beautiful
+variety both with her and with the others. On this side, over the
+aforesaid window, Raffaello afterwards painted Mount Parnassus. In
+the third medallion, which is above the scene where the Holy Doctors
+are ordaining the Mass, is a figure of Theology, no less beautiful
+than the others, with books and other things round her, and likewise
+accompanied by little boys. And in the fourth medallion, over the
+other window, which looks out on the court, he painted Justice with
+her scales, and her sword uplifted, and with the same little boys
+that are with the others; of which the effect is supremely
+beautiful, for in the scene on the wall below he depicted the giving
+of the Civil and the Canon Law, as we will relate in the proper
+place.
+
+In like manner, on the same ceiling, in the angles of the
+pendentives, he executed four scenes which he drew and coloured with
+great diligence, but with figures of no great size. In one of these,
+that near the Theology, he painted the Sin of Adam, the eating of
+the apple, which he executed with a most delicate manner; and in the
+second, near the Astrology, is a figure of that science setting the
+fixed stars and planets in their places. In the next, that belonging
+to Mount Parnassus, is Marsyas, whom Apollo has caused to be bound
+to a tree and flayed; and on the side of the scene wherein the
+Decretals are given, there is the Judgment of Solomon, showing him
+proposing to have the child cut in half. These four scenes are all
+full of expression and feeling, and executed with excellent
+draughtsmanship, and with pleasing and gracious colouring.
+
+But now, having finished with the vaulting--that is, the ceiling--of
+that apartment, it remains for us to describe what he painted below
+the things mentioned above, wall by wall. On the wall towards the
+Belvedere, where there are Mount Parnassus and the Fount of Helicon,
+he made round that mount a laurel wood of darkest shadows, in the
+verdure of which one almost sees the leaves quivering in the gentle
+zephyrs; and in the air are vast numbers of naked Loves, most
+beautiful in feature and expression, who are plucking branches of
+laurel and with them making garlands, which they throw and scatter
+about the mount. Over the whole, in truth, there seems to breathe a
+spirit of divinity, so beautiful are the figures, and such the
+nobility of the picture, which makes whoever studies it with
+attention marvel how a human brain, by the imperfect means of mere
+colours, and by excellence of draughtsmanship, could make painted
+things appear alive. Most lifelike, also, are those Poets who are
+seen here and there about the mount, some standing, some seated,
+some writing, and others discoursing, and others, again, singing or
+conversing together, in groups of four or six, according as it
+pleased him to distribute them. There are portraits from nature of
+all the most famous poets, ancient and modern, and some only just
+dead, or still living in his day; which were taken from statues or
+medals, and many from old pictures, and some, who were still alive,
+portrayed from the life by himself. And to begin with one end, there
+are Ovid, Virgil, Ennius, Tibullus, Catullus, Propertius, and Homer;
+the last-named, blind and chanting his verses with uplifted head,
+having at his feet one who is writing them down. Next, in a group,
+are all the nine Muses and Apollo, with such beauty in their aspect,
+and such divinity in the figures, that they breathe out a spirit of
+grace and life. There, also, are the learned Sappho, the most divine
+Dante, the gracious Petrarca, and the amorous Boccaccio, who are
+wholly alive, with Tibaldeo, and an endless number of other moderns;
+and this scene is composed with much grace, and executed with
+diligence.
+
+On another wall he made a Heaven, with Christ, Our Lady, S. John the
+Baptist, the Apostles, the Evangelists, and the Martyrs, enthroned
+on clouds, with God the Father sending down the Holy Spirit over
+them all, and particularly over an endless number of saints, who are
+below, writing the Mass, and engaged in disputation about the Host,
+which is on the altar. Among these are the four Doctors of the
+Church, who have about them a vast number of saints, such as
+Dominic, Francis, Thomas Aquinas, Buonaventura, Scotus, and Nicholas
+of Lira, with Dante, Fra Girolamo Savonarola of Ferrara, and all the
+Christian theologians, with an infinite number of portraits from
+nature; and in the air are four little children, who are holding
+open the Gospels. Anything more graceful or more perfect than these
+figures no painter could create, since those saints are represented
+as seated in the air, in a circle, and so well, that in truth,
+besides the appearance of life that the colouring gives them, they
+are foreshortened and made to recede in such a manner, that they
+would not be otherwise if they were in relief. Moreover, their
+vestments show a rich variety, with most beautiful folds in the
+draperies, and the expressions of the heads are more Divine than
+human; as may be seen in that of Christ, which reveals all the
+clemency and devoutness that Divinity can show to mortal men through
+the medium of painting. For Raffaello received from nature a
+particular gift of making the expressions of his heads very sweet
+and gracious; of which we have proof also in the Madonna, who, with
+her hands pressed to her bosom, gazing in contemplation upon her
+Son, seems incapable of refusing any favour; not to mention that he
+showed a truly beautiful sense of fitness, giving a look of age to
+the expressions of the Holy Patriarchs, simplicity to the Apostles,
+and faith to the Martyrs. Even more art and genius did he display in
+the holy Christian Doctors, in whose features, while they make
+disputation throughout the scene in groups of six or three or two,
+there may be seen a kind of eagerness and distress in seeking to
+find the truth of that which is in question, revealing this by
+gesticulating with their hands, making various movements of their
+persons, turning their ears to listen, knitting their brows, and
+expressing astonishment in many different ways, all truly well
+varied and appropriate; save only the four Doctors of the Church,
+who, illumined by the Holy Spirit, are unravelling and expounding,
+by means of the Holy Scriptures, all the problems of the Gospels,
+which are held up by those little boys who have them in their hands
+as they hover in the air.
+
+On another wall, where the other window is, on one side, he painted
+Justinian giving the Laws to the Doctors to be revised; and above
+this, Temperance, Fortitude, and Prudence. On the other side he
+painted the Pope giving the Canonical Decretals; for which Pope he
+made a portrait from life of Pope Julius, and, beside him, Cardinal
+Giovanni de' Medici, who became Pope Leo, Cardinal Antonio di Monte,
+and Cardinal Alessandro Farnese, who afterwards became Pope Paul
+III, with other portraits.
+
+The Pope was very well satisfied with this work; and in order to
+make the panelling worthy of the paintings, he sent to Monte Oliveto
+di Chiusuri, a place in the territory of Siena, for Fra Giovanni da
+Verona, a great master at that time of perspective-views in inlaid
+woodwork, who made there not only the panelling right round, but
+also very beautiful doors and seats, wrought with perspective-views,
+which brought him great favour, rewards, and honour from the Pope.
+And it is certain that in that craft there was never any man more
+able than Giovanni, either in design or in workmanship: of which we
+still have proof in the Sacristy, wrought most beautifully with
+perspective-views in woodwork, of S. Maria in Organo in his native
+city of Verona, in the choir of Monte Oliveto di Chiusuri and that
+of S. Benedetto at Siena, in the Sacristy of Monte Oliveto at
+Naples, and also in the choir of the Chapel of Paolo da Tolosa in
+the same place, executed by that master. Wherefore he well deserved
+to be esteemed and held in very great honour by the convent of his
+Order, in which he died at the age of sixty-eight, in the year 1537.
+Of him, as of a person truly excellent and rare, I have thought it
+right to make mention, believing that this was due to his talents,
+which, as will be related in another place, led to many beautiful
+works being made by other masters after him.
+
+[Illustration: THE "DISPUTA DEL SACRAMENTO"
+
+(_After the fresco by =Raffaello da Urbino=. Rome: The Vatican_)
+
+_Anderson_]
+
+But to return to Raffaello; his powers grew in such a manner, that
+he was commissioned by the Pope to go on to paint a second room,
+that near the Great Hall. And at this time, when he had gained a
+very great name, he also made a portrait of Pope Julius in a picture
+in oils, so true and so lifelike, that the portrait caused all who
+saw it to tremble, as if it had been the living man himself. This
+work is now in S. Maria del Popolo, together with a very beautiful
+picture of Our Lady, painted at the same time by the same master,
+and containing the Nativity of Jesus Christ, wherein is the Virgin
+laying a veil over her Son, whose beauty is such, both in the air of
+the head and in all the members, as to show that He is the true Son
+of God. And no less beautiful than the Child is the Madonna, in
+whom, besides her supreme loveliness, there may be seen piety and
+gladness. There is also a Joseph, who, leaning with both his hands
+on a staff, and lost in thoughtful contemplation of the King and
+Queen of Heaven, gazes with the adoration of a most saintly old man.
+Both these pictures are exhibited on days of solemn festival.
+
+By this time Raffaello had acquired much fame in Rome; but, although
+his manner was graceful and held by all to be very beautiful, and
+despite the fact that he had seen so many antiquities in that city,
+and was for ever studying, nevertheless he had not yet given thereby
+to his figures that grandeur and majesty which he gave to them from
+that time onward. For it happened in those days that Michelagnolo
+made the terrifying outburst against the Pope in the chapel, of
+which we will speak in his Life; whence he was forced to fly to
+Florence. Whereupon Bramante, having the keys of the chapel, allowed
+Raffaello, who was his friend, to see it, to the end that he might
+be able to learn the methods of Michelagnolo. And the sight of it
+was the reason that Raffaello straightway repainted, although he had
+already finished it, the Prophet Isaiah that is to be seen in S.
+Agostino at Rome, above the S. Anne by Andrea Sansovino; in which
+work, by means of what he had seen of Michelagnolo's painting, he
+made the manner immeasurably better and more grand, and gave it
+greater majesty. Wherefore Michelagnolo, on seeing afterwards the
+work of Raffaello, thought, as was the truth, that Bramante had done
+him that wrong on purpose in order to bring profit and fame to
+Raffaello.
+
+Not long after this, Agostino Chigi, a very rich merchant of Siena,
+who was much the friend of every man of excellence, gave Raffaello
+the commission to paint a chapel; and this he did because a short
+time before Raffaello had painted for him in his softest manner, in
+a loggia of his palace, now called the Chigi, in the Trastevere, a
+Galatea in a car on the sea drawn by two dolphins, and surrounded by
+Tritons and many sea-gods. Raffaello, then, having made the cartoon
+for that chapel, which is at the entrance of the Church of S. Maria
+della Pace, on the right hand as one goes into the church by the
+principal door, executed it in fresco, in his new manner, which was
+no little grander and more magnificent than his earlier manner. In
+this painting Raffaello depicted some Prophets and Sibyls, before
+Michelagnolo's chapel had been thrown open to view, although he had
+seen it; and in truth it is held to be the best of his works, and
+the most beautiful among so many that are beautiful, for in the
+women and children that are in it, there may be seen a marvellous
+vivacity and perfect colouring. And this work caused him to be
+greatly esteemed both in his lifetime and after his death, being the
+rarest and most excellent that Raffaello executed in all his life.
+
+Next, spurred by the entreaties of a Chamberlain of Pope Julius, he
+painted the panel for the high-altar of the Araceli, wherein he made
+a Madonna in the sky, with a most beautiful landscape, a S. John, a
+S. Francis, and a S. Jerome represented as a Cardinal; in which
+Madonna may be seen a humility and a modesty truly worthy of the
+Mother of Christ; and besides the beautiful gesture of the Child as
+He plays with His Mother's hand, there is revealed in S. John that
+penitential air which fasting generally gives, while his head
+displays the sincerity of soul and frank assurance appropriate to
+those who live away from the world and despise it, and, in their
+dealings with mankind, make war on falsehood and speak out the
+truth. In like manner, the S. Jerome has his head uplifted with his
+eyes on the Madonna, deep in contemplation; and in them seem to be
+suggested all the learning and knowledge that he showed in his
+writings, while with both his hands he is presenting the
+Chamberlain, in the act of recommending him to her; which portrait
+of the Chamberlain is as lifelike as any ever painted. Nor did
+Raffaello fail to do as well in the figure of S. Francis, who,
+kneeling on the ground, with one arm outstretched, and with his head
+upraised, is gazing up at the Madonna, glowing with a love in tone
+with the feeling of the picture, which, both by the lineaments and
+by the colouring, shows him melting with affection, and taking
+comfort and life from the gracious sight of her beauty and of the
+vivacity and beauty of her Son. In the middle of the panel, below
+the Madonna, Raffaello made a little boy standing, who is raising
+his head towards her and holding an inscription: than whom none
+better or more graceful could be painted, what with the beauty of
+his features and the proportionate loveliness of his person. And in
+addition there is a landscape, which is singularly beautiful in its
+absolute perfection.
+
+[Illustration: THE MASS OF BOLSENA
+
+(_After the fresco by =Raffaello da Urbino=. Rome: The Vatican_)
+
+_Anderson_]
+
+Afterwards, going on with the apartments of the Palace, he painted a
+scene of the Miracle of the Sacramental Corporal of Orvieto, or of
+Bolsena, whichever it may be called. In this scene there may be
+perceived in the face of the priest who is saying Mass, which is
+glowing with a blush, the shame that he felt on seeing the Host
+turned into blood on the Corporal on account of his unbelief. With
+terror in his eyes, dumbfoundered and beside himself in the presence
+of his hearers, he seems like one who knows not what to do; and in
+the gesture of his hands may almost be seen the fear and trembling
+that a man would feel in such a case. Round him Raffaello made many
+figures, all varied and different, some serving the Mass, others
+kneeling on a flight of steps; and all, bewildered by the
+strangeness of the event, are making various most beautiful
+movements and gestures, while in many, both men and women, there is
+revealed a belief that they are to blame. Among the women is one who
+is seated on the ground at the foot of the scene, holding a child in
+her arms; and she, hearing the account that another appears to be
+giving her of the thing that has happened to the priest, turns in a
+marvellous manner as she listens to this, with a womanly grace that
+is very natural and lifelike. On the other side he painted Pope
+Julius hearing that Mass, a most marvellous work, wherein he made a
+portrait of Cardinal di San Giorgio, with innumerable others; and
+the window-opening he turned to advantage by making a flight of
+steps, in such a way that all the painting seems to be one whole:
+nay, it appears as if, were that window-space not there, the work
+would in nowise have been complete. Wherefore it may be truly
+credited to him that in the invention and composition of every kind
+of painted story, no one has ever been more dexterous, facile, and
+able than Raffaello.
+
+This he also proved in another scene in the same place, opposite to
+the last-named, of S. Peter in the hands of Herod, and guarded in
+prison by men-at-arms; wherein he showed such a grasp of
+architecture, and such judgment in the buildings of the prison, that
+in truth the others after him seem to have more confusion than he
+has beauty. For he was ever seeking to represent stories just as
+they are written, and to paint in them things gracious and
+excellent; as is proved in this one by the horror of the prison,
+wherein that old man is seen bound in chains of iron between the two
+men-at-arms, by the deep slumber of the guards, and by the dazzling
+splendour of the Angel, which, in the thick darkness of the night,
+reveals with its light every detail of the prison, and makes the
+arms of the soldiers shine resplendent, in such a way that their
+burnished lustre seems more lifelike than if they were real,
+although they are only painted. No less art and genius are there in
+the action of S. Peter, when, freed from his chains, he goes forth
+from the prison, accompanied by the Angel, wherein one sees in the
+face of the Saint a belief that it is rather a dream than a reality;
+and so, also, terror and dismay are shown in some other armed guards
+without the prison, who hear the noise of the iron door, while a
+sentinel with a torch in his hand rouses the others, and, as he
+gives them light with it, the blaze of the torch is reflected in all
+their armour; and all that its glow does not reach is illumined by
+the light of the moon. This composition Raffaello painted over the
+window, where the wall is darkest; and thus, when you look at the
+picture, the light strikes you in the face, and the real light
+conflicts so well with the different lights of the night in the
+painting, that the smoke of the torch, the splendour of the Angel,
+and the thick darkness of the night seem to you to be wholly real
+and natural, and you would never say that it was all painted, so
+vividly did he express this difficult conception. In it are seen
+shadows playing on the armour, other shadows projected, reflections,
+and a vaporous glare from the lights, all executed with darkest
+shade, and so well, that it may be truly said that he was the master
+of every other master; and as an effect of night, among all those
+that painting has ever produced, this is the most real and most
+divine, and is held by all the world to be the rarest.
+
+On one of the unbroken walls, also, he painted the Divine Worship
+and the Ark of the Hebrews, with the Candlestick; and likewise Pope
+Julius driving Avarice out of the Temple, a scene as beautiful and
+as excellent as the Night described above. Here, in some bearers who
+are carrying Pope Julius, a most lifelike figure, in his chair, are
+portraits of men who were living at that time. And while the people,
+some women among them, are making way for the Pope, so that he may
+pass, one sees the furious onset of an armed man on horseback, who,
+accompanied by two on foot, and in an attitude of the greatest
+fierceness, is smiting and riding down the proud Heliodorus, who is
+seeking, at the command of Antiochus, to rob the Temple of all the
+wealth stored for the widows and orphans. Already the riches and
+treasures could be seen being removed and taken away, when, on
+account of the terror of the strange misfortune of Heliodorus, so
+rudely struck down and smitten by the three figures mentioned above
+(although, this being a vision, they are seen and heard by him
+alone), behold, they are all dropped and upset on the ground, those
+who were carrying them falling down through the sudden terror and
+panic that had come upon all the following of Heliodorus. Apart from
+these may be seen the holy Onias, the High Priest, dressed in his
+robes of office, with his eyes and hands raised to Heaven, and
+praying most fervently, being seized with pity for the poor
+innocents who were thus nearly losing their possessions, and
+rejoicing at the help that he feels has come down from on high.
+Besides this, through a beautiful fancy of Raffaello's, one sees
+many who have climbed on to the socles of the column-bases, and,
+clasping the shafts, stand looking in most uncomfortable attitudes;
+with a throng of people showing their amazement in many various
+ways, and awaiting the result of this event.
+
+This work is in every part so stupendous, that even the cartoons are
+held in the greatest veneration; wherefore Messer Francesco Masini,
+a gentleman of Cesena--who, without the help of any master, but
+giving his attention by himself from his earliest childhood, guided
+by an extraordinary instinct of nature, to drawing and painting, has
+painted pictures that have been much extolled by good judges of
+art--possesses, among his many drawings and some ancient reliefs in
+marble, certain pieces of the cartoon which Raffaello made for this
+story of Heliodorus, and he holds them in the estimation that they
+truly deserve. Nor will I refrain from saying that Messer Niccolo
+Masini, who has given me information about these matters, is as much
+a true lover of our arts as he is a man of real culture in all other
+things.
+
+But to return to Raffaello; on the ceiling above these works, he
+then executed four scenes, God appearing to Abraham and promising
+him the multiplication of his seed, the Sacrifice of Isaac, Jacob's
+Ladder, and the Burning Bush of Moses: wherein may be recognized no
+less art, invention, draughtsmanship, and grace, than in the other
+works that he painted.
+
+While the happy genius of this craftsman was producing such marvels,
+the envy of fortune cut short the life of Julius II, who had
+fostered such abilities, and had been a lover of every excellent
+work. Whereupon a new Pope was elected in Leo X, who desired that
+the work begun should be carried on; and Raffaello thereby soared
+with his genius into the heavens, and received endless favours from
+him, fortunate in having come upon a Prince so great, who had by the
+inheritance of blood a strong inclination for such an art.
+Raffaello, therefore, thus encouraged to pursue the work, painted on
+the other wall the Coming of Attila to Rome, and his encounter at
+the foot of Monte Mario with Leo III, who drove him away with his
+mere benediction. In this scene Raffaello made S. Peter and S. Paul
+in the air, with swords in their hands, coming to defend the Church;
+and while the story of Leo III says nothing of this, nevertheless it
+was thus that he chose to represent it, perchance out of fancy, for
+it often happens that painters, like poets, go straying from their
+subject in order to make their work the more ornate, although their
+digressions are not such as to be out of harmony with their first
+intention. In those Apostles may be seen that celestial wrath and
+ardour which the Divine Justice is wont often to impart to the
+features of its ministers, charged with defending the most holy
+Faith; and of this we have proof in Attila, who is to be seen riding
+a black horse with white feet and a star on its forehead, as
+beautiful as it could be, for in an attitude of the utmost terror he
+throws up his head and turns his body in flight. There are other
+most beautiful horses, particularly a dappled jennet, which is
+ridden by a figure that has all the body covered with scales after
+the manner of a fish; which is copied from the Column of Trajan,
+wherein the figures have armour of that kind; and it is thought that
+such armour is made from the skins of crocodiles. There is Monte
+Mario, all aflame, showing that when soldiers march away, their
+quarters are always left a prey to fire. He made portraits from
+nature, also, in some mace-bearers accompanying the Pope, who are
+marvellously lifelike, as are the horses on which they are riding;
+and the same is true of the retinue of Cardinals, and of some grooms
+who are holding the palfrey on which rides the Pope in full
+pontificals (a portrait of Leo X, no less lifelike than those of the
+others), with many courtiers; the whole being a most pleasing
+spectacle and well in keeping with such a work, and also very useful
+to our art, particularly for those who have no such objects at their
+command.
+
+At this same time he painted a panel containing Our Lady, S. Jerome
+robed as a Cardinal, and an Angel Raphael accompanying Tobias, which
+was placed in S. Domenico at Naples, in that chapel wherein is the
+Crucifix that spoke to S. Thomas Aquinas. For Signor Leonello da
+Carpi, Lord of Meldola, who is still alive, although more than
+ninety years old, he executed a picture that was most marvellous in
+colouring, and of a singular beauty, for it is painted with such
+force, and also with a delicacy so pleasing, that I do not think it
+is possible to do better. In the countenance of the Madonna may be
+seen such a divine air, and in her attitude such a dignity, that no
+one would be able to improve her; and he made her with the hands
+clasped, adoring her Son, who is seated on her knees, caressing a S.
+John, a little boy, who is adoring Him, in company with S. Elizabeth
+and Joseph. This picture was once in the possession of the very
+reverend Cardinal da Carpi, the son of the said Signor Leonello, and
+a great lover of our arts; and it should be at the present day in
+the hands of his heirs.
+
+Afterwards, Lorenzo Pucci, Cardinal of Santi Quattro, having been
+created Grand Penitentiary, Raffaello was favoured by him with a
+commission to paint a panel for S. Giovanni in Monte at Bologna,
+which is now set up in the chapel wherein lies the body of the
+Blessed Elena dall' Olio: in which work it is evident how much
+grace, in company with art, could accomplish by means of the
+delicate hands of Raffaello. In it is a S. Cecilia, who, entranced
+by a choir of angels on high, stands listening to the sound, wholly
+absorbed in the harmony; and in her countenance is seen that
+abstraction which is found in the faces of those who are in ecstasy.
+Scattered about the ground, moreover, are musical instruments, which
+have the appearance of being, not painted, but real and true; and
+such, also, are some veils that she is wearing, with vestments woven
+in silk and gold, and, below these, a marvellous hair-shirt. And in
+a S. Paul, who has the right arm leaning on his naked sword, and the
+head resting on the hand, one sees his profound air of knowledge, no
+less well expressed than the transformation of his pride of aspect
+into dignity. He is clothed in a simple red garment by way of
+mantle, below which is a green tunic, after the manner of the
+Apostles, and his feet are bare. There is also S. Mary Magdalene,
+who is holding in her hands a most delicate vase of stone, in an
+attitude of marvellous grace; turning her head, she seems full of
+joy at her conversion; and indeed, in that kind of painting, I do
+not think that anything better could be done. Very beautiful,
+likewise, are the heads of S. Augustine and S. John the Evangelist.
+Of a truth, other pictures may be said to be pictures, but those of
+Raffaello life itself, for in his figures the flesh quivers, the
+very breath may be perceived, the pulse beats, and the true
+presentment of life is seen in them; on which account this picture
+gave him, in addition to the fame that he had already, an even
+greater name. Wherefore many verses were written in his honour, both
+Latin and in the vulgar tongue, of which, in order not to make my
+story longer than I have set out to do, I will cite only the
+following:
+
+  Pingant sola alii referantque coloribus ora;
+  Caeciliae os Raphael atque animum explicuit.
+
+After this he also painted a little picture with small figures,
+which is likewise at Bologna, in the house of Count Vincenzio
+Ercolano, containing a Christ after the manner of Jove in Heaven,
+surrounded by the four Evangelists as Ezekiel describes them, one in
+the form of a man, another as a lion, the third an eagle, and the
+fourth an ox, with a little landscape below to represent the earth:
+which work, in its small proportions, is no less rare and beautiful
+than his others in their greatness.
+
+[Illustration: POPE LEO X WITH TWO CARDINALS
+
+(_After the panel by =Raffaello da Urbino=. Florence: Pitti, 40_)
+
+_M.S._]
+
+To the Counts of Canossa in Verona he sent a large picture of equal
+excellence, in which is a very beautiful Nativity of Our Lord, with
+a daybreak that is much extolled, as is also the S. Anne, and,
+indeed, the whole work, which cannot be more highly praised than by
+saying that it is by the hand of Raffaello da Urbino. Wherefore
+those Counts rightly hold it in supreme veneration, nor have they
+ever consented, for all the vast prices that have been offered to
+them by many Princes, to sell it to anyone.
+
+For Bindo Altoviti, he made a portrait of him when he was a young
+man, which is held to be extraordinary; and likewise a picture of
+Our Lady, which he sent to Florence, and which is now in the Palace
+of Duke Cosimo, in the chapel of the new apartments, which were
+built and painted by me, where it serves as altar-piece. In it is
+painted a very old S. Anne, seated, and holding out to Our Lady her
+Son, the features of whose countenance, as well as the whole of His
+nude form, are so beautiful that with His smile He rejoices whoever
+beholds Him; besides which, Raffaello depicted, in painting the
+Madonna, all the beauty that can be imparted to the aspect of a
+Virgin, with the complement of chaste humility in the eyes, honour
+in the brow, grace in the nose, and virtue in the mouth; not to
+mention that her raiment is such as to reveal infinite simplicity
+and dignity. And, indeed, I do not think that there is anything
+better to be seen than this whole work. There is a nude S. John,
+seated, with a female saint, who is likewise very beautiful; and for
+background there is a building, in which he painted a linen-covered
+window that gives light to the room wherein are the figures.
+
+In Rome he made a picture of good size, in which he portrayed Pope
+Leo, Cardinal Giulio de' Medici, and Cardinal de' Rossi. In this the
+figures appear to be not painted, but in full relief; there is the
+pile of the velvet, with the damask of the Pope's vestments shining
+and rustling, the fur of the linings soft and natural, and the gold
+and silk so counterfeited that they do not seem to be in colour, but
+real gold and silk. There is an illuminated book of parchment, which
+appears more real than the reality; and a little bell of wrought
+silver, which is more beautiful than words can tell. Among other
+things, also, is a ball of burnished gold on the Pope's chair,
+wherein are reflected, as if it were a mirror (such is its
+brightness), the light from the windows, the shoulders of the Pope,
+and the walls round the room. And all these things are executed with
+such diligence, that one may believe without any manner of doubt
+that no master is able, or is ever likely to be able, to do better.
+For this work the Pope was pleased to reward him very richly; and
+the picture is still to be seen in Florence, in the guardaroba of
+the Duke. In like manner he executed portraits of Duke Lorenzo and
+Duke Giuliano, with a perfect grace of colouring not achieved by any
+other than himself, which are in the possession of the heirs of
+Ottaviano de' Medici at Florence.
+
+Thereupon there came to Raffaello a great increase of glory, and
+likewise of rewards; and for this reason, in order to leave some
+memorial of himself, he caused a palace to be built in the Borgo
+Nuovo at Rome, which Bramante executed with castings. Now, the fame
+of this most noble craftsman, by reason of the aforesaid works and
+many others, having passed into France and Flanders, Albrecht Duerer,
+a most marvellous German painter, and an engraver of very beautiful
+copperplates, rendered tribute to Raffaello out of his own works,
+and sent to him a portrait of himself, a head, executed by him in
+gouache on a cloth of fine linen, which showed the same on either
+side, the lights being transparent and obtained without lead-white,
+while the only grounding and colouring was done with water-colours,
+the white of the cloth serving for the ground of the bright parts.
+This work seemed to Raffaello to be marvellous, and he sent him,
+therefore, many drawings executed by his own hand, which were
+received very gladly by Albrecht. That head was among the
+possessions of Giulio Romano, the heir of Raffaello, in Mantua.
+
+Raffaello, having thus seen the manner of the engravings of Albrecht
+Duerer, and desiring on his own behalf to show what could be done
+with his work by such an art, caused Marc' Antonio Bolognese to make
+a very thorough study of the method; and that master became so
+excellent, that Raffaello commissioned him to make prints of his
+first works, such as the drawing of the Innocents, a Last Supper,
+the Neptune, and the S. Cecilia being boiled in oil. Marc' Antonio
+afterwards made for Raffaello a number of other engravings, which
+Raffaello finally gave to Baviera, his assistant, who had charge of
+a mistress whom Raffaello loved to the day of his death. Of her he
+made a very beautiful portrait, wherein she seemed wholly alive: and
+this is now in Florence, in the possession of that most gentle of
+men, Matteo Botti, a Florentine merchant, and an intimate friend of
+every able person, and particularly of painters, who treasures it
+as a relic, on account of the love that he bears to art, and above
+all to Raffaello. And no less esteem is shown to the works of our
+arts and to the craftsmen by his brother, Simon Botti, who, besides
+being held by us all to be one of the most loving spirits that show
+favour to the men of our professions, is held in estimation by me in
+particular as the best and greatest friend that ever man loved after
+a long experience; not to mention the good judgment that he has and
+shows in matters of art.
+
+But to return to the engravings; the favour shown by Raffaello to
+Baviera was the reason that there afterwards sprang up Marco da
+Ravenna and a host of others, insomuch that the dearth of copper
+engravings was changed into that abundance that we see at the
+present day. Thereupon Ugo da Carpi, having a brain inclined to
+ingenious and fanciful things, and showing beautiful invention,
+discovered the method of wood-engraving, whereby, with three blocks,
+giving the middle values, the lights, and the shadows, it is
+possible to imitate drawings in chiaroscuro, which was certainly a
+thing of beautiful and fanciful invention; and from this, also,
+there afterwards came an abundance of prints, as will be related
+with greater detail in the Life of Marc' Antonio Bolognese.
+
+Raffaello then painted for the Monastery of the Monks of Monte
+Oliveto, called S. Maria dello Spasmo, at Palermo, a panel-picture
+of Christ bearing the Cross, which is held to be a marvellous work.
+In this may be seen the impious ministers of the Crucifixion,
+leading Him with wrath and fury to His death on Mount Calvary; and
+Christ, broken with agony at the near approach of death, has fallen
+to the ground under the weight of the Tree of the Cross, and, bathed
+with sweat and blood, turns towards the Maries, who are in a storm
+of weeping. Moreover, there is seen among them Veronica, who
+stretches out her arms and offers Him a cloth, with an expression of
+the tenderest love, not to mention that the work is full of
+men-at-arms both on horseback and on foot, who are pouring forth
+from the gate of Jerusalem with the standards of justice in their
+hands, in various most beautiful attitudes. This panel, when
+completely finished, but not yet brought to its resting-place, was
+very near coming to an evil end, for the story goes that after it
+had been put on shipboard, in order that it might be carried to
+Palermo, a terrible storm dashed against a rock the ship that was
+carrying it, in such a manner that the timbers broke asunder, and
+all the men were lost, together with the merchandise, save only the
+panel, which, safely packed in its case, was washed by the sea on to
+the shore of Genoa. There, having been fished up and drawn to land,
+it was found to be a thing divine, and was put into safe keeping;
+for it had remained undamaged and without any hurt or blemish, since
+even the fury of the winds and the waves of the sea had respect for
+the beauty of such a work. The news of this being then bruited
+abroad, the monks took measures to recover it, and no sooner had it
+been restored to them, by the favour of the Pope, than they gave
+satisfaction, and that liberally, to those who had rescued it.
+Thereupon it was once more put on board ship and brought at last to
+Sicily, where they set it up in Palermo; in which place it has more
+fame and reputation than the Mount of Vulcan itself.
+
+While Raffaello was engaged on these works, which, having to gratify
+great and distinguished persons, he could not refuse to
+undertake--not to mention that his own private interests prevented
+him from saying them nay--yet for all this he never ceased to carry
+on the series of pictures that he had begun in the Papal apartments
+and halls; wherein he always kept men who pursued the work from his
+own designs, while he himself, continually supervising everything,
+lent to so vast an enterprise the aid of the best efforts of which
+he was capable. No long time passed, therefore, before he threw open
+that apartment of the Borgia Tower in which he had painted a scene
+on every wall, two above the windows, and two others on the unbroken
+walls. In one was the Burning of the Borgo Vecchio of Rome, when,
+all other methods having failed to put out the fire, S. Leo IV
+presents himself at the Loggia of his Palace and extinguishes it
+completely with his benediction. In this scene are represented
+various perils. On one side are women who are bearing vessels filled
+with water in their hands and on their heads, whereby to extinguish
+the flames; and their hair and draperies are blown about by the
+terrible fury of a tempestuous wind. Others, who are seeking to
+throw water on the fire, are blinded by the smoke and wholly
+bewildered. On the other side, after the manner of Virgil's story
+of Anchises being carried by AEneas, is shown an old sick man,
+overcome by his infirmity and the flames of the fire; and in the
+figure of the young man are seen courage and strength, and great
+effort in all his limbs under the weight of the old man, who lies
+helpless on the young man's back. He is followed by an old woman
+with bare feet and disordered garments, who is flying from the fire;
+and a little naked boy runs before them. On the top of some ruins,
+likewise, may be seen a naked woman, with hair all dishevelled, who
+has her child in her hands and is throwing him to a man of her
+house, who, having escaped from the flames, is standing in the
+street on tiptoe, with arms outstretched to receive the child
+wrapped in swathing-bands; wherein the eager anxiety of the woman to
+save her son may be recognized no less clearly than her torment in
+the peril of the fierce flames, which are already licking around
+her. And no less suffering is evident in him who is receiving the
+child, both for its sake and on account of his own fear of death.
+Nor is it possible to describe the imagination that this most
+ingenious and most marvellous craftsman showed in a mother with her
+feet bare, her garments in disorder, her girdle unbound, and her
+hair dishevelled, who has gathered her children before her and is
+driving them on, holding part of her clothing in one hand, that they
+may escape from the ruins and from that blazing furnace; not to
+mention that there are also some women who, kneeling before the
+Pope, appear to be praying to his Holiness that he should make the
+fire cease.
+
+The next scene is from the life of the same S. Leo IV, wherein
+Raffaello depicted the port of Ostia occupied by the fleet of the
+Turks, who had come to take the Pope prisoner. The Christians may be
+seen fighting against that fleet on the sea; and already there has
+come to the harbour an endless number of prisoners, who are
+disembarking from a boat and being dragged by the beard by some
+soldiers, who are very beautiful in features and most spirited in
+their attitudes. The prisoners, dressed in the motley garb of
+galley-slaves, are being led before S. Leo, whose figure is a
+portrait of Pope Leo X. Here Raffaello painted his Holiness in
+pontificals, between Cardinal Santa Maria in Portico, who was
+Bernardo Divizio of Bibbiena, and Cardinal Giulio de' Medici, who
+afterwards became Pope Clement. Nor is it possible to describe in
+detail the beautiful conceptions that this most ingenious craftsman
+showed in the expressions of the prisoners, wherein one can
+recognize, without speech, their grief and the fear of death.
+
+In the first of the other two scenes is Pope Leo X consecrating the
+most Christian King, Francis I of France, chanting the Mass in his
+pontificals, and blessing the oil for the anointing of the King, and
+likewise the royal crown. There, besides the great number of
+Cardinals and Bishops in their robes, who are assisting, he
+portrayed from life many Ambassadors and other persons, and also
+some figures dressed in the French fashion, according to the style
+of that time. In the other scene he painted the Crowning of the same
+King, wherein are portraits from life of the Pope and of Francis,
+one in armour and the other in his pontificals; besides which, all
+the Cardinals, Bishops, Chamberlains, Esquires, and Grooms of the
+Chamber are seated in due order in their places, as is the custom in
+the chapel, all in their robes and portrayed from life, among them
+being Giannozzo Pandolfini, Bishop of Troia, a close friend of
+Raffaello, with many others who were distinguished at that time.
+Near the King is a little boy kneeling, who is holding the royal
+crown--a portrait of Ippolito de' Medici, who afterwards became
+Cardinal and Vice-Chancellor, a man of great repute, and much the
+friend not only of this art, but of all others, to whose blessed
+memory I acknowledge a vast obligation, seeing that my first steps,
+such as they were, were taken under his auspices.
+
+It is not possible to write of every detail in the works of this
+craftsman, wherein every least thing, although dumb, appears to have
+speech: save only of the bases executed below these pictures, with
+various figures of defenders and benefactors of the Church, and
+various terminal figures on either side of them, the whole being
+wrought in such a manner that everything reveals spirit, feeling,
+and thought, and with such a harmony and unity of colouring that
+nothing better can be conceived. And since the ceiling of that
+apartment had been painted by Pietro Perugino, his master, Raffaello
+would not destroy it, moved by respect for his memory and by the
+love that he bore to the man who had been the origin of the rank
+that he held in his art.
+
+Such was the greatness of this master, that he kept designers all
+over Italy, at Pozzuolo, and even in Greece; and he was for ever
+searching out everything of the good that might help his art.
+
+Now, continuing his work, he also painted a hall, wherein were some
+figures of the Apostles and other saints in tabernacles, executed in
+terretta; and there he caused to be made by Giovanni da Udine, his
+disciple, who has no equal in the painting of animals, all the
+animals that Pope Leo possessed, such as the chameleon, the
+civet-cats, the apes, the parrots, the lions, the elephants, and
+other beasts even more strange. And besides embellishing the Palace
+greatly with grotesques and varied pavements, he also gave the
+designs for the Papal staircases, as well as for the loggie begun by
+the architect Bramante, but left unfinished on account of his death,
+and afterwards carried out with the new design and architecture of
+Raffaello, who made for this a model of wood with better proportion
+and adornment than had been accomplished by Bramante. The Pope
+wishing to demonstrate the greatness and magnificence of his
+generous ambition, Raffaello made the designs for the ornaments in
+stucco and for the scenes that were painted there, and likewise for
+the compartments; and as for the stucco and the grotesques, he
+placed at the head of that work Giovanni da Udine, and the figures
+he entrusted to Giulio Romano, although that master worked but
+little at them; and he also employed Giovanni Francesco, Il Bologna,
+Perino del Vaga, Pellegrino da Modena, Vincenzio da San Gimignano,
+and Polidoro da Caravaggio, with many other painters, who executed
+scenes and figures and other things that were required throughout
+that work, which Raffaello caused to be completed with such
+perfection, that he even sent to Florence for pavements by the hand
+of Luca della Robbia. Wherefore it is certain that with regard to
+the paintings, the stucco-ornaments, the arrangement, or any of the
+beautiful inventions, no one would be able to execute or even to
+imagine a more marvellous work; and its beauty was the reason that
+Raffaello received the charge of all the works of painting and
+architecture that were in progress in the Palace.
+
+It is said that the courtesy of Raffaello was such that he prevailed
+upon the masons, in order that he might accommodate his friends, not
+to build the walls absolutely solid and unbroken, but to leave,
+above the old rooms below, various openings and spaces for the
+storage of barrels, flasks, and wood; which holes and spaces so
+weakened the lower part of the masonry, that afterwards they had to
+be filled in, because the whole was beginning to show cracks. He
+commissioned Gian Barile to adorn all the doors and ceilings of
+woodwork with a good number of carvings, which he executed and
+finished with beautiful grace.
+
+He gave architectural designs for the Vigna[26] of the Pope, and for
+many houses in the Borgo; in particular, for the Palace of Messer
+Giovanni Battista dall' Aquila, which was a very beautiful work. He
+also designed one for the Bishop of Troia, who had it built in the
+Via di S. Gallo at Florence. For the Black Friars of S. Sisto in
+Piacenza, he painted the picture for their high-altar, containing
+the Madonna with S. Sisto and S. Barbara, a truly rare and
+extraordinary work. He executed many pictures to be sent into
+France, and in particular, for the King, a S. Michael fighting with
+the Devil, which was held to be a marvellous thing. In this work he
+painted a fire-scarred rock, to represent the centre of the earth,
+from the fissures of which were issuing sulphurous flames; and in
+Lucifer, whose scorched and burned limbs are painted with various
+tints of flesh-colour, could be seen all the shades of anger that
+his venomous and swollen pride calls up against Him who overbears
+the greatness of him who is deprived of any kingdom where there
+might be peace, and doomed to suffer perpetual punishment. The
+opposite may be perceived in the S. Michael, clad in armour of iron
+and gold, who, although he is painted with a celestial air, yet has
+valour, force, and terror in his aspect, and has already thrown
+Lucifer down and hurled him backwards with his spear. In a word,
+this work was of such a kind that he won for it, and rightly, a most
+honourable reward from that King. He made portraits of Beatrice of
+Ferrara and other ladies, and in particular that of his own
+mistress, with an endless number of others.
+
+Raffaello was a very amorous person, delighting much in women, and
+ever ready to serve them; which was the reason that, in the pursuit
+of his carnal pleasures, he found his friends more complacent and
+indulgent towards him than perchance was right. Wherefore, when his
+dear friend Agostino Chigi commissioned him to paint the first
+loggia in his palace, Raffaello was not able to give much attention
+to his work, on account of the love that he had for his mistress; at
+which Agostino fell into such despair, that he so contrived by means
+of others, by himself, and in other ways, as to bring it about,
+although only with difficulty, that this lady should come to live
+continually with Raffaello in that part of the house where he was
+working; and in this manner the work was brought to completion. For
+this work he made all the cartoons, and he coloured many of the
+figures in fresco with his own hand. And on the ceiling he made the
+Council of the Gods in Heaven, wherein, in the forms of the Gods,
+are seen many vestments and lineaments copied from the antique, and
+executed with very beautiful grace and draughtsmanship. In like
+manner he made the Marriage of Psyche, with ministers serving Jove,
+and the Graces scattering flowers over the table. In the spandrels
+of the vaulting he executed many scenes, in one of which is Mercury
+with his flute, who, as he flies, has all the appearance of
+descending from Heaven; and in another is Jove with an air of
+celestial dignity, kissing Ganymede; and in another, likewise, lower
+down, is the Car of Venus, and the Graces, with Mercury, drawing
+Psyche up to Heaven; with many other scenes from the poets in the
+other spandrels. And in the spherical triangles of the vaulting
+above the arches, between the spandrels, are many most beautiful
+little boys in foreshortening, hovering in the air and carrying all
+the instruments of the gods; Jove's lightnings and thunderbolts, the
+helmet, sword, and shield of Mars, Vulcan's hammers, the club and
+lion-skin of Hercules, the caduceus of Mercury, Pan's pipes, and the
+agricultural rakes of Vertumnus. All are accompanied by animals
+appropriate to their character; and the whole work, both as picture
+and as poem, is truly beautiful. Round these scenes he caused
+Giovanni da Udine to make a border of all kinds of flowers, foliage,
+and fruits, in festoons, which are as beautiful as they could be.
+
+Raffaello made the designs for the architecture of the stables of
+the Chigi, and the design for the chapel of the aforesaid Agostino
+in S. Maria del Popolo, wherein, besides painting it, he made
+arrangements for the erection of a marvellous tomb, causing
+Lorenzetto, a sculptor of Florence, to execute two figures, which
+are still in his house in the Macello de' Corbi at Rome; but the
+death of Raffaello, followed by that of Agostino, brought it about
+that this work was given to Sebastiano Viniziano.
+
+Meanwhile Raffaello had risen to such greatness, that Leo X ordained
+that he should set to work on the Great Hall on the upper floor,
+wherein are the Victories of Constantine; and with this he made a
+beginning. A fancy likewise took the Pope to have some very rich
+tapestries made in gold and floss-silk; whereupon Raffaello drew and
+coloured with his own hand, of the exact form and size, all the
+cartoons, which were sent to Flanders to be woven; and the
+tapestries, when finished, were brought to Rome. This work was
+executed so marvellously, that it arouses astonishment in whoever
+beholds it, wondering how it could have been possible to weave the
+hair and beards in such detail, and to give softness to the flesh
+with mere threads; and it is truly rather a miracle than the work of
+human art, seeing that in these tapestries are animals, water, and
+buildings, all made in such a way that they seem to be not woven,
+but really wrought with the brush. The work cost 70,000 crowns, and
+it is still preserved in the Papal Chapel.
+
+For Cardinal Colonna he painted a S. John on canvas, for which, on
+account of its beauty, that Cardinal had an extraordinary love; but
+happening to be attacked by illness, he was asked by Messer Jacopo
+da Carpi, the physician who cured him, to give it to him as a
+present; and because of this desire of Messer Jacopo, to whom he
+felt himself very deeply indebted, he gave it up. It is now in the
+possession of Francesco Benintendi, in Florence.
+
+[Illustration: THE TRANSFIGURATION
+
+(_After the panel by =Raffaello da Urbino=. Rome: The Vatican_)
+
+_Anderson_]
+
+For Giulio de' Medici, Cardinal and Vice-Chancellor, he painted a
+panel-picture, to be sent into France, of the Transfiguration of
+Christ, at which he laboured without ceasing, and brought it to the
+highest perfection with his own hand. In this scene he represented
+Christ Transfigured on Mount Tabor, at the foot of which are the
+eleven Disciples awaiting Him. There may be seen a young man
+possessed by a spirit, who has been brought thither in order that
+Christ, after descending from the mountain, may deliver him; which
+young man stretches himself out in a distorted attitude, crying
+and rolling his eyes, and reveals his suffering in his flesh, his
+veins, and the beat of his pulse, all infected by that malignant
+spirit; and the colour of his flesh, as he makes those violent and
+fearsome gestures, is very pale. This figure is supported by an old
+man, who, having embraced him and taken heart, with his eyes wide
+open and the light shining in them, is raising his brows and
+wrinkling his forehead, showing at one and the same time both
+strength and fear; gazing intently, however, at the Apostles, he
+appears to be encouraging himself by trusting in them. Among many
+women is one, the principal figure in that panel, who, having knelt
+down before the Apostles, and turning her head towards them,
+stretches her arms in the direction of the maniac and points out his
+misery; besides which the Apostles, some standing, some seated, and
+others kneeling, show that they are moved to very great compassion
+by such misfortune. And, indeed, he made therein figures and heads
+so fine in their novelty and variety, to say nothing of their
+extraordinary beauty, that it is the common opinion of all craftsmen
+that this work, among the vast number that he painted, is the most
+glorious, the most lovely, and the most divine. For whoever wishes
+to know how Christ Transfigured and made Divine should be
+represented in painting, must look at this work, wherein Raffaello
+made Him in perspective over that mount, in a sky of exceeding
+brightness, with Moses and Elias, who, illumined by a dazzling
+splendour, burst into life in His light. Prostrate on the ground, in
+attitudes of great beauty and variety, are Peter, James, and John;
+one has his head to the earth, and another, shading his eyes with
+his hands, is defending himself from the rays and intense light of
+the splendour of Christ. He, clothed in snow-white raiment, with His
+arms outstretched and His head raised, appears to reveal the Divine
+essence and nature of all the Three Persons united and concentrated
+in Himself by the perfect art of Raffaello, who seems to have
+summoned up all his powers in such a manner, in order to show the
+supreme force of his art in the countenance of Christ, that, after
+finishing this, the last work that he was to do, he never again
+touched a brush, being overtaken by death.
+
+[Illustration: RAFFAELLO DA URBINO: THE THREE GRACES
+
+(_Chantilly, 38. Panel_)]
+
+Now, having described the works of this most excellent craftsman,
+before I come to relate other particulars of his life and death, I
+do not wish to grudge the labour of saying something, for the
+benefit of the men of our arts, about the various manners of
+Raffaello. He, then, after having imitated in his boyhood the manner
+of his master, Pietro Perugino, which he made much better in
+draughtsmanship, colouring, and invention, believed that he had done
+enough; but he recognized, when he had reached a riper age, that he
+was still too far from the truth. For, after seeing the works of
+Leonardo da Vinci, who had no peer in the expressions of heads both
+of men and of women, and surpassed all other painters in giving
+grace and movement to his figures, he was left marvelling and
+amazed; and in a word, the manner of Leonardo pleasing him more than
+any other that he had ever seen, he set himself to study it, and
+abandoning little by little, although with great difficulty, the
+manner of Pietro, he sought to the best of his power and knowledge
+to imitate that of Leonardo. But for all his diligence and study, in
+certain difficulties he was never able to surpass Leonardo; and
+although it appears to many that he did surpass him in sweetness and
+in a kind of natural facility, nevertheless he was by no means
+superior to him in that sublime groundwork of conceptions and that
+grandeur of art in which few have been the peers of Leonardo. Yet
+Raffaello came very near to him, more than any other painter, and
+above all in grace of colouring. But to return to Raffaello himself;
+in time he found himself very much hindered and impeded by the
+manner that he had adopted from Pietro when he was quite young,
+which he acquired with ease, since it was over-precise, dry, and
+feeble in draughtsmanship. His being unable to forget it was the
+reason that he had great difficulty in learning the beauties of the
+nude and the methods of difficult foreshortenings from the cartoon
+that Michelagnolo Buonarroti made for the Council Hall in Florence;
+and another might have lost heart, believing that he had been
+previously wasting his time, and would never have achieved, however
+lofty his genius, what Raffaello accomplished. But he, having purged
+himself of Pietro's manner, and having thoroughly freed himself of
+it, in order to learn the manner of Michelagnolo, so full of
+difficulties in every part, was changed, as it were, from a master
+once again into a disciple; and he forced himself with incredible
+study, when already a man, to do in a few months what might have
+called for the tender age at which all things are best acquired, and
+for a space of many years. For in truth he who does not learn in
+good time right principles and the manner that he wishes to follow,
+and does not proceed little by little to solve the difficulties of
+the arts by means of experience, seeking to understand every part,
+and to put it into practice, can scarcely ever become perfect; and
+even if he does, that can only be after a longer space of time and
+much greater labour.
+
+When Raffaello resolved to set himself to change and improve his
+manner, he had never given his attention to nudes with that zealous
+study which is necessary, and had only drawn them from life in the
+manner that he had seen practised by his master Pietro, imparting to
+them the grace that he had from nature. He then devoted himself to
+studying the nude and to comparing the muscles of anatomical subjects
+and of flayed human bodies with those of the living, which, being
+covered with skin, are not clearly defined, as they are when the skin
+has been removed; and going on to observe in what way they acquire the
+softness of flesh in the proper places, and how certain graceful
+flexures are produced by changing the point of view, and also the
+effect of inflating, lowering, or raising either a limb or the whole
+person, and likewise the concatenation of the bones, nerves, and
+veins, he became excellent in all the points that are looked for in a
+painter of eminence. Knowing, however, that in this respect he could
+never attain to the perfection of Michelagnolo, he reflected, like a
+man of supreme judgment, that painting does not consist only in
+representing the nude human form, but has a wider field; that one can
+enumerate among the perfect painters those who express historical
+inventions well and with facility, and who show fine judgment in their
+fancies; and that he who, in the composition of scenes, can make them
+neither confused with too much detail nor poor with too little, but
+distributed with beautiful invention and order, may also be called an
+able and judicious craftsman. To this, as Raffaello was well aware,
+may be added the enriching those scenes with a bizarre variety of
+perspectives, buildings, and landscapes, the method of clothing
+figures gracefully, the making them fade away sometimes in the
+shadows, and sometimes come forward into the light, the imparting of
+life and beauty to the heads of women, children, young men and old,
+and the giving them movement and boldness, according to necessity. He
+considered, also, how important is the furious flight of horses in
+battles, fierceness in soldiers, the knowledge how to depict all the
+sorts of animals, and above all the power to give such resemblance to
+portraits that they seem to be alive, and that it is known whom they
+represent; with an endless number of other things, such as the
+adornment of draperies, foot-wear, helmets, armour, women's
+head-dresses, hair, beards, vases, trees, grottoes, rocks, fires,
+skies turbid or serene, clouds, rain, lightning, clear weather, night,
+the light of the moon, the splendour of the sun, and innumerable other
+things, which are called for every moment by the requirements of the
+art of painting. Pondering over these things, I say, Raffaello
+resolved, since he could not approach Michelagnolo in that branch of
+art to which he had set his hand, to seek to equal, and perchance to
+surpass him, in these others; and he devoted himself, therefore, not
+to imitating the manner of that master, but to the attainment of a
+catholic excellence in the other fields of art that have been
+described. And if the same had been done by many craftsmen of our own
+age, who, having determined to pursue the study of Michelagnolo's
+works alone, have failed to imitate him and have not been able to
+reach his extraordinary perfection, they would not have laboured in
+vain nor acquired a manner so hard, so full of difficulty, wanting in
+beauty and colouring, and poor in invention, but would have been able,
+by aiming at catholicity and at imitation in the other fields of art,
+to render service both to themselves and to the world.
+
+Raffaello, then, having made this resolution, and having recognized
+that Fra Bartolommeo di San Marco had a passing good method of
+painting, well-grounded draughtsmanship, and a pleasing manner of
+colouring, although at times, in order to obtain stronger relief, he
+made too much use of darks, took from him what appeared to him to
+suit his need and his fancy--namely, a middle course, both in
+drawing and in colouring; and mingling with that method certain
+others selected from the best work of other masters, out of many
+manners he made one, which was looked upon ever afterwards as his
+own, and which was and always will be vastly esteemed by all
+craftsmen. This was then seen perfected in the Sibyls and Prophets
+of the work that he executed, as has been related, in S. Maria della
+Pace; in the carrying out of which work he was greatly assisted by
+having seen the paintings of Michelagnolo in the Chapel of the Pope.
+And if Raffaello had remained content with this same manner, and had
+not sought to give it more grandeur and variety in order to prove
+that he had as good a knowledge of the nude as Michelagnolo, he
+would not have lost a part of the good name that he had acquired;
+but the nudes that he made in that apartment of the Borgia Tower
+where there is the Burning of the Borgo, although they are fine, are
+not in every way excellent. In like manner, those that were painted
+likewise by him on the ceiling of the Palace of Agostino Chigi in
+the Trastevere did not give complete satisfaction, for they are
+wanting in that grace and sweetness which were peculiar to
+Raffaello; the reason of which, in great part, was the circumstance
+that he had them coloured by others after his design. However,
+repenting of this error, like a man of judgment, he resolved
+afterwards to execute by himself, without assistance from others,
+the panel-picture of the Transfiguration of Christ that is in S.
+Pietro a Montorio, wherein are all those qualities which, as has
+already been described, are looked for and required in a good
+picture. And if he had not employed in this work, as it were from
+caprice, printer's smoke-black, the nature of which, as has been
+remarked many times, is to become ever darker with time, to the
+injury of the other colours with which it is mixed, I believe that
+the picture would still be as fresh as when he painted it; whereas
+it now appears to be rather a mass of shadows than aught else.
+
+I have thought fit, almost at the close of this Life, to make this
+discourse, in order to show with what labour, study, and diligence
+this honoured craftsman always pursued his art; and even more for
+the sake of other painters, to the end that they may learn how to
+avoid those hindrances from which the wisdom and genius of Raffaello
+were able to deliver him. I must add this as well, that every man
+should be satisfied and contented with doing that work to which he
+feels himself drawn by a natural inclination, and should not seek,
+out of emulation, to put his hand to that for which nature has not
+adapted him; for otherwise he will labour in vain, and often to his
+own shame and loss. Moreover, where striving is enough, no man
+should aim at super-striving,[27] merely in order to surpass those
+who, by some great gift of nature, or by some special grace bestowed
+on them by God, have performed or are performing miracles in art;
+for the reason that he who is not suited to any particular work, can
+never reach, let him labour as he may, the goal to which another,
+with the assistance of nature, has attained with ease. Of this,
+among the old craftsmen, we may see an example in Paolo Uccello,
+who, striving against the limitations of his powers, in order to
+advance, did nothing but go backwards. The same has been done in our
+own day, no long time since, by Jacopo da Pontormo, and it has been
+proved by the experience of many others, as we have shown before and
+will point out yet again. And this, perchance, happens because
+Heaven always distributes its favours, to the end that every man may
+rest content with that which falls to him.
+
+But now, having discoursed on these matters of art, perchance at
+greater length than was needful, let us return to the life and death
+of Raffaello. He had a strait friendship with Cardinal Bernardo
+Divizio of Bibbiena, who had importuned him for many years to take a
+wife of his choosing; and Raffaello, while not directly refusing to
+obey the wishes of the Cardinal, had yet put the matter off, saying
+that he would rather wait till three or four years had passed. This
+term came upon Raffaello when he was not expecting it, and he was
+reminded by the Cardinal of his promise; whereupon, seeing himself
+bound, like the courteous man that he was, he would not break his
+word, and thus accepted as his wife a niece of that Cardinal. And
+because he was always very ill content with this entanglement, he
+continued to delay the matter in such a way that many months passed
+without the marriage being brought to pass. But it was with no
+dishonourable motive that he did this, for, having been so many
+years in the service of the Court, and being the creditor of Leo
+for a good sum, it had been hinted to him that when the hall on
+which he was engaged was finished, the Pope proposed to reward him
+for his labours and abilities by giving him a red hat, of which he
+had already determined to distribute a good number, and some of them
+to men of less merit than Raffaello.
+
+Meanwhile, pursuing his amours in secret, Raffaello continued to
+divert himself beyond measure with the pleasures of love; whence it
+happened that, having on one occasion indulged in more than his
+usual excess, he returned to his house in a violent fever. The
+physicians, therefore, believing that he had overheated himself, and
+receiving from him no confession of the excess of which he had been
+guilty, imprudently bled him, insomuch that he was weakened and felt
+himself sinking; for he was in need rather of restoratives.
+Thereupon he made his will: and first, like a good Christian, he
+sent his mistress out of the house, leaving her the means to live
+honourably. Next, he divided his possessions among his disciples,
+Giulio Romano, whom he had always loved dearly, and the Florentine
+Giovanni Francesco, called Il Fattore, with a priest of Urbino, his
+kinsman, whose name I do not know. Then he gave orders that some of
+his wealth should be used for restoring with new masonry one of the
+ancient tabernacles in S. Maria Ritonda, and for making an altar,
+with a marble statue of Our Lady, in that church, which he chose as
+his place of repose and burial after death; and he left all the rest
+to Giulio and Giovanni Francesco, appointing as executor of his will
+Messer Baldassarre da Pescia, then Datary to the Pope. Finally, he
+confessed and was penitent, and ended the course of his life at the
+age of thirty-seven, on the same day that he was born, which was
+Good Friday. And even as he embellished the world with his talents,
+so, it may be believed, does his soul adorn Heaven by its presence.
+
+As he lay dead in the hall where he had been working, there was
+placed at his head the picture of the Transfiguration, which he had
+executed for Cardinal de' Medici; and the sight of that living
+picture, in contrast with the dead body, caused the hearts of all
+who beheld it to burst with sorrow. That work, in memory of the loss
+of Raffaello, was placed by the Cardinal on the high-altar of S.
+Pietro a Montorio; and on account of the nobility of his every
+action, it was held ever afterwards in great estimation. His body
+received that honourable burial which his noble spirit had deserved,
+for there was no craftsman who did not weep with sorrow and follow
+him to the grave. His death was also a great grief to the whole
+Court of the Pope, first because he had held in his lifetime the
+office of Groom of the Chamber, and likewise because he had been so
+dear to the Pope that his loss caused him to weep bitterly.
+
+[Illustration: RAFAELLO SANZIO: BALDASSARE CASTIGLIONE
+
+(_Paris: Louvre, 1505. Canvas_)]
+
+O happy and blessed spirit, in that every man is glad to speak of
+thee, to celebrate thy actions, and to admire every drawing that
+thou didst leave to us! When this noble craftsman died, the art of
+painting might well have died also, seeing that when he closed his
+eyes, she was left as it were blind. And now for us who have
+survived him, it remains to imitate the good, nay, the supremely
+excellent method bequeathed to us by him as a pattern, and, as is
+called for by his merit and our obligations, to hold a most grateful
+remembrance of this in our minds, and to pay the highest honour to
+his memory with our lips. For in truth we have from him art,
+colouring, and invention harmonized and brought to such a pitch of
+perfection as could scarcely be hoped for; nor may any intellect
+ever think to surpass him. And in addition to this benefit that he
+conferred on art, like a true friend to her, as long as he lived he
+never ceased to show how one should deal with great men, with those
+of middle station, and with the lowest. And, indeed, among his
+extraordinary gifts, I perceive one of such value that I for my part
+am amazed at it, in that Heaven gave him the power to produce in our
+art an effect wholly contrary to the nature of us painters, which
+was that our craftsmen--I do not mean only the lesser, but also
+those whose humour it was to be great persons; and of this humour
+art creates a vast number--while working in company with Raffaello,
+felt themselves naturally united and in such accord, that all evil
+humours vanished at the sight of him, and every vile and base
+thought fell away from their minds. Such unity was never greater at
+any other time than his; and this happened because they were
+overcome both by his courtesy and by his art, and even more by the
+good disposition of his nature, which was so full of gentleness and
+so overflowing with loving-kindness, that it was seen that the very
+animals, not to speak of men, honoured him. It is said that if
+any painter who knew him, and even any who did not know him, asked
+him for some drawing that he needed, Raffaello would leave his own
+work in order to assist him. And he always kept a vast number of
+them employed, aiding them and teaching them with such a love as
+might have been the due rather of his own children than of
+fellow-craftsmen; for which reason he was never seen to go to Court
+without having with him, as he left his house, some fifty painters,
+all able and excellent, who kept him company in order to do him
+honour. In short, he lived not like a painter, but like a prince.
+Wherefore, O art of painting, thou couldst then esteem thyself
+indeed most blessed, in possessing a craftsman who, both with his
+genius and his virtues, exalted thee higher than Heaven! Truly happy
+mightest thou call thyself, in that thy disciples, following in the
+footsteps of so great a man, have seen how life should be lived, and
+how important is the union of art and virtue, which, wedded in
+Raffaello, had strength to prevail on the magnificent Julius II and
+the magnanimous Leo X, exalted as they were in rank and dignity, to
+make him their most intimate friend and show him all possible
+generosity, insomuch that by their favour and by the wealth that
+they bestowed upon him, he was enabled to do vast honour both to
+himself and to art. Blessed, also, may be called all those who,
+employed in his service, worked under him, since whoever imitated
+him found that he had reached an honourable haven; and in like
+manner all those who imitate his labours in art will be honoured by
+the world, even as, by resembling him in uprightness of life, they
+will win rewards from Heaven.
+
+Raffaello received from Bembo the following epitaph:
+
+  D. O. M.
+  RAPHAELLI SANCTIO JOAN. F. URBINAT.
+  PICTORI EMINENTISS. VETERUMQUE AEMULO,
+  CUJUS SPIRANTEIS PROPE IMAGINEIS
+  SI CONTEMPLERE,
+  NATURAE ATQUE ARTIS FOEDUS
+  FACILE INSPEXERIS.
+  JULII II ET LEONIS X PONTT. MAXX.
+  PICTURAE ET ARCHITECT. OPERIBUS
+  GLORIAM AUXIT.
+  VIXIT AN. XXXVII, INTEGER, INTEGROS.
+  QUO DIE NATUS EST, EO ESSE DESIIT,
+  VIII ID. APRIL. MDXX.
+
+  ILLE HIC EST RAPHAEL, TIMUIT QUO SOSPITE VINCI
+  RERUM MAGNA PARENS, ET MORIENTE MORI.
+
+And Count Baldassarre Castiglione wrote of his death in the
+following manner:
+
+  Quod lacerum corpus medica sanaverit arte,
+    Hyppolitum Stygiis et revocarit aquis,
+  Ad Stygias ipse est raptus Epidaurius undas;
+    Sic precium vitae mors fuit artifici.
+  Tu quoque dum toto laniatam corpore Romam
+    Componis miro, Raphael, ingenio,
+  Atque urbis lacerum ferro, igni, annisque cadaver,
+    Ad vitam antiquum jam revocasque decus,
+  Movisti superum invidiam, indignataque mors est
+    Te dudum extinctis reddere posse animam,
+  Et quod longa dies paulatim aboleverat, hoc te
+    Mortali spreta lege parare iterum.
+  Sic, miser, heu, prima cadis intercepte juventa,
+    Deberi et morti nostraque nosque mones.
+
+FOOTNOTE:
+
+[23] In the Life of Pinturicchio, Vasari says that this
+commission was given to Pinturicchio by Cardinal Francesco
+Piccolomini, who afterwards became Pope Pius III.
+
+[24] The text reads Palazzo, which is obviously an error
+for Papa.
+
+[25] This seems to be an error for Bartolommeo.
+
+[26] Villa Madama.
+
+[27] The use of this word, though perhaps too modern, seems
+to the translator to be the only way to preserve the play of words
+in the text.
+
+
+
+
+GUGLIELMO DA MARCILLA
+
+
+
+
+LIFE OF GUGLIELMO DA MARCILLA
+
+[_GUILLAUME DE MARCILLAC, OR THE FRENCH PRIOR_]
+
+FRENCH PAINTER AND MASTER OF GLASS WINDOWS
+
+
+At this same time, wherein our arts were endowed by God with the
+greatest felicity that they could possibly enjoy, there flourished
+one Guglielmo da Marcilla, a Frenchman, who, from his constant
+residence in Arezzo, and from the affection that he bore to that
+city, may be said to have chosen it for his country, insomuch that
+all men considered and called him an Aretine. And, in truth, among
+the benefits that are derived from ability, one is that from
+whatever strange and distant region and from however barbarous and
+unknown a race a man may come, be he who he may, if only he has a
+mind adorned with ability and practises some ingenious craft with
+his hands, no sooner does he make his first appearance in each city
+to which he turns his steps, demonstrating his worth, than the skill
+of his hand works so powerfully, that his name, passing from lip to
+lip, in a short time waxes great, and his qualities become very
+highly prized and honoured. And it happens often to a great number
+of men, who have left their country far behind them, that they
+chance upon nations that are lovers of ability and of foreigners,
+where, by reason of their upright walk of life, they find themselves
+recognized and cherished in such a manner, that they forget the
+country of their birth and choose a new one for their last
+resting-place.
+
+Even so was Arezzo chosen as a final home by Guglielmo, who, as a
+youth in France, applied himself to the art of design, and together
+with that gave attention to glass windows, in which he made figures
+no less harmonious in colouring than if they had been painted with
+the greatest beauty and harmony in oils. While in his own country,
+persuaded by the entreaties of certain of his friends, he was
+present at the slaying of one who was their enemy: on which account
+he was forced to assume the habit of a monk in the Order of S.
+Dominic in France, in order to escape the courts and the hand of
+justice. But although he remained in that Order, yet he never
+abandoned the study of art; nay, continuing it, he arrived at the
+highest perfection.
+
+Now, by order of Pope Julius II, a commission was given to Bramante
+da Urbino to have a number of glass windows made for the Palace;
+whereupon he, making inquiries about the most excellent craftsmen,
+received information of many who were working at that craft, and
+among them of some who were executing marvellous works in France;
+and of these he saw a specimen through the French Ambassador who was
+then at the Court of his Holiness, and who had in the frame of a
+window in his study a figure executed on a piece of white glass with
+a vast number of colours, fixed on the glass by the action of fire.
+Wherefore, by order of Bramante, a letter was written to France,
+inviting them to come to Rome, and offering them good payments.
+Thereupon Maestro Claudio, a Frenchman, the head of that art, having
+received the intelligence, and knowing the excellence of Guglielmo,
+so went to work with money and fair promises, that it was no
+difficult matter to draw him out of the convent, particularly
+because Guglielmo, on account of the discourtesy shown to him and
+the jealousies that there always are among monks, was even more
+eager to leave it than was Maestro Claudio to get him out. They
+went, therefore, to Rome, where the habit of S. Dominic was changed
+for that of S. Peter.
+
+Bramante at that time had caused two windows of travertine to be made in
+the Palace of the Pope, which were in the hall in front of the chapel,
+now embellished by a vaulted ceiling by Antonio da San Gallo, and by
+marvellous stucco-work from the hand of Perino del Vaga of Florence.
+These windows were executed by Maestro Claudio and Guglielmo, although
+afterwards, during the sack of Rome, they were broken to pieces, in
+order to extract the lead to make harquebus-balls; and they were truly
+marvellous. In addition to these, they made an endless number of them
+for the apartments of the Pope, which met with the same fate as the
+other two. And even now there is one to be seen in the room containing
+Raffaello's Burning of the Borgo, in the Borgia Tower; in which are
+angels who are holding the escutcheon of Leo X. They also made two
+windows for the chapel behind the Madonna in S. Maria del Popolo, with
+the stories of her life, which were highly praiseworthy examples of that
+craft.
+
+These works brought them no less fame and renown than comfort in
+life. But Maestro Claudio, being very intemperate in eating and
+drinking, according to the custom of his race, which is a deadly
+thing in the air of Rome, fell sick of so violent a fever, that in
+six days he passed to the other life. Whereupon Guglielmo, left
+alone, and almost like one lost without his companion, painted by
+himself a window, likewise of glass, in S. Maria de Anima, the
+church of the Germans in Rome; which was the reason that Cardinal
+Silvio of Cortona made him an offer, and made a contract with him
+that he should execute some windows and other works in his native
+city of Cortona. Wherefore the Cardinal took him in his company to
+take up his abode in Cortona; and the first work that he executed
+was the facade of the Cardinal's house on the side towards the
+Piazza, which he painted in chiaroscuro, depicting therein Croton
+and the other original founders of that city. Thereupon the
+Cardinal, who saw that Guglielmo was no less upright as a man than
+excellent as a master of that art, caused him to execute, for the
+Pieve of Cortona, the window of the principal chapel, in which he
+made the Nativity of Christ and the Magi adoring Him.
+
+Guglielmo was a man of fine spirit and intelligence, and of very
+great mastery in handling glass, and particularly in so distributing
+the colours that the brightest should come in the foremost figures,
+those in the other figures being darker in proportion as they
+receded; in which point he was a rare and truly excellent master.
+Moreover, he showed very good judgment in the painting of his
+figures; whereby he executed them with such unity, that they fell
+back into the distance little by little, in such a way that they did
+not cling either to the buildings or to the landscapes, and had the
+appearance of being painted on panel, or rather in relief. He showed
+invention and variety in the composition of scenes, making them
+rich and well grouped; and he rendered easy the process of making
+such pictures as are put together out of pieces of glass, which was
+held to be very difficult, as indeed it is for one who has not his
+skill and dexterity. He designed the pictures for his windows with
+such good method and order, that the mountings of lead and iron,
+which cross them in certain places, were so well fitted into the
+joinings of the figures and the folds of the draperies, that they
+cannot be seen--nay, they gave the whole such grace, that the brush
+could not have done more--and thus he was able to make a virtue of
+necessity.
+
+Guglielmo used only two kinds of colour for the shading of such
+glass as he proposed to subject to the action of fire; one was scale
+of iron, and the other scale of copper. That of iron, which is dark,
+served to shade draperies, hair, and buildings; and the other, that
+of copper, which produces a tawny tint, served for flesh colours. He
+also made much use of a hard stone that comes from Flanders and
+France, called at the present day hematite, which is red in colour
+and is much employed for burnishing gold. This, having first been
+pounded in a bronze mortar, and then ground with an iron brazing
+instrument on a plate of copper or yellow brass, and tempered with
+gum, works divinely well on glass.
+
+When Guglielmo first arrived in Rome, he was no great draughtsman,
+although he was well practised in every other respect. But having
+recognized the need of this, he applied himself to the study of
+drawing, in spite of his being well advanced in years; and thus
+little by little he achieved the improvement that is evident in the
+windows that he afterwards made for the Palace of the said Cardinal
+at Cortona, and for the other without the city, in a round window
+that is in the aforesaid Pieve, over the facade, on the right hand
+as one enters the church, wherein are the arms of Pope Leo X, and
+likewise in two little windows that are in the Company of Gesu, in
+one of which is a Christ, and in the other a S. Onofrio. These are
+no little different from his early works, and much better.
+
+Now while Guglielmo, as has been related, was living in Cortona,
+there died at Arezzo one Fabiano di Stagio Sassoli, an Aretine, who
+had been a very good master of the making of large windows.
+Thereupon the Wardens of Works for the Vescovado gave the commission
+for three windows in the principal chapel, each twenty braccia in
+height, to Stagio, the son of the said Fabiano, and to the painter
+Domenico Pecori; but when these were finished and fixed in their
+places, they gave no great satisfaction to the Aretines, although
+they were passing good and rather worthy of praise than otherwise.
+It happened at this time that Messer Lodovico Belichini, an
+excellent physician, and one of the first men in the government of
+the city of Arezzo, went to Cortona to cure the mother of the
+aforesaid Cardinal; and there he became well acquainted with our
+Guglielmo, with whom, when he had time, he was very willing to
+converse. And Guglielmo, who was then called the Prior, from his
+having received about that time the benefice of a priory, likewise
+conceived an affection for that physician, who asked him one day
+whether, with the good will of the Cardinal, he would go to Arezzo
+to execute some windows; at which Guglielmo promised that he would,
+and with the permission and good will of the Cardinal he made his
+way to that city. Now Stagio, of whom we have spoken above, having
+parted from the company of Domenico, received Guglielmo into his
+house; and the latter, for his first work, executed for a window of
+the Chapel of S. Lucia, belonging to the Albergotti, in the
+Vescovado of Arezzo, that Saint and a S. Sylvester, in so good a
+manner that the work may truly be said to be made with living
+figures, and not of coloured and transparent glass, or at least to
+be a picture worthy of praise and marvellous. For besides the
+mastery shown in the flesh-colours, the glasses are flashed; that
+is, in some places the first skin has been removed, and the glass
+then coloured with another tint; by which is meant, for example, the
+placing of yellow over red flashed glass, or the application of
+white and green over blue; which is a difficult and even miraculous
+thing in this craft. The first or true colour, then, such as red,
+blue, or green, covers the whole of one side; and the other part,
+which is as thick as the blade of a knife, or a little more, is
+white. Many, being afraid that they might break the glasses, on
+account of their lack of skill in handling them, do not employ a
+pointed iron for removing that layer, but in place of this, for
+greater safety, set about grinding the glasses with a copper wheel
+fixed on the end of an iron instrument; and thus, little by little,
+by the use of emery, they contrive to leave only a layer of white
+glass, which turns out very clear. Then, if a yellow colour has to
+be applied to the piece of glass thus left white, at the moment when
+it is to be placed into the furnace for firing, it is painted by
+means of a brush with calcined silver, which is a colour similar to
+bole, but somewhat thick; and in the fire this melts over the glass,
+fuses, and takes a firm hold, penetrating into the glass and making
+a very beautiful yellow. These methods of working no one used
+better, or with more ingenuity and art, than Prior Guglielmo; and it
+is in these things that the difficulty consists, for painting the
+glass with oil-colours or in any other manner is little or nothing,
+and that it should be diaphanous or transparent is not a matter of
+much importance, whereas firing it in the furnace and making it such
+that it will withstand the action of water and remain fresh for
+ever, is a difficult work and well worthy of praise. Wherefore this
+excellent master deserves the highest praise, since there is not a
+man of his profession who has done as much, whether in design, or
+invention, or colouring, or general excellence.
+
+He then made the great round-window of the same church, containing
+the Descent of the Holy Spirit, and likewise the Baptism of Christ
+by S. John, wherein he represented Christ in the Jordan, awaiting S.
+John, who has taken a cup of water in order to baptize Him, while a
+nude old man is taking off his shoes, and some angels are preparing
+Christ's raiment, and on high is the Father, sending down the Holy
+Spirit upon His Son. This window is over the baptismal font of that
+Duomo, for which he also executed the window containing the
+Resurrection of Lazarus on the fourth day after death; wherein it
+seems impossible that he could have included in so small a space
+such a number of figures, in which may be recognized the terror and
+amazement of the people, with the stench from the body of Lazarus,
+whose resurrection causes his two sisters to rejoice amid their
+tears. In this work are innumerable colours, flashed one over the
+other in the glass, and every least thing truly appears most natural
+in its own kind.
+
+And whoever wishes to learn how much the hand of the Prior was able
+to effect in this art, should study the window of S. Matthew over
+the Chapel of that Apostle, and observe the marvellous invention of
+that scene, wherein he can see a living figure of Christ calling
+Matthew from his tables, while Matthew, following Him and stretching
+out his arms to receive Him, abandons the riches and treasures that
+he has acquired. And at the same time an Apostle may be seen in a
+very spirited attitude, awaking another who has fallen asleep on
+some steps; and in like manner there may also be perceived a S.
+Peter speaking with S. John, both being so beautiful that they seem
+truly divine. In this same window are temples in perspective,
+staircases, and figures so well grouped, and landscapes so natural,
+that one would never think it was glass, but rather a thing rained
+down from Heaven for the consolation of mankind. In the same place
+he made the window of S. Anthony and that of S. Nicholas, both most
+beautiful, with two others, one containing the scene of Christ
+driving the traders from the Temple, and the other that of the woman
+taken in adultery; all these works being held to be truly excellent
+and marvellous.
+
+So fully were the labours and abilities of the Prior recognized by
+the Aretines, what with praises, favours, and rewards, and so
+satisfied and contented was he by this result, that he resolved to
+adopt that city as his home, and to change himself from a Frenchman
+into an Aretine. Afterwards, reflecting in his own mind that the art
+of glass-painting, on account of the destruction that takes place
+every moment in such works, was no lasting one, there came to him a
+desire to devote himself to painting, and he therefore undertook to
+execute for the Wardens of Works of the Vescovado in that city three
+very large vaults in fresco, thinking thus to leave a memorial of
+himself behind him. The Aretines, in return for this, presented to
+him a farm that belonged to the Confraternity of S. Maria della
+Misericordia, near their city, with some excellent houses, for his
+enjoyment during his lifetime. And they ordained that when the work
+was finished, its value should be estimated by some distinguished
+craftsman, and that the Wardens should make this good to him in
+full. Whereupon he made up his mind to show his worth in this
+undertaking, and he made his figures very large on account of the
+height, after the manner of the works in Michelagnolo's chapel. And
+so mightily did his wish to become excellent in such an art avail in
+him, that although he was fifty years of age, he improved little by
+little in such a manner, that he showed that his knowledge and
+comprehension of the beautiful were not less than his delight in
+imitating the good in the execution of his work. He went on to
+represent the earlier events of the New Testament, even as in the
+three large works he had depicted the beginning of the Old. For this
+reason, therefore, I am inclined to believe that any man of genius
+who has the desire to attain to perfection, is able, if he will but
+take the pains, to make naught of the limits of any science. At the
+beginning of those works, indeed, he was alarmed by their size, and
+because he had never executed any before; which was the reason that
+he sent to Rome for Maestro Giovanni, a French miniaturist, who,
+coming to Arezzo, painted over S. Antonio an arch with a Christ in
+fresco, and for that Company the banner that is carried in
+processions, which he executed with great diligence, having received
+the commission for them from the Prior.
+
+At the same time Guglielmo made the round window for the facade of
+the Church of S. Francesco, a great work, in which he represented
+the Pope in Consistory, with the Conclave of Cardinals, and S.
+Francis going to Rome for the confirmation of his Rule and bearing
+the roses of January. In this work he proved what a master of
+composition he was, so that it may be said with truth that he was
+born for that profession; nor may any craftsman ever think to equal
+him in beauty, in abundance of figures, or in grace. There are
+innumerable windows executed by him throughout that city, all most
+beautiful, such as the great round window in the Madonna delle
+Lacrime, containing the Assumption of Our Lady and the Apostles, and
+a very beautiful window with an Annunciation; a round window with
+the Marriage of the Virgin, and another containing a S. Jerome
+executed for the Spadari, and likewise three other windows below, in
+various parts of the church; with a most beautiful round window with
+the Nativity of Christ in the Church of S. Girolamo, and another in
+S. Rocco. He sent some, also, to various places, such as Castiglione
+del Lago, and one to Florence for Lodovico Capponi, to be set up in
+S. Felicita, where there is the panel by Jacopo da Pontormo, a most
+excellent painter, and the chapel adorned by him with mural
+paintings in oils and in fresco and with panel-pictures; which
+window came into the hands of the Frati Ingesuati in Florence, who
+worked at that craft, and they took it all to pieces in order to
+learn how it was made, removing many pieces as specimens and
+replacing them with new ones, so that in the end they made quite a
+different window.
+
+He also conceived the wish to paint in oils, and for the Chapel of
+the Conception in S. Francesco at Arezzo he executed a panel-picture
+wherein are some vestments very well painted, and many heads most
+lifelike, and so beautiful that he was honoured thereby ever
+afterwards, seeing that this was the first work that he had ever
+done in oils.
+
+The Prior was a very honourable person, and delighted in agriculture
+and in making alterations in buildings; wherefore, having bought a
+most beautiful house, he made in it a vast number of improvements.
+As a man of religion, he was always most upright in his ways; and
+the remorse of conscience, on account of his departure from his
+convent, kept him sorely afflicted. For which reason he made a very
+beautiful window for the Chapel of the High-altar in S. Domenico, a
+convent of his Order at Arezzo; wherein he depicted a vine that
+issues from the body of S. Dominic and embraces a great number of
+sanctified friars, who constitute the tree of the Order; and at the
+highest point is Our Lady, with Christ, who is marrying S. Catherine
+of Siena--a work much extolled and of great mastery, for which he
+would accept no payment, believing himself to be much indebted to
+that Order. He sent a very beautiful window to S. Lorenzo in
+Perugia, and an endless number of others to many places round
+Arezzo.
+
+And because he took much pleasure in matters of architecture, he
+made for the citizens of that country a number of designs of
+buildings and adornments for their city, such as the two doors of S.
+Rocco in stone, and the ornament of grey-stone that was added to the
+panel-picture of Maestro Luca in S. Girolamo; and he designed an
+ornament in the Abbey of Cipriano d' Anghiari, and another for the
+Company of the Trinita in the Chapel of the Crocifisso, and a very
+rich lavatory for the sacristy; which were all executed with great
+perfection by the stone-cutter Santi.
+
+Finally, ever delighting in labour, and continually working both
+winter and summer at his mural painting, which breaks down the
+healthiest of men, he became so afflicted by the damp and so
+swollen with dropsy, that his physicians had to tap him, and in a
+few days he rendered up his soul to Him who had given it. First,
+like a good Christian, he partook of the Sacraments of the Church,
+and made his will. Then, having a particular devotion for the
+Hermits of Camaldoli, who have their seat on the summit of the
+Apennines, twenty miles distant from Arezzo, he bequeathed to them
+his property and his body, and to Pastorino da Siena, his assistant,
+who had been with him many years, he left his glasses, his
+working-instruments, and his designs, of which there is one in our
+book, a scene of the Submersion of Pharaoh in the Red Sea.
+
+This Pastorino afterwards applied himself to many other fields of
+art, and also to glass windows, although the works that he produced
+in that craft were but few. Guglielmo was much imitated, also, by
+one Maso Porro of Cortona, who was more able in firing and putting
+together the glass than in painting it. One of the pupils of
+Guglielmo was Battista Borro of Arezzo, who continues to imitate him
+greatly in the making of windows; and he also taught the first
+rudiments to Benedetto Spadari and to Giorgio Vasari of Arezzo.
+
+The Prior lived sixty-two years, and died in the year 1537. He
+deserves infinite praise, in that by him there was brought into
+Tuscany the art of working in glass with the greatest mastery and
+delicacy that could be desired. Wherefore, since he conferred such
+great benefits upon us, we also will pay him honour, exalting him
+continually with loving and unceasing praise both for his life and
+for his works.
+
+
+
+
+SIMONE
+
+
+
+
+LIFE OF SIMONE, CALLED IL CRONACA
+
+[_SIMONE DEL POLLAIUOLO_]
+
+ARCHITECT OF FLORENCE
+
+
+Many intellects are lost that would make rare and worthy works, if,
+on coming into the world, they were to hit upon persons able and
+willing to set them to work on those labours for which they are
+fitted. But it often happens that he who has the means is neither
+capable nor willing; and if, indeed, there chances to be one willing
+to erect some worthy building, he often takes no manner of care to
+seek out an architect of real merit or of any loftiness of spirit.
+Nay, he puts his honour and glory into the keeping of certain
+thievish creatures, who generally disgrace the name and fame of such
+memorials; and in order to thrust forward into greatness those who
+depend entirely upon him (so great is the power of ambition), he
+often rejects the good designs that are offered to him, and puts
+into execution the very worst; wherefore his own fame is left
+besmirched by the clumsiness of the work, since it is considered by
+all men of judgment that the craftsman and the patron who employs
+him, in that they are conjoined in their works, are of one and the
+same mind. And on the other hand, how many Princes of little
+understanding have there been, who, through having chanced upon
+persons of excellence and judgment, have obtained after death no
+less fame from the memory of their buildings than they enjoyed when
+alive from their sovereignty over their people.
+
+Truly fortunate, however, in his day, was Cronaca, in that he not
+only had the knowledge, but also found those who kept him
+continually employed, and that always on great and magnificent
+works. Of him it is related that while Antonio Pollaiuolo was in
+Rome, working at the tombs of bronze that are in S. Pietro, there
+came to his house a young lad, his relative, whose proper name was
+Simone, and who had fled from Florence on account of some brawl.
+This Simone, having worked with a master in woodwork, and being much
+inclined to the art of architecture, began to observe the beautiful
+antiquities of that city, and, delighting in them, went about
+measuring them with the greatest diligence. And, going on with this,
+he had not been long in Rome before he showed that he had made much
+proficience, both in taking measurements and in carrying one or two
+things into execution.
+
+Thereupon he conceived the idea of returning to Florence, and
+departed from Rome; and on arriving in his native city, having
+become a passing good master of words, he described the marvels of
+Rome and of other places with such accuracy, that from that time
+onwards he was called Il Cronaca, every man thinking that he was
+truly a chronicle of information in his discourse. Now he had become
+such that he was held to be the most excellent of the modern
+architects in the city of Florence, seeing that he had good judgment
+in choosing sites, and showed that he had an intellect more lofty
+than that of many others who were engaged in that profession; for it
+was evident from his works how good an imitator he was of
+antiquities, and how closely he had observed the rules of Vitruvius
+and the works of Filippo di Ser Brunellesco.
+
+[Illustration: DETAIL OF CORNICE
+
+(_After_ Simone [Il Cronaca], _Florence: Palazzo Strozzi_)
+
+_Alinari_]
+
+There was then in Florence that Filippo Strozzi who is now called
+"the elder," to distinguish him from his son; and he, being very
+rich, wished to leave to his native city and to his children, among
+other memorials of himself, one in the form of a beautiful palace.
+Wherefore Benedetto da Maiano, having been called upon by him for
+this purpose, made him a model entirely isolated, which was
+afterwards put into execution, although not in all its extent, as
+will be related below, for some of his neighbours would not give up
+their houses to accommodate him. Benedetto began the palace,
+therefore, in the best way that he could, and brought the outer
+shell almost to completion before the death of Filippo: which outer
+shell is in the Rustic Order, with varying degrees of rustication,
+as may be seen, since the boss-covered part from the first range of
+windows downwards, together with the doors, is very much Rustic, and
+the part from the first range of windows to the second is much less
+Rustic. Now it happened that at the very moment when Benedetto
+was leaving Florence, Cronaca returned from Rome; whereupon, Simone
+being presented to Filippo, the latter was so pleased with the model
+that he made for the courtyard and for the great cornice which goes
+round the outer side of the palace, that, having recognized the
+excellence of his intellect, he decided that thenceforward the whole
+work should pass through his hands, and availed himself of his
+services ever afterwards. Cronaca, then, in addition to the
+beautiful exterior in the Tuscan Order, made at the top a very
+magnificent Corinthian cornice, which serves to complete the roof;
+and half of it is seen finished at the present day, with such
+extraordinary grace that nothing could be added to it, nor could
+anything more beautiful be desired. This cornice was taken by
+Cronaca, who copied it in Rome with exact measurements, from an
+ancient one that is to be found at Spoglia Cristo, which is held to
+be the most beautiful among the many that are in that city; although
+it is true that it was enlarged by Cronaca to the proportions
+required by the palace, to the end that it might make a suitable
+finish, and might also complete the roof of that palace by means of
+its projection. Thus, then, the genius of Cronaca was able to make
+use of the works of others and to transform them almost into his
+own; which does not succeed with many, since the difficulty lies not
+in merely having drawings and copies of beautiful things, but in
+accommodating them to the purpose which they have to serve, with
+grace, true measurement, proportion, and fitness. But just as much
+as this cornice of Cronaca's was and always will be extolled, so was
+that one censured which was made for the Palace of the Bartolini in
+the same city by Baccio d' Agnolo, who, seeking to imitate Cronaca,
+placed over a small facade, delicate in detail, a great ancient
+cornice copied with the exact measurements from the frontispiece of
+Monte Cavallo; which resulted in such ugliness, from his not having
+known how to adapt it with judgment, that it could not look worse,
+for it seems like an enormous cap on a small head. It is not enough
+for craftsmen, when they have executed their works, to excuse
+themselves, as many do, by saying that they were taken with exact
+measurements from the antique and copied from good masters, seeing
+that good judgment and the eye play a greater part in all such
+matters than measuring with compasses. Cronaca, then, executed half
+of the said cornice with great art right round that palace, together
+with dentils and ovoli, and finished it completely on two sides,
+counterpoising the stones in such a way, in order that they might
+turn out well bound and balanced, that there is no better masonry to
+be seen, nor any carried to perfection with more diligence. In like
+manner, all the other stones are so well put together, and with so
+high a finish, that the whole does not appear to be of masonry, but
+rather all of one piece. And to the end that everything might be in
+keeping, he caused beautiful pieces of iron-work to be made for all
+parts of the palace, as adornments for it, and the lanterns that are
+at the corners, which were all executed with supreme diligence by
+Niccolo Grosso, called Il Caparra, a smith of Florence. In those
+marvellous lanterns may be seen cornices, columns, capitals, and
+brackets of iron, fixed together with wonderful craftsmanship; nor
+has any modern ever executed in iron works so large and so
+difficult, and with such knowledge and mastery.
+
+[Illustration: IRON LINK-HOLDER
+
+(_After_ Niccolo Grosso. _Florence: Palazzo Strozzi_)
+
+_Alinari_]
+
+Niccolo Grosso was an eccentric and self-willed person, claiming
+justice for himself and giving it to others, and never covetous of
+what was not his own. He would never give anyone credit in the
+payment of his works, and always insisted on having his
+earnest-money. For this reason Lorenzo de' Medici called him Il
+Caparra,[28] and he was known to many others by that name. He had a
+sign fixed over his shop, wherein were books burning; wherefore,
+when one asked for time to make his payment, he would say, "I cannot
+give it, for my books are burning, and I can enter no more debtors
+in them." He was commissioned by the honourable Captains of the
+Guelph party to make a pair of andirons, which, when he had finished
+them, were sent for several times. But he kept saying, "On this
+anvil do I sweat and labour, and on it will I have my money paid
+down." Whereupon they sent to him once more for the work, with a
+message that he should come for his money, for he would straightway
+be paid; but he, still obstinate, answered that they must first
+bring the money. The provveditore, therefore, knowing that the
+Captains wished to see the work, fell into a rage, and sent to him
+saying that he had received half the money, and that when he
+had dispatched the andirons, he would pay him the rest. On which
+account Caparra, recognizing that this was true, gave one of the
+andirons to the messenger, saying: "Take them this one, for it is
+theirs; and if it pleases them, bring me the rest of the money, and
+I will hand over the other; but at present it is mine." The
+officials, seeing the marvellous work that he had put into it, sent
+the money to his shop; and he sent them the other andiron. It is
+related, also, that Lorenzo de' Medici resolved to have some pieces
+of iron-work made, to be sent abroad as presents, in order that the
+excellence of Caparra might be made known. He went, therefore, to
+his shop, and happened to find him working at some things for
+certain poor people, from whom he had received part of the price as
+earnest-money. On Lorenzo making his request, Niccolo would in no
+way promise to serve him before having satisfied the others, saying
+that they had come to his shop before Lorenzo, and that he valued
+their money as much as his. To the same master some young men of the
+city brought a design, from which he was to make for them an iron
+instrument for breaking and forcing open other irons by means of a
+screw, but he absolutely refused to serve them; nay, he upbraided
+them, and said: "Nothing will induce me to serve you in such a
+matter; for these things are nothing but thieves' tools, or
+instruments for abducting and dishonouring young girls. Such things
+are not for me, I tell you, nor for you, who seem to me to be honest
+men." And they, perceiving that Caparra would not do their will,
+asked him who there was in Florence who might serve them; whereupon,
+flying into a rage, he drove them away with a torrent of abuse. He
+would never work for Jews, and was wont, indeed, to say that their
+money was putrid and stinking. He was a good man and a religious,
+but whimsical in brain and obstinate: and he would never leave
+Florence, for all the offers that were made to him, but lived and
+died in that city. Of him I have thought it right to make this
+record, because he was truly unique in his craft, and has never had
+and never will have an equal, as may be seen best from the iron-work
+and the beautiful lanterns of the Palace of the Strozzi.
+
+[Illustration: IRON LANTERN
+
+(_After_ Niccolo Grosso. _Florence: Palazzo Strozzi_)
+
+_Alinari_]
+
+This palace was brought to completion by Cronaca, and adorned with
+a very rich courtyard in the Corinthian and Doric Orders, with
+ornaments in the form of columns, capitals, cornices, windows, and
+doors, all most beautiful. And if it should appear to anyone that
+the interior of this palace is not in keeping with the exterior, he
+must know that the fault is not Cronaca's, for the reason that he
+was forced to adapt his interior to an outer shell begun by others,
+and to follow in great measure what had been laid down by those
+before him; and it was no small feat for him to have given it such
+beauty as it displays. The same answer may be made to any who say
+that the ascent of the stairs is not easy, nor correct in
+proportion, but too steep and sudden; and likewise, also, to such as
+say that the rooms and apartments of the interior in general are out
+of keeping, as has been described, with the grandeur and
+magnificence of the exterior. Nevertheless this palace will never be
+held as other than truly magnificent, and equal to any private
+building whatsoever that has been erected in Italy in our own times;
+wherefore Cronaca rightly obtained, as he still does, infinite
+commendation for this work.
+
+The same master built the Sacristy of S. Spirito in Florence, which
+is in the form of an octagonal temple, beautiful in proportions, and
+executed with a high finish; and among other things to be seen in
+this work are some capitals fashioned by the happy hand of Andrea
+dal Monte Sansovino, which are wrought with supreme perfection; and
+such, likewise, is the antechamber of that sacristy, which is held
+to be very beautiful in invention, although the coffered ceiling, as
+will be described, is not well distributed over the columns. The
+same Cronaca also erected the Church of S. Francesco dell'
+Osservanza on the hill of S. Miniato, without Florence; and likewise
+the whole of the Convent of the Servite Friars, which is a highly
+extolled work.
+
+[Illustration: INTERIOR OF SACRISTY
+
+(_After_ Simone [Il Cronaca]. _Florence: S. Spirito_)
+
+_Alinari_]
+
+At this same time there was about to be built, by the advice of Fra
+Girolamo Savonarola, a most famous preacher of that day, the Great
+Council Chamber of the Palace of the Signoria in Florence; and for
+this opinions were taken from Leonardo da Vinci, Michelagnolo
+Buonarroti, although he was a mere lad, Giuliano da San Gallo,
+Baccio d' Agnolo, and Simone del Pollaiuolo, called Il Cronaca, who
+was the devoted friend and follower of Savonarola. These men, after
+many disputes, came to an agreement, and decided that the Hall
+should be made in that form which it retained down to our own times,
+when, as has been mentioned and will be related yet again in another
+place, it was almost rebuilt. The charge of the whole work was given
+to Cronaca, as a man of talent and also as the friend of the
+aforesaid Fra Girolamo; and he executed it with great promptitude
+and diligence, showing the beauty of his genius particularly in the
+making of the roof, since the structure is of vast extent in every
+direction. He made the tie-beams of the roof-truss, which are
+thirty-eight braccia in length from wall to wall, of a number of
+timbers well scarfed and fastened together, since it was not
+possible to find beams of sufficient size for the purpose; and
+whereas the tie-beams of other roof-trusses have only one king-post,
+all those of this Hall have three each, a king-post in the middle,
+and a queen-post on either side. The rafters are long in proportion,
+and so are the struts of each king-post and queen-post; nor must I
+omit to say that the struts of the queen-posts, on the side nearest
+the wall, thrust against the rafters, and, towards the centre,
+against the struts of the king-post. I have thought it right to
+describe how this roof-truss is made, because it was constructed
+with beautiful design, and I have seen drawings made of it by many
+for sending to various places. When these tie-beams, thus contrived,
+had been drawn up and placed at intervals of six braccia, and the
+roof had been likewise laid down in a very short space of time,
+Cronaca attended to the fixing of the ceiling, which was then made
+of plain wood and divided into panels, each of which was four
+braccia square and surrounded by an ornamental cornice of few
+members; and a flat moulding was made of the same width as the
+planks, which enclosed the panels and the whole work, with large
+bosses at the intersections and the corners of the whole ceiling.
+And although the end walls of this Hall, one on either side, were
+eight braccia out of the square, they did not make up their minds,
+as they might have done, to thicken the walls so as to make it
+square, but carried them up to the roof just as they were, making
+three large windows on each of those end walls. But when the whole
+was finished, the Hall, on account of its extraordinary size, turned
+out to be too dark, and also stunted and wanting in height in
+relation to its great length and breadth; in short, almost wholly
+out of proportion. They sought, therefore, but with little success,
+to improve it by making two windows in the middle of the eastern
+side of the Hall, and four on the western side. After this, in order
+to give it its final completion, they made on the level of the brick
+floor, with great rapidity, being much pressed by the citizens, a
+wooden tribune right round the walls of the Hall, three braccia both
+in breadth and height, with seats after the manner of a theatre, and
+with a balustrade in front; on which tribune all the magistrates of
+the city were to sit. In the middle of the eastern side was a more
+elevated dais, on which the Signori sat with the Gonfalonier of
+Justice; and on either side of this more prominent place was a door,
+one of them leading to the Segreto[29] and the other to the
+Specchio.[30] Opposite to this, on the west side, was an altar at
+which Mass was read, with a panel by the hand of Fra Bartolommeo, as
+has been mentioned; and beside the altar was the pulpit for making
+speeches. In the middle of the Hall, then, were benches in rows laid
+crossways, for the citizens; while in the centre and at the corners
+of the tribune were some gangways with six steps, providing a
+convenient ascent for the ushers in the collection of votes. In this
+Hall, which was much extolled at that day for its many beautiful
+features and the rapidity with which it was erected, time has since
+served to reveal such errors as that it is low, dark, gloomy, and
+out of the square. Nevertheless Cronaca and the others deserve to be
+excused, both on account of the haste with which it was executed at
+the desire of the citizens, who intended in time to have it adorned
+with pictures and the ceiling overlaid with gold, and because up to
+that day there had been no greater hall built in Italy; although
+there are others very large, such as that of the Palace of S. Marco
+in Rome, that of the Vatican, erected by Pius II and Innocent VIII,
+that of the Castle of Naples, that of the Palace of Milan, and those
+of Urbino, Venice, and Padua.
+
+After this, to provide an ascent to this Hall, Cronaca, with the
+advice of the same masters, made a great staircase six braccia wide
+and curving in two flights, richly adorned with grey-stone, and with
+Corinthian pilasters and capitals, double cornices, and arches, of
+the same stone; and with barrel-shaped vaulting, and windows with
+columns of variegated marble and carved marble capitals. But
+although this work was much extolled, it would have won even greater
+praise if the staircase had not turned out inconvenient and too
+steep; for it is a sure fact that it could have been made more
+gentle, as has been done in the time of Duke Cosimo, within the same
+amount of space and no more, in the new staircase made, opposite to
+that of Cronaca, by Giorgio Vasari, which is so gentle in ascent and
+so convenient, that going up it is almost like walking on the level.
+This has been the work of the aforesaid Lord Duke Cosimo, who, being
+a man of most happy genius and most profound judgment both in the
+government of his people and in all other things, grudges neither
+expense nor anything else in his desire to make all the
+fortifications and other buildings, both public and private,
+correspond to the greatness of his own mind, and not less beautiful
+than useful or less useful than beautiful.
+
+His Excellency, then, reflecting that the body of this Hall is the
+largest, the most magnificent, and the most beautiful in all Europe,
+has resolved to have it improved in such parts as are defective, and
+to have it made in every other part more ornate than any other
+structure in Italy, by the design and hand of Giorgio Vasari of
+Arezzo. And thus, the walls having been raised twelve braccia above
+their former height, in such a manner that the height from the
+pavement to the ceiling is thirty-two braccia, the roof-truss made
+by Cronaca to support the roof has been restored and replaced on
+high after a new arrangement; and the old ceiling, which was simple
+and commonplace, and by no means worthy of that Hall, has been
+remodelled with a system of compartments of great variety, rich in
+mouldings, full of carvings, and all overlaid with gold, together
+with thirty-nine painted panels, square, round, and octagonal, the
+greater number of which are each nine braccia in extent, and some
+even more, and all containing scenes painted in oils, with the
+largest figures seven or eight braccia high. In these stories,
+commencing with the very beginning, may be seen the rise, the
+honours, the victories, and the glorious deeds of the city and
+state of Florence, and in particular the wars of Pisa and Siena,
+together with an endless number of other things, which it would take
+too long to describe. And on each of the side walls there has been
+left a convenient space of sixty braccia, in each of which are to be
+painted three scenes in keeping with the ceiling and embracing the
+space of seven pictures on either side, which represent events from
+the wars of Pisa and Siena. These compartments on the walls are so
+large, that no greater spaces for the painting of historical
+pictures have ever been seen either by the ancients or by the
+moderns. And the said compartments are adorned by some vast stone
+ornaments which meet at the ends of the Hall, at one side of which,
+namely, the northern side, the Lord Duke has caused to be finished a
+work begun and carried nearly to completion by Baccio Bandinelli,
+that is, a facade filled with columns and pilasters and with niches
+containing statues of marble; which space is to serve as a public
+audience chamber, as will be related in the proper place. On the
+other side, opposite to this, there is to be, in a similar facade
+that is being made by the sculptor and architect Ammanati, a
+fountain to throw up water in the Hall, with a rich and most
+beautiful adornment of columns and statues of marble and bronze. Nor
+will I forbear to say that this Hall, in consequence of the roof
+having been raised twelve braccia, has gained not only height, but
+also an ample supply of windows, since, in addition to the others
+that are higher up, in each of those end walls are to be made three
+large windows, which will be over the level of a corridor that is to
+form a loggia within the Hall and to extend on one side over the
+work of Bandinelli, whence there will be revealed a most beautiful
+view of the whole Piazza. But of this Hall, and of the other
+improvements that have been or are being made in the Palace, there
+will be a longer account in another place. This only let me say at
+present, that if Cronaca and those other ingenious craftsmen who
+gave the design for the Hall could return to life, in my belief they
+would not recognize either the Palace, or the Hall, or any other
+thing that is there. The Hall, namely, that part which is
+rectangular, without counting the works of Bandinelli and Ammanati,
+is ninety braccia in length and thirty-eight braccia in breadth.
+
+But returning to Cronaca: in the last years of his life there
+entered into his head such a frenzy for the cause of Fra Girolamo
+Savonarola, that he would talk of nothing else but that. Living
+thus, in the end he died after a passing long illness, at the age of
+fifty-five, and was buried honourably in the Church of S. Ambrogio
+at Florence, in the year 1509; and after no long space of time the
+following epitaph was written for him by Messer Giovan Battista
+Strozzi:
+
+  CRONACA
+  VIVO, E MILLE E MILLE ANNI E MILLE ANCORA,
+  MERCE DE' VIVI MIEI PALAZZI E TEMPI,
+  BELLA ROMA, VIVRA L' ALMA MIA FLORA.
+
+Cronaca had a brother called Matteo, who gave himself to sculpture
+and worked under the sculptor Antonio Rossellino; but although he
+was a man of good and beautiful intelligence, a fine draughtsman,
+and well practised in working marble, he left no finished work,
+because, being snatched from the world by death at the age of
+nineteen, he was not able to accomplish that which was expected from
+him by all who knew him.
+
+FOOTNOTE:
+
+[28] Earnest-money.
+
+[29] Room in which the beans used in voting for the
+election of magistrates were counted.
+
+[30] Office of those who had charge of the Specchio, the
+book in which were inscribed the names of such citizens as were in
+arrears with their taxes.
+
+
+
+
+DOMENICO PULIGO
+
+
+
+
+LIFE OF DOMENICO PULIGO
+
+PAINTER OF FLORENCE
+
+
+It is a marvellous and almost incredible thing, that many followers
+of the art of painting, through continual practice and handling of
+colours, either by an instinct of nature or by the trick of a good
+manner, acquired without any draughtsmanship or grounding, carry
+their works to such thorough completion, and very often contrive to
+make them so good, that, although the craftsmen themselves may be
+none of the rarest, their pictures force the world to extol them and
+to hold them in supreme veneration. And it has been perceived in the
+past from many examples, and in many of our painters, that the most
+vivacious and perfect works are produced by those who have a
+beautiful manner from nature, although they must exercise it with
+continual study and labour; while this gift of nature has such
+power, that even if they neglect or abandon the studies of art, and
+pay attention to nothing save the mere practice of painting and of
+handling colours with a grace infused in them by nature, at the
+first glance their works have the appearance of displaying all the
+excellent and marvellous qualities that are wont to appear after a
+close inspection in the works of those masters whom we hold to be
+the best. And that this is true, is demonstrated to us in our own
+day by experience, from the works of Domenico Puligo, a painter of
+Florence; wherein what has been said above may be clearly recognized
+by one who has knowledge of the matters of art.
+
+[Illustration: MADONNA AND CHILD, WITH SAINTS
+
+(_After the panel by =Domenico Puligo= (?). Florence: S. Maria
+Maddalena de' Pazzi_)
+
+_Alinari_]
+
+While Ridolfo, the son of Domenico Ghirlandajo, was executing a
+number of works in painting at Florence, as will be related, he
+followed his father's habit of always keeping many young men
+painting in his workshop: which was the reason that not a few of
+them, through competing one with another, became very good masters,
+some at making portraits from life, some at working in fresco,
+others in distemper, and others at painting readily on cloth. Making
+these lads execute pictures, panels, and canvases, in the course of
+a few years Ridolfo, with great profit for himself, sent an endless
+number of these to England, to Germany, and to Spain. Baccio Gotti
+and Toto del Nunziata, disciples of Ridolfo, were summoned, one to
+France by King Francis, and the other to England by the King of that
+country, each of whom invited them after having seen some of their
+work. Two other disciples of the same master remained with him,
+working under him for many years, because, although they had many
+invitations into Spain and Hungary from merchants and others, they
+were never induced either by promises or by money to tear themselves
+away from the delights of their country, in which they had more work
+to do than they were able to execute. One of these two was Antonio
+del Ceraiuolo, a Florentine, who, having been many years with
+Lorenzo di Credi, had learnt from him, above all, to draw so well
+from nature, that with supreme facility he gave his portraits an
+extraordinary likeness to the life, although otherwise he was no
+great draughtsman. And I have seen some heads portrayed from life by
+his hand, which, although they have, for example, the nose crooked,
+one lip small and the other large, and other suchlike deformities,
+nevertheless resemble the life, through his having well caught the
+expression of the subject; whereas, on the other hand, many
+excellent masters have made pictures and portraits of absolute
+perfection with regard to art, but with no resemblance whatever to
+those that they are supposed to represent. And to tell the truth, he
+who executes portraits must contrive, without thinking of what is
+looked for in a perfect figure, to make them like those for whom
+they are intended. When portraits are like and also beautiful, then
+may they be called rare works, and their authors truly excellent
+craftsmen. This Antonio, then, besides many portraits, executed a
+number of panel-pictures in Florence; but for the sake of brevity I
+will make mention only of two. One of these, wherein he painted a
+Crucifixion, with S. Mary Magdalene and S. Francis, is in S. Jacopo
+tra Fossi, on the Canto degli Alberti; and in the other, which is
+in the Nunziata, is a S. Michael who is weighing souls.
+
+The other of the two aforesaid disciples was Domenico Puligo, who
+was more excellent in draughtsmanship and more pleasing and gracious
+in colouring than any of the others mentioned above. He, considering
+that his method of painting with softness, without overloading his
+works with colour or making them hard, but causing the distances to
+recede little by little as though veiled with a kind of mist, gave
+his pictures both relief and grace, and that although the outlines
+of the figures that he made were lost in such a way that his errors
+were concealed and hidden from view in the dark grounds into which
+the figures merged, nevertheless his colouring and the beautiful
+expressions of his heads made his works pleasing, always kept to the
+same method of working and to the same manner, which caused him to
+be held in esteem as long as he lived. But omitting to give an
+account of the pictures and portraits that he made while in the
+workshop of Ridolfo, some of which were sent abroad and some
+remained in the city, I shall speak only of those which he painted
+when he was rather the friend and rival of Ridolfo than his
+disciple, and of those that he executed when he was so much the
+friend of Andrea del Sarto, that nothing was more dear to him than
+to see that master in his workshop, in order to learn from him,
+showing him his works and asking his opinion of them, so as to avoid
+such errors and defects as those men often fall into who do not show
+their work to any other craftsman, but trust so much in their own
+judgment that they would rather incur the censure of all the world
+when those works are finished, than correct them by means of the
+suggestions of loving friends.
+
+One of the first things that Domenico executed was a very beautiful
+picture of Our Lady for Messer Agnolo della Stufa, who has it in his
+Abbey of Capalona in the district of Arezzo, and holds it very dear
+for the great diligence of its execution and the beauty of its
+colouring. He painted another picture of Our Lady, no less beautiful
+than that one, for Messer Agnolo Niccolini, now Archbishop of Pisa
+and a Cardinal, who keeps it in his house on the Canto de' Pazzi in
+Florence; and likewise another, of equal size and excellence, which
+is now in the possession of Filippo dell' Antella, at Florence. In
+another, which is about three braccia in height, Domenico made a
+full-length Madonna with the Child between her knees, a little S.
+John, and another head; and this picture, which is held to be one of
+the best works that he executed, since there is no sweeter colouring
+to be seen, is at the present day in the possession of Messer
+Filippo Spini, Treasurer to the most Illustrious Prince of Florence,
+and a gentleman of magnificent spirit, who takes much delight in
+works of painting.
+
+Among other portraits that Domenico made from the life, which are
+all beautiful and also good likenesses, the most beautiful is the
+one which he painted of Monsignore Messer Piero Carnesecchi, at that
+time a marvellously handsome youth, for whom he also made some other
+pictures, all very beautiful and executed with much diligence. In
+like manner, he portrayed in a picture the Florentine Barbara, a
+famous and most lovely courtesan of that day, much beloved by many
+no less for her fine culture than for her beauty, and particularly
+because she was an excellent musician and sang divinely. But the
+best work that Domenico ever executed was a large picture wherein he
+made a life-size Madonna, with some angels and little boys, and a S.
+Bernard who is writing; which picture is now in the hands of
+Giovanni Gualberto del Giocondo, and of his brother Messer Niccolo,
+a Canon of S. Lorenzo in Florence.
+
+The same master made many other pictures, which are dispersed among
+the houses of citizens, and in particular some wherein may be seen a
+half-length figure of Cleopatra, causing an asp to bite her on the
+breast, and others wherein is the Roman Lucretia killing herself
+with a dagger. There are also some very beautiful portraits from
+life and pictures by the same hand at the Porta a Pinti, in the
+house of Giulio Scali, a man whose judgment is as fine in the
+matters of our arts as it is in those of every other most noble and
+most honourable profession. Domenico executed for Francesco del
+Giocondo, in a panel for his chapel in the great tribune of the
+Church of the Servi at Florence, a S. Francis who is receiving the
+Stigmata; which work is very sweet and soft in colouring, and
+wrought with much diligence. In the Church of Cestello, round the
+Tabernacle of the Sacrament, he painted two angels in fresco, and on
+the panel of a chapel in the same church he made a Madonna with her
+Son in her arms, S. John the Baptist, S. Bernard, and other saints.
+And since it appeared to the monks of that place that he had
+acquitted himself very well in those works, they caused him to paint
+in a cloister of their Abbey of Settimo, without Florence, the
+Visions of Count Ugo, who built seven abbeys. And no long time
+after, Puligo painted, in a shrine at the corner of the Via Mozza da
+S. Catarina, a Madonna standing, with her Son in her arms marrying
+S. Catherine, and a figure of S. Peter Martyr. For a Company in the
+township of Anghiari he executed a Deposition from the Cross, which
+may be numbered among his best works.
+
+But since it was his profession to attend rather to pictures of Our
+Lady, portraits, and other heads, than to great works, he gave up
+almost all his time to such things. Now if he had devoted himself
+not so much to the pleasures of the world, as he did, and more to
+the labours of art, there is no doubt that he would have made great
+proficience in painting, and especially as Andrea del Sarto, who was
+much his friend, assisted him on many occasions both with advice and
+with drawings; for which reason many of his works reveal a
+draughtsmanship as fine as the good and beautiful manner of the
+colouring. But the circumstance that Domenico was unwilling to
+endure much fatigue, and accustomed to labour rather in order to get
+through work and make money than for the sake of fame, prevented him
+from reaching a greater height. And thus, associating with gay
+spirits and lovers of good cheer, and with musicians and women, he
+died at the age of fifty-two, in the year 1527, in the pursuit of a
+love-affair, having caught the plague at the house of his mistress.
+
+Colour was handled by him in so good and harmonious a manner, that
+it is for that reason, rather than for any other, that he deserves
+praise. Among his disciples was Domenico Beceri of Florence, who,
+giving a high finish to his colouring, executed his works in an
+excellent manner.
+
+
+
+
+INDEX
+
+
+
+
+INDEX OF NAMES
+
+OF THE CRAFTSMEN MENTIONED IN VOLUME IV
+
+
+    Abbot of S. Clemente (Don Bartolommeo della Gatta), 41, 82, 216, 217
+
+    Agnolo, Baccio d', 101, 204, 267, 270
+
+    Agnolo Gaddi, 52, 54
+
+    Agostino Busto, 60
+
+    Albertinelli, Biagio di Bindo, 165
+
+    Albertinelli, Mariotto, _Life_, 165-171. 151, 154
+
+    Albrecht Duerer, 232
+
+    Aldigieri (Altichiero) da Zevio, 51, 54, 55
+
+    Alessandro Filipepi (Sandro Botticelli, or Sandro di
+      Botticello), 3, 4, 82
+
+    Alessandro Moretto, 60
+
+    Alesso Baldovinetti, 82
+
+    Alonzo Berughetta, 8
+
+    Alunno, Niccolo, 18, 19
+
+    Ammanati, 274
+
+    Andrea Contucci (Andrea Sansovino, or Andrea dal Monte
+      Sansovino), 5, 144, 186, 223, 270
+
+    Andrea dal Castagno (Andrea degl' Impiccati), 82
+
+    Andrea dal Monte Sansovino (Andrea Sansovino, or Andrea
+      Contucci), 5, 144, 186, 223, 270
+
+    Andrea degl' Impiccati (Andrea dal Castagno), 82
+
+    Andrea del Gobbo, 122
+
+    Andrea del Sarto, 83, 129, 134, 281, 283
+
+    Andrea di Cosimo, 129
+
+    Andrea Luigi (L'Ingegno), 47
+
+    Andrea Mantegna, 24, 55, 82
+
+    Andrea Sansovino (Andrea Contucci, or Andrea dal Monte
+      Sansovino), 5, 144, 186, 223, 270
+
+    Andrea Verrocchio, 35, 39, 81, 90, 92, 112
+
+    Angelico, Fra (Fra Giovanni da Fiesole), 73, 154, 185
+
+    Angelo, Battista d', 61
+
+    Antonio (Antoniasso), 6, 7
+
+    Antonio da Correggio, _Life_, 117-122. 83, 125
+
+    Antonio da San Gallo, _Life_, 191-205. 145, 254
+
+    Antonio del Ceraiuolo, 280
+
+    Antonio di Giorgio, 36
+
+    Antonio Filarete, 56
+
+    Antonio Montecavallo, 140
+
+    Antonio Pollaiuolo, 4, 81, 265
+
+    Antonio Rossellino, 275
+
+    Apelles, 82, 83, 105
+
+    Arezzo, Niccolo d', 55
+
+    Aristotile da San Gallo, 212
+
+    Avanzi, Jacopo (Jacopo Davanzo), 51, 55
+
+
+    Bacchiaccha, Il (Francesco), 46
+
+    Baccio Bandinelli, 204, 274
+
+    Baccio d' Agnolo, 101, 204, 267, 270
+
+    Baccio da Montelupo, 186
+
+    Baccio della Porta (Fra Bartolommeo di San Marco), _Life_, 151-162.
+      82, 151-162, 165-167, 215, 244, 272
+
+    Baccio Gotti, 280
+
+    Baccio Ubertino, 46
+
+    Baldassarre Peruzzi, 145, 146, 200
+
+    Baldovinetti, Alesso, 82
+
+    Bandinelli, Baccio, 204, 274
+
+    Barile, Gian, 238
+
+    Bartolommeo, Fra (Fra Carnovale da Urbino), 138
+
+    Bartolommeo Clemente of Reggio, 60
+
+    Bartolommeo della Gatta, Don (Abbot of S. Clemente), 41, 82, 216, 217
+
+    Bartolommeo di San Marco, Fra (Baccio della Porta), _Life_, 151-162.
+      82, 151-162, 165-167, 215, 244, 272
+
+    Bartolommeo Montagna, 52, 60
+
+    Bartolommeo Vivarini, 52, 59
+
+    Basaiti, Marco (Il Bassiti, or Marco Basarini), 52, 58
+
+    Bastiani, Lazzaro (Sebastiano Scarpaccia, or Lazzaro
+      Scarpaccia), 52, 57, 58
+
+    Bastiano da Monte Carlo, 179
+
+    Battista Borro, 262
+
+    Battista d' Angelo, 61
+
+    Baviera, 232, 233
+
+    Bazzi, Giovanni Antonio (Sodoma), 72, 218
+
+    Beceri, Domenico, 283
+
+    Bellini, Gentile, 57, 59, 109
+
+    Bellini, Giovanni, 57, 58, 82, 109
+
+    Bellini, Vittore (Belliniano), 52, 59, 60
+
+    Benedetto Buglioni, 155
+
+    Benedetto Buonfiglio, 17, 18
+
+    Benedetto (Giovan Battista) Caporali, 48, 75, 76
+
+    Benedetto Cianfanini, 162
+
+    Benedetto da Maiano, 36, 151, 266, 267
+
+    Benedetto da Rovezzano, 155
+
+    Benedetto Diana, 52, 60
+
+    Benedetto Spadari, 262
+
+    Bernardino da Trevio, 138
+
+    Bernardino Pinturicchio, _Life_, 13-19. 46, 65, 211, 212
+
+    Bertoldo, 185
+
+    Berughetta, Alonzo, 8
+
+    Biagio di Bindo Albertinelli, 165
+
+    Bianco, Simon, 60
+
+    Bologna, Il, 237
+
+    Bolognese, Marc' Antonio, 232, 233
+
+    Boltraffio, Giovanni Antonio, 105
+
+    Bonsignori, Francesco, 60
+
+    Borgo a San Sepolcro, Piero dal (Piero della Francesca), 71, 82, 216
+
+    Borro, Battista, 262
+
+    Botticelli, Sandro (Alessandro Filipepi, or Sandro di
+      Botticello), 3, 4, 82
+
+    Bramante da Urbino, _Life_, 137-148. 199-202, 216, 217, 223,
+      232, 237, 254
+
+    Bramantino, 217
+
+    Bresciano, Vincenzio (Vincenzio Zoppa or Foppa), 51, 52, 56
+
+    Bronzino, 179
+
+    Brunelleschi, Filippo (Filippo di Ser Brunellesco), 137, 185, 266
+
+    Bugiardini, Giuliano, 154, 161, 170, 186
+
+    Buglioni, Benedetto, 155
+
+    Buonarroti, Michelagnolo, 41, 43, 48, 65, 66, 74, 84, 85, 101,
+      104, 145, 157, 186, 187, 199, 201, 204, 209, 212, 215, 223, 224,
+      242-245, 259, 270
+
+    Buonconsigli, Giovanni, 52, 60
+
+    Buonfiglio, Benedetto, 17, 18
+
+    Busto, Agostino, 60
+
+
+    Cadore, Tiziano da, 114
+
+    Campagnola, Girolamo, 51, 55, 56
+
+    Campagnola, Giulio, 51, 56, 57
+
+    Caparra, Il (Niccolo Grosso), 268, 269
+
+    Caporali, Benedetto (Giovan Battista), 48, 75, 76
+
+    Caporali, Giulio, 48
+
+    Caradosso, 23, 144
+
+    Caravaggio, Polidoro da, 83, 237
+
+    Carnovale da Urbino, Fra (Fra Bartolommeo), 138
+
+    Caroto, Francesco, 60
+
+    Carpaccio (Scarpaccia), Vittore, _Life_, 51-61
+
+    Carpi, Ugo da, 233
+
+    Cartoni, Niccolo (Niccolo Zoccolo), 9, 10
+
+    Castagno, Andrea dal (Andrea degl' Impiccati), 82
+
+    Castel Bolognese, Giovanni da, 111
+
+    Castel della Pieve, Pietro da (Pietro Vannucci, or Pietro
+      Perugino), _Life_, 33-48. 13, 15, 18, 33-48, 82, 159, 169,
+      210-212, 236, 242, 243
+
+    Castelfranco, Giorgione da, _Life_, 109-114. 82, 125
+
+    Catena, Vincenzio, 52, 58
+
+    Cecchino del Frate, 162
+
+    Ceraiuolo, Antonio del, 280
+
+    Cesare Cesariano, 138
+
+    Cianfanini, Benedetto, 162
+
+    Cimabue, Giovanni, 77
+
+    Claudio, Maestro, 254, 255
+
+    Conigliano, Giovan Battista da, 52, 58
+
+    Contucci, Andrea (Andrea Sansovino, or Andrea dal Monte
+      Sansovino), 5, 144, 186, 223, 270
+
+    Cordegliaghi, Giovanetto, 52, 58, 59
+
+    Correggio, Antonio da, _Life_, 117-122. 83, 125
+
+    Cortona, Luca da (Luca Signorelli), _Life_, 71-76. 82, 216, 261
+
+    Cosimo, Andrea di, 129
+
+    Cosimo, Piero di, _Life_, 125-134
+
+    Cosimo Rosselli, 82, 125, 126, 151, 165
+
+    Credi, Lorenzo di, 153, 186, 280
+
+    Cristofano, 55
+
+    Cronaca, Il (Simone, or Simone del Pollaiuolo), _Life_, 265-275. 101
+
+
+    Davanzo, Jacopo (Jacopo Avanzi), 51, 55
+
+    Davanzo, Jacopo (of Milan), 60
+
+    Diamante, Fra, 3
+
+    Diana, Benedetto, 52, 60
+
+    Domenico Beceri, 283
+
+    Domenico di Paris, 47
+
+    Domenico Ghirlandajo, 36, 65, 82, 279
+
+    Domenico Pecori, 257
+
+    Domenico Puligo, _Life_, 279-283
+
+    Don Bartolommeo della Gatta (Abbot of S. Clemente), 41, 82, 216, 217
+
+    Donato (Donatello), 52, 152, 185
+
+    Duerer, Albrecht, 232
+
+
+    Ercole Ferrarese (Ercole da Ferrara), 82
+
+    Eusebio San Giorgio, 47
+
+
+    Fabiano di Stagio Sassoli, 256, 257
+
+    Ferrara, Stefano da, 56
+
+    Ferrarese, Ercole (Ercole da Ferrara), 82
+
+    Ferrarese, Galasso (Galasso Galassi), 55
+
+    Fiesole, Fra Giovanni da (Fra Angelico), 73, 154, 185
+
+    Filarete, Antonio, 56
+
+    Filipepi, Alessandro (Sandro Botticelli, or Sandro di
+      Botticello), 3, 4, 82
+
+    Filippo Brunelleschi (Filippo di Ser Brunellesco), 137, 185, 266
+
+    Filippo Lippi (Filippino), _Life_, 3-10. 44, 82, 99, 100, 176, 177
+
+    Filippo Lippi, Fra, 3, 5, 9, 185
+
+    Fivizzano, 29
+
+    Flore, Jacobello de, 51, 55
+
+    Foppa, Vincenzio (Vincenzio Zoppa, or Vincenzio Bresciano), 51, 52, 56
+
+    Fra Angelico (Fra Giovanni da Fiesole), 73, 154, 185
+
+    Fra Bartolommeo (Fra Carnovale da Urbino), 138
+
+    Fra Bartolommeo di San Marco (Baccio della Porta), _Life_, 151-162.
+      82, 151-162, 165-167, 215, 244, 272
+
+    Fra Carnovale da Urbino (Fra Bartolommeo), 138.
+
+    Fra Diamante, 3
+
+    Fra Filippo Lippi, 3, 5, 9, 185
+
+    Fra Giocondo of Verona, 145
+
+    Fra Giovanni da Fiesole (Fra Angelico), 73, 154, 185
+
+    Fra Giovanni da Verona, 222
+
+    Fra Paolo Pistoiese, 162
+
+    Fra Sebastiano del Piombo, 84, 114, 240
+
+    Francesca, Piero della (Piero dal Borgo a San Sepolcro), 71, 82, 216
+
+    Francesco (Il Bacchiaccha), 46
+
+    Francesco (L'Indaco), 66, 67
+
+    Francesco, Maestro, 142
+
+    Francesco Bonsignori, 60
+
+    Francesco Caroto, 60
+
+    Francesco da Melzo, 99
+
+    Francesco da San Gallo, 134, 203, 204
+
+    Francesco Francia, _Life_, 23-29. 82
+
+    Francesco Giamberti, 134, 191
+
+    Francesco Granacci (Il Granaccio), 4, 169, 186
+
+    Francesco Masini, Messer, 227
+
+    Francesco Mazzuoli (Parmigiano), 83
+
+    Francesco Turbido (Il Moro), 61
+
+    Francia, Francesco, _Life_, 23-29. 82
+
+    Franciabigio, 170
+
+    Francione, 191, 192
+
+    Frate, Cecchino del, 162
+
+
+    Gabriele Rustici, 162
+
+    Gaddi, Agnolo, 52, 54
+
+    Galasso Ferrarese (Galasso Galassi), 55
+
+    Galieno, 179
+
+    Garbo, Raffaellino del, _Life_, 175-179. 6, 9
+
+    Gasparo Misceroni, 60
+
+    Gatta, Don Bartolommeo della (Abbot of S. Clemente), 41, 82, 216, 217
+
+    Gentile Bellini, 57, 59, 109
+
+    Gerino Pistoiese (Gerino da Pistoia), 18, 46
+
+    Gherardo, 36
+
+    Ghirlandajo, Domenico, 36, 65, 82, 279
+
+    Ghirlandajo, Ridolfo, 169, 212, 216, 279-281
+
+    Giamberti, Francesco, 134, 191
+
+    Gian Barile, 238
+
+    Gian Niccola, 47, 48
+
+    Giocondo of Verona, Fra, 145
+
+    Giorgio, Antonio di, 36
+
+    Giorgio Vasari. See Vasari (Giorgio)
+
+    Giorgione da Castelfranco, _Life_, 109-114. 82, 125
+
+    Giotto, 80
+
+    Giovan Battista da Conigliano, 52, 58
+
+    Giovan Battista (Benedetto) Caporali, 48, 75, 76
+
+    Giovan Francesco Penni, 237, 247
+
+    Giovan Francesco Rustici, 105, 186
+
+    Giovanetto Cordegliaghi, 52, 58, 59
+
+    Giovanni (Lo Spagna), 46, 47
+
+    Giovanni, Maestro, 260
+
+    Giovanni Antonio Bazzi (Sodoma), 72, 218
+
+    Giovanni Antonio Boltraffio, 105
+
+    Giovanni Bellini, 57, 58, 82, 109
+
+    Giovanni Buonconsigli. 52. 60
+
+    Giovanni Cimabue, 77
+
+    Giovanni da Castel Bolognese, 111
+
+    Giovanni da Fiesole, Fra (Fra Angelico), 73, 154, 185
+
+    Giovanni da Udine, 237, 239
+
+    Giovanni da Verona, Fra, 222
+
+    Giovanni de' Santi, 46, 210, 213, 249
+
+    Giovanni Mansueti, 52, 59
+
+    Giovanni Pisano, 142
+
+    Giovanni Rosto, 46
+
+    Girolamo Campagnola, 51, 55, 56
+
+    Girolamo Misceroni, 60
+
+    Girolamo Romanino, 60
+
+    Giromin Morzone, 55, 56
+
+    Giuliano Bugiardini, 154, 161, 170, 186
+
+    Giuliano da Maiano, 197
+
+    Giuliano da San Gallo, _Life_, 191-205. 101, 134, 145, 191-205, 270
+
+    Giuliano Leno, 147
+
+    Giulio Campagnola, 51, 56, 57
+
+    Giulio Caporali, 48
+
+    Giulio Romano, 76, 84, 119, 232, 237, 247
+
+    Giusto (of Padua), 51, 56
+
+    Gobbo, Andrea del, 122
+
+    Gotti, Baccio, 280
+
+    Granacci, Francesco (Il Granaccio), 4, 169, 186
+
+    Grosso, Niccolo (Il Caparra), 268, 269
+
+    Guerriero da Padova, 51, 56
+
+    Guglielmo da Marcilla (Guillaume de Marcillac), _Life_, 253-262
+
+
+    Il Bacchiaccha (Francesco), 46
+
+    Il Bassiti (Marco Basarini, or Marco Basaiti), 52, 58
+
+    Il Bologna, 237
+
+    Il Caparra (Niccolo Grosso), 268, 269
+
+    Il Cronaca (Simone, or Simone del Pollaiuolo), _Life_, 265-275. 101
+
+    Il Granaccio (Francesco Granacci), 4, 169, 186
+
+    Il Moro (Francesco Turbido), 61
+
+    Il Rosso, 84
+
+    Imola, Innocenzio da, 170
+
+    Impiccati, Andrea degl' (Andrea dal Castagno), 82
+
+    Indaco, L' (Francesco), 66, 67
+
+    Indaco, L' (Jacopo), _Life_, 65-67
+
+    Innocenzio da Imola, 170
+
+
+    Jacobello de Flore, 51, 55
+
+    Jacopo (L'Indaco), _Life_, 65-67
+
+    Jacopo Avanzi (Jacopo Davanzo), 51, 55
+
+    Jacopo Davanzo (of Milan), 60
+
+    Jacopo da Pontormo, 179, 246, 260
+
+
+    Lanzilago, Maestro, 6, 7
+
+    Lazzaro Scarpaccia (Sebastiano Scarpaccia, or Lazzaro
+      Bastiani), 52, 57, 58
+
+    Lazzaro Vasari (the elder), 71, 82
+
+    Leno, Giuliano, 147
+
+    Leonardo da Vinci, _Life_. 89-105. 44, 82, 85, 89-105, 109, 127,
+      138, 151, 156, 196, 212, 215, 242, 270
+
+    Liberale, Maestro, 54
+
+    L'Indaco (Francesco), 66, 67
+
+    L'Indaco (Jacopo), _Life_, 65-67
+
+    L'Ingegno (Andrea Luigi), 47
+
+    Lippi, Filippo (Filippino), _Life_, 3-10. 44, 82, 99, 100, 176, 177
+
+    Lippi, Fra Filippo, 3, 5, 9, 185
+
+    Lo Spagna (Giovanni), 46, 47
+
+    Lombardo, Tullio, 60
+
+    Lorenzetto, 240
+
+    Lorenzo (father of Piero di Cosimo), 125
+
+    Lorenzo di Credi, 153, 186, 280
+
+    Luca da Cortona (Luca Signorelli), _Life_, 71-76. 82, 216, 261
+
+    Luca della Robbia (the younger), 237
+
+    Luca Signorelli (Luca da Cortona), _Life_, 71-76. 82, 216, 261
+
+    Luigi, Andrea (L'Ingegno), 47
+
+    Luigi Vivarini, 52
+
+
+    Maestro Claudio, 254, 255
+
+    Maestro Francesco, 142
+
+    Maestro Giovanni, 260
+
+    Maestro Lanzilago, 6, 7
+
+    Maestro Liberale, 54
+
+    Maestro Zeno, 60
+
+    Maiano, Benedetto da, 36, 151, 266, 267
+
+    Maiano, Giuliano da, 197
+
+    Mansueti, Giovanni, 52, 59
+
+    Mantegna, Andrea, 24, 55, 82
+
+    Marc' Antonio Bolognese, 232, 233
+
+    Marcilla, Guglielmo da (Guillaume de Marcillac), _Life_, 253-262
+
+    Marco Basaiti (Il Bassiti, or Marco Basarini), 52, 58
+
+    Marco da Ravenna, 233
+
+    Marco Oggioni, 105
+
+    Mariotto Albertinelli, _Life_, 165-171. 151, 154
+
+    Masaccio, 3, 185, 215
+
+    Masini, Messer Francesco, 227
+
+    Maso Papacello, 76
+
+    Maso Porro, 262
+
+    Masolino da Panicale, 3
+
+    Matteo (brother of Cronaca), 275
+
+    Maturino, 83
+
+    Mazzuoli, Francesco (Parmigiano), 83
+
+    Melzo, Francesco da, 99
+
+    Messer Francesco Masini, 227
+
+    Michelagnolo Buonarroti, 41, 43, 48, 65, 66, 74, 84, 85, 101, 104,
+      145, 157, 186, 187, 199, 201, 204, 209, 212, 215, 223, 224, 242-245.
+      259, 270
+
+    Misceroni, Gasparo, 60
+
+    Misceroni, Girolamo, 60
+
+    Modena, Pellegrino da, 237
+
+    Montagna, Bartolommeo, 52, 60
+
+    Monte Carlo, Bastiano da, 179
+
+    Montecavallo, Antonio, 140
+
+    Montelupo, Baccio da, 186
+
+    Montevarchi, 46
+
+    Monte Sansovino, Andrea dal (Andrea Contucci, or Andrea Sansovino),
+      5, 144, 186, 223, 270
+
+    Moreto, Niccolo, 57
+
+    Moretto, Alessandro, 60
+
+    Moro, Il (Francesco Turbido), 61
+
+    Morzone, Giromin, 55, 56
+
+
+    Niccola Pisano, 142
+
+    Niccolo Alunno, 18, 19
+
+    Niccolo Cartoni (Niccolo Zoccolo), 9, 10
+
+    Niccolo d' Arezzo, 55
+
+    Niccolo Grosso (Il Caparra), 268, 269
+
+    Niccolo Moreto, 57
+
+    Niccolo Soggi, 186
+
+    Niccolo Zoccolo (Niccolo Cartoni), 9, 10
+
+    Nunziata, Toto del, 280
+
+
+    Oggioni, Marco, 105
+
+    Orazio di Paris, 47
+
+
+    Padova, Guerriero da, 51, 56
+
+    Panicale, Masolino da, 3
+
+    Paolo da Verona, 179
+
+    Paolo Pistoiese, Fra, 162
+
+    Paolo Uccello, 185, 246
+
+    Papacello, Maso, 76
+
+    Paris, Domenico di, 47
+
+    Paris, Orazio di, 47
+
+    Parmigiano (Francesco Mazzuoli), 83
+
+    Pastorino da Siena, 262
+
+    Pecori, Domenico, 257
+
+    Pellegrino da Modena, 237
+
+    Penni, Giovan Francesco, 237, 247
+
+    Perino del Vaga, 84, 237, 254
+
+    Perugino, Pietro (Pietro Vannucci, or Pietro da Castel della Pieve),
+      _Life_, 33-48. 13, 15, 18, 33-48, 82, 159, 169, 210-212, 236, 242,
+      243
+
+    Peruzzi, Baldassarre, 145, 146, 200
+
+    Pesello, 82
+
+    Pheidias, 105
+
+    Piero della Francesca (Piero dal Borgo a San Sepolcro), 71, 82, 216
+
+    Piero di Cosimo, _Life_, 125-134
+
+    Pietro Perugino (Pietro Vannucci, or Pietro da Castel della Pieve),
+      _Life_, 33-48. 13, 15, 18, 33-48, 82, 159, 169, 210-212, 236, 242,
+      243
+
+    Pietro Rosselli, 159
+
+    Pinturicchio, Bernardino, _Life_, 13-19. 46, 65, 211, 212
+
+    Piombo, Fra Sebastiano del, 84, 114, 240
+
+    Pisano, Giovanni, 142
+
+    Pisano, Niccola, 142
+
+    Pistoiese, Fra Paolo, 162
+
+    Pistoiese, Gerino (Gerino da Pistoia), 18, 46
+
+    Polidoro da Caravaggio, 83, 237
+
+    Pollaiuolo, Antonio, 4, 81, 265
+
+    Pollaiuolo, Simone del (Simone, or Il Cronaca), _Life_, 265-275. 101
+
+    Pontormo, Jacopo da, 179, 246, 260
+
+    Porro, Maso, 262
+
+    Porta, Baccio della (Fra Bartolommeo di San Marco), _Life_, 151-162.
+      82, 151-162, 165-167, 215, 244, 272
+
+    Puligo, Domenico, _Life_, 279-283
+
+
+    Raffaellino del Garbo, _Life_, 175-179. 6, 9
+
+    Raffaello da Urbino (Raffaello Sanzio), _Life_, 209-250. 13, 28, 29,
+      44-47, 82, 83, 143, 145, 146, 155-158, 200, 201, 203, 209-250, 255
+
+    Raggio, 4
+
+    Ravenna, Marco da, 233
+
+    Ridolfo Ghirlandajo, 169, 212, 216, 279-281
+
+    Robbia, Luca della (the younger), 237
+
+    Rocco Zoppo, 46
+
+    Romanino, Girolamo, 60
+
+    Romano, Giulio, 76, 84, 119, 232, 237, 247
+
+    Rosselli, Cosimo, 82, 125, 126, 151, 165
+
+    Rosselli, Pietro, 159
+
+    Rossellino, Antonio, 275
+
+    Rosso, Il, 84
+
+    Rosto, Giovanni, 46
+
+    Rovezzano, Benedetto da, 155
+
+    Rustici, Gabriele, 162
+
+    Rustici, Giovan Francesco, 105, 186
+
+
+    Salai, 99
+
+    S. Clemente, Abbot of (Don Bartolommeo della Gatta), 41, 82, 216, 217
+
+    San Gallo, Antonio da, _Life_, 191-205. 145, 254
+
+    San Gallo, Aristotile da, 212
+
+    San Gallo, Francesco da, 134, 203, 204
+
+    San Gallo, Giuliano da, _Life_, 191-205. 101, 134, 145, 191-205, 270
+
+    San Gimignano, Vincenzio da, 237
+
+    San Giorgio, Eusebio, 47
+
+    San Marco, Fra Bartolommeo di (Baccio della Porta), _Life_, 151-162.
+      82, 151-162, 165-167, 215, 244, 272
+
+    Sandro Botticelli (Alessandro Filipepi, or Sandro di Botticello), 3,
+      4, 82
+
+    Sansovino, Andrea (Andrea Contucci, or Andrea dal Monte Sansovino),
+      5, 144, 186, 223, 270
+
+    Santi, 261
+
+    Santi, Giovanni de', 46, 210, 213, 249
+
+    Sanzio, Raffaello (Raffaello da Urbino), _Life_, 209-250. 13, 28, 29,
+      44-47, 82, 83, 143, 145, 146, 155-158, 200, 201, 203, 209-250, 255
+
+    Sarto, Andrea del, 83, 129, 134, 281, 283
+
+    Sassoli, Fabiano di Stagio, 256, 257
+
+    Sassoli, Stagio, 73, 257
+
+    Scarpaccia, Lazzaro (Sebastiano Scarpaccia, or Lazzaro Bastiani),
+      52, 57, 58
+
+    Scarpaccia, Sebastiano (Lazzaro Scarpaccia, or Lazzaro Bastiani),
+      52, 57, 58
+
+    Scarpaccia (Carpaccio), Vittore, _Life_, 51-61
+
+    Sebastiano del Piombo, Fra, 84, 114, 240
+
+    Sebastiano Scarpaccia (Lazzaro Scarpaccia, or Lazzaro Bastiani),
+      52, 57, 58
+
+    Sebeto da Verona, 51, 55
+
+    Siena, Pastorino da, 262
+
+    Signorelli, Luca (Luca da Cortona), _Life_, 71-76. 82, 216, 261
+
+    Simon Bianco, 60
+
+    Simone, 55
+
+    Simone (Simone del Pollaiuolo, or Il Cronaca), _Life_, 265-275. 101
+
+    Sodoma (Giovanni Antonio Bazzi), 72, 218
+
+    Soggi, Niccolo, 186
+
+    Spadari, Benedetto, 262
+
+    Spagna, Lo (Giovanni), 46, 47
+
+    Squarcione, 56
+
+    Stagio Sassoli, 73, 257
+
+    Stefano da Ferrara, 56
+
+    Stefano da Zevio (Stefano Veronese), 51-54
+
+    Stefano Veronese (Stefano da Zevio), 51-54
+
+
+    Tiziano da Cadore, 114
+
+    Tommaso, 76
+
+    Torrigiano, _Life_, 183-188
+
+    Toto del Nunziata, 280
+
+    Trevio, Bernardino da, 138
+
+    Tullio Lombardo, 60
+
+    Turbido, Francesco (Il Moro), 61
+
+
+    Ubertino, Baccio, 46
+
+    Uccello, Paolo, 185, 246
+
+    Udine, Giovanni da, 237, 239
+
+    Ugo da Carpi, 233
+
+    Urbino, Bramante da, _Life_, 137-148. 199-202, 216, 217, 223,
+      232, 237, 254
+
+    Urbino, Fra Carnovale da (Fra Bartolommeo), 138
+
+    Urbino, Raffaello da (Raffaello Sanzio), _Life_, 209-250. 13, 28,
+      29, 44-47, 82, 83, 143, 145, 146, 155-158, 200, 201, 203, 209-250,
+      255
+
+
+    Vaga, Perino del, 84, 237, 254
+
+    Vannucci, Pietro (Pietro Perugino, or Pietro da Castel della Pieve),
+      _Life_, 33-48. 13, 15, 18, 33-48, 82, 159, 169, 210-212, 236, 242,
+      243
+
+    Vasari, Giorgio--
+     as art-collector, 6, 13, 46, 58, 67, 90, 91, 95, 113, 118, 132, 138,
+       143, 161, 170, 175, 187, 262
+     as author, 7, 9, 17, 19, 26, 28, 33, 36, 38, 39, 46, 48, 51, 52,
+       54-56, 61, 66, 67, 71, 74-77, 79, 82-85, 91, 98, 99, 111-114, 117,
+       118, 121, 126-132, 134, 137, 145, 151, 154, 155, 159, 162, 170, 176,
+       177, 185, 186, 204, 214, 219, 222, 223, 227, 229-231, 233, 236, 242,
+       244-248, 257, 260, 262, 269, 271, 274, 280, 281
+     as painter, 231, 262, 273, 274
+     as architect, 148, 231, 273, 274
+
+    Vasari, Lazzaro (the elder), 71, 82
+
+    Ventura, 147, 148
+
+    Verchio, Vincenzio, 60
+
+    Verona, Fra Giovanni da, 222
+
+    Verona, Paolo da, 179
+
+    Verona, Sebeto da, 51, 55
+
+    Veronese, Stefano (Stefano da Zevio), 51-54
+
+    Verrocchio, Andrea, 35, 39, 81, 90, 92, 112
+
+    Vincenzio Bresciano (Vincenzio Zoppa, or Foppa), 51, 52, 56
+
+    Vincenzio Catena, 52, 58
+
+    Vincenzio da San Gimignano, 237
+
+    Vincenzio Foppa (Vincenzio Bresciano, or Vincenzio Zoppa), 51, 52, 56
+
+    Vincenzio Verchio, 60
+
+    Vincenzio Zoppa (Vincenzio Bresciano, or Vincenzio Foppa), 51, 52, 56
+
+    Vinci, Leonardo da, _Life_, 89-105. 44, 82, 85, 89-105, 109, 127, 138,
+      151, 156, 196, 212, 215, 242, 270
+
+    Visino, 170, 171
+
+    Vitruvius, 48, 75, 138, 205, 266
+
+    Vittore Scarpaccia (Carpaccio), _Life_, 51-61
+
+    Vittore Bellini (Belliniano), 52, 59, 60
+
+    Vivarini, Bartolommeo, 52, 59
+
+    Vivarini, Luigi, 52
+
+
+    Zeno, Maestro, 60
+
+    Zeuxis, 82, 83
+
+    Zevio, Aldigieri (Altichiero) da, 51, 54, 55
+
+    Zevio, Stefano da (Stefano Veronese), 51-54
+
+    Zoccolo, Niccolo (Niccolo Cartoni), 9, 10
+
+    Zoppa, Vincenzio (Vincenzio Foppa, or Vincenzio Bresciano), 51, 52, 56
+
+    Zoppo, Rocco, 46
+
+
+END OF VOL. IV.
+
+
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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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