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diff --git a/28420-h/28420-h.htm b/28420-h/28420-h.htm new file mode 100644 index 0000000..41482d2 --- /dev/null +++ b/28420-h/28420-h.htm @@ -0,0 +1,12357 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html lang="en"> + <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 & Architects, + Volume IV. by Georgio Vasari. + </title> + <style type="text/css"> +<!-- +p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em;} + +h1,h2,h3,h4 { + text-align: center; /* all headings centered */ + clear: both;} + +hr { width: 33%; + margin-top: 2em; + margin-bottom: 3em; + margin-left: auto; + margin-right: auto; + clear: both;} + +div.centered { text-align: center;} /* work around for IE centering with CSS problem part 1 */ +div.centered table { margin-left: auto; margin-right: auto; text-align: left;} /* work around for IE centering with CSS problem part 2 */ + +div.trans-note {border-style: solid; border-width: 1px; + margin: 3em 15%; padding: 1em; text-align: center;} + +ul.none {list-style-type: none;} + +body { margin-left: 10%; + margin-right: 10%;} + +.pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: 12px; + text-align: right; + font-weight: normal; font-variant: normal; font-style: normal;} /* page numbers */ + +.center { text-align: center;} +.smcap { font-variant: small-caps;} + +.caption {font-weight: bold; text-align: center;} + +.figcenter {margin: auto; text-align: center; margin-top: 3em;} + +.footnotes {border: dashed 1px;} +.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} +.footnote .label {position: absolute; right: 84%; text-align: right;} +.fnanchor {vertical-align: super; font-size: .8em; text-decoration: none;} + +.link {font-size: 80%;} + +.poem10 {margin-left: 10%; font-size: 95%;} +.floatleft {clear: left; float: left;} +.left60 {margin-left: 60%;} +.add1em {margin-left: 1em;} +.add3em {margin-left: 3em;} +.add7em {margin-left: 7em;} +.p2 {margin-top: 2em;} +--> +</style> +</head> +<body> + + +<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 & 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'> </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—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—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 <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—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—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—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 <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—namely, in the +year 1484—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—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—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—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—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—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.</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—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 +<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—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 <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—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 <b>T</b>, 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 <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—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 <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—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.</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—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 +<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—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—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.</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—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—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—that is, certain companions +of S. Francis and other saints—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—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.</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—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—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 +<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—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—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.</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—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—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.</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—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 +<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—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—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 <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—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.</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—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—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.</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—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.</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 ——,<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—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—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 <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—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—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 <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—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—</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—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—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—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.</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—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.</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—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.</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—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—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.</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—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—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—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.</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—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 <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>—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—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—</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—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.</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—</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—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 <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—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—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—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 <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—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.</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—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, <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—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—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—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, <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 FŒDUS<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—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.</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—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—</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> + + + + + +End of the Project Gutenberg EBook of Lives of the Most Eminent Painters +Sculptors and Architects, by Giorgio Vasari + +*** END OF THIS PROJECT GUTENBERG EBOOK EMINENT PAINTERS *** + +***** This file should be named 28420-h.htm or 28420-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/8/4/2/28420/ + +Produced by Mark C. Orton, Christine P. 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