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+The Project Gutenberg EBook of Lives of the Most Eminent Painters
+Sculptors and Architects, by Giorgio Vasari
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Lives of the Most Eminent Painters Sculptors and Architects
+       Vol. 05 ( of 10) Andrea da Fiesole to Lorenzo Lotto
+
+Author: Giorgio Vasari
+
+Translator: Gaston du C. De Vere
+
+Release Date: March 27, 2009 [EBook #28421]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK EMINENT PAINTERS ***
+
+
+
+
+Produced by Mark C. Orton, Christine P. Travers and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+(This file was produced from images generously made
+available by The Internet Archive/Canadian Libraries)
+
+
+
+
+
+[Transcriber's note: Bold text is marked with =."
+
+Obvious printer's errors have been corrected,
+all other inconsistencies are as in the original. The author's spelling
+has been maintained.
+
+"Elecate" should be "Elacate".]
+
+
+
+
+LIVES OF THE MOST EMINENT PAINTERS SCULPTORS & ARCHITECTS BY GIORGIO
+VASARI:
+
+VOLUME V. ANDREA DA FIESOLE TO LORENZO LOTTO 1913
+
+NEWLY TRANSLATED BY GASTON Du C. DE VERE. WITH FIVE HUNDRED
+ILLUSTRATIONS: IN TEN VOLUMES
+
+[Illustration: 1511-1574]
+
+PHILIP LEE WARNER, PUBLISHER TO THE MEDICI SOCIETY, LIMITED 7 GRAFTON
+ST. LONDON, W. 1912-14
+
+
+
+
+CONTENTS OF VOLUME V
+
+                                                                    PAGE
+
+    ANDREA DA FIESOLE [ANDREA FERRUCCI], AND OTHERS                    1
+
+    VINCENZIO DA SAN GIMIGNANO [VINCENZIO TAMAGNI], AND TIMOTEO
+      DA URBINO [TIMOTEO DELLA VITE]                                   9
+
+    ANDREA DAL MONTE SANSOVINO [ANDREA CONTUCCI]                      19
+
+    BENEDETTO DA ROVEZZANO                                            33
+
+    BACCIO DA MONTELUPO, AND RAFFAELLO HIS SON                        39
+
+    LORENZO DI CREDI                                                  47
+
+    LORENZETTO AND BOCCACCINO                                         53
+
+    BALDASSARRE PERUZZI                                               61
+
+    GIOVAN FRANCESCO PENNI [CALLED IL FATTORE], AND PELLEGRINO
+      DA MODENA                                                       75
+
+    ANDREA DEL SARTO                                                  83
+
+    MADONNA PROPERZIA DE' ROSSI                                      121
+
+    ALFONSO LOMBARDI, MICHELAGNOLO DA SIENA, GIROLAMO SANTA
+      CROCE, AND DOSSO AND BATTISTA DOSSI                            129
+
+    GIOVANNI ANTONIO LICINIO OF PORDENONE, AND OTHERS                143
+
+    GIOVANNI ANTONIO SOGLIANI                                        157
+
+    GIROLAMO DA TREVISO                                              167
+
+    POLIDORO DA CARAVAGGIO AND MATURINO                              173
+
+    IL ROSSO                                                         187
+
+    BARTOLOMMEO DA BAGNACAVALLO, AND OTHERS                          205
+
+    FRANCIABIGIO [FRANCIA]                                           215
+
+    MORTO DA FELTRO AND ANDREA DI COSIMO FELTRINI                    225
+
+    MARCO CALAVRESE                                                  235
+
+    FRANCESCO MAZZUOLI [PARMIGIANO]                                  241
+
+    JACOPO PALMA [PALMA VECCHIO] AND LORENZO LOTTO                   257
+
+    INDEX OF NAMES                                                   267
+
+
+
+
+ILLUSTRATIONS TO VOLUME V
+
+PLATES IN COLOUR
+                                                             FACING PAGE
+
+  TIMOTEO DA URBINO (TIMOTEO DELLA VITE)
+      A Muse
+          Florence: Corsini Gallery                                   10
+
+  LORENZO DI CREDI
+      Venus
+          Florence: Uffizi, 3452                                      48
+
+  BERNARDINO DEL LUPINO (LUINI)
+      S. Catharine borne to her Tomb by Angels
+          Milan: Brera, 288                                           54
+
+  ANDREA DEL SARTO
+      Madonna dell' Arpie
+          Florence: Uffizi, 1112                                      94
+
+  DOSSO DOSSI
+      A Nymph with a Satyr
+          Florence: Pitti, 147                                       140
+
+  FRANCIABIGIO (FRANCIA)
+      Portrait of a Man
+          Vienna: Prince Liechtenstein                               222
+
+  LORENZO LOTTO
+      The Triumph of Chastity
+          Rome: Rospigliosi Gallery                                  258
+
+  JACOPO PALMA (PALMA VECCHIO)
+      S. Barbara
+          Venice: S. Maria Formosa                                   260
+
+  RONDINELLO (NICCOLÒ RONDINELLI)
+      Madonna and Child
+          Paris: Louvre, 1159                                        264
+
+
+PLATES IN MONOCHROME
+
+    ANDREA DA FIESOLE (ANDREA FERRUCCI)
+        Font
+            Pistoia: Duomo                                             6
+
+    SILVIO COSINI (SILVIO DA FIESOLE)
+        Tomb of Raffaele Maffei
+            Volterra: S. Lino                                          8
+
+    VINCENZIO DA SAN GIMIGNANO (VINCENZIO TAMAGNI)
+        The Birth of the Virgin
+            San Gimignano: S. Agostino, Cappella del S. Sacramento    12
+
+    TIMOTEO DA URBINO (TIMOTEO DELLA VITE)
+        Madonna and Saints, with a Child Angel
+            Milan: Brera, 508                                         12
+
+    TIMOTEO DA URBINO (TIMOTEO DELLA VITE)
+        The Magdalene
+            Bologna: Accademia, 204                                   16
+
+    ANDREA DAL MONTE SANSOVINO (ANDREA CONTUCCI)
+        Altar-piece
+            Florence: S. Spirito                                      22
+
+    ANDREA DAL MONTE SANSOVINO (ANDREA CONTUCCI)
+        Tomb of Cardinal Ascanio Sforza
+            Rome: S. Maria del Popolo                                 24
+
+    ANDREA DAL MONTE SANSOVINO (ANDREA CONTUCCI)
+        The Madonna and Child, with S. Anne
+            Rome: S. Agostino                                         26
+
+    BENEDETTO DA ROVEZZANO
+        Tomb of Piero Soderini
+            Florence: S. Maria del Carmine                            38
+
+    BACCIO DA MONTELUPO
+        S. John the Evangelist
+            Florence: Or San Michele                                  42
+
+    AGOSTINO BUSTI (IL BAMBAJA)
+        Detail from the Tomb: Head of Gaston de Foix
+            Milan: Brera                                              44
+
+    RAFFAELLO DA MONTELUPO
+        S. Damiano
+            Florence: New Sacristy of S. Lorenzo                      44
+
+    LORENZO DI CREDI
+        Andrea Verrocchio
+            Florence: Uffizi, 1163                                    50
+
+    LORENZO DI CREDI
+        Madonna and Child, with Saints
+            Paris: Louvre, 1263                                       52
+
+    LORENZO DI CREDI
+        The Nativity
+            Florence: Accademia, 92                                   52
+
+    LORENZETTO
+        Elijah
+            Rome: S. Maria del Popolo, Chigi Chapel                   56
+
+    LORENZETTO
+        S. Peter
+            Rome: Ponte S. Angelo                                     56
+
+    BOCCACCINO
+        Madonna and Child, with Saints
+            Rome: Doria Gallery, 125                                  58
+
+    BERNARDINO DEL LUPINO (LUINI)
+        The Marriage of the Virgin
+            Saronno: Santuario della Beata Vergine                    60
+
+    BALDASSARRE PERUZZI
+        Cupola of the Ponzetti Chapel
+            Rome: S. Maria della Pace                                 64
+
+    BALDASSARRE PERUZZI
+        Palazzo della Farnesina
+            Rome                                                      66
+
+    BALDASSARRE PERUZZI
+        Courtyard of Palazzo Massimi
+            Rome                                                      70
+
+    GIOVANNI FRANCESCO PENNI (IL FATTORE)
+        The Baptism of Constantine
+            Rome: The Vatican                                         78
+
+    GAUDENZIO MILANESE (GAUDENZIO FERRARI)
+        The Last Supper
+            Milan: S. Maria della Passione                            80
+
+    ANDREA DEL SARTO
+        "Noli Me Tangere"
+            Florence: Uffizi, 93                                      86
+
+    ANDREA DEL SARTO
+        The Last Supper
+            Florence: S. Salvi                                        88
+
+    ANDREA DEL SARTO
+        The Arrival of the Magi
+            Florence: SS. Annunziata                                  90
+
+    ANDREA DEL SARTO
+        Charity
+            Paris: Louvre, 1514                                       98
+
+    ANDREA DEL SARTO
+        Cæsar receiving the Tribute of Egypt
+            Florence: Poggio a Caiano                                104
+
+    ANDREA DEL SARTO
+        Portrait of the Artist
+            Florence: Uffizi, 280                                    112
+
+    MADONNA PROPERZIA DE' ROSSI
+        Two Angels (with The Assumption of the Virgin, after TRIBOLO)
+            Bologna: S. Petronio                                     126
+
+    ALFONSO LOMBARDI
+        The Death of the Virgin
+            Bologna: S. Maria della Vita                             134
+
+    MICHELAGNOLO DA SIENA
+        Tomb of Adrian VI
+            Rome: S. Maria dell' Anima                               136
+
+    GIROLAMO SANTA CROCE
+        Madonna and Child, with SS. Peter and John
+            Naples: Monte Oliveto                                    138
+
+    DOSSO DOSSI
+        Madonna and Child, with SS. George and Michael
+            Modena: Pinacoteca, 437                                  140
+
+    GIOVANNI ANTONIO LICINIO OF PORDENONE
+        The Disputation of S. Catharine
+            Piacenza: S. Maria di Campagna                           150
+
+    GIOVANNI ANTONIO LICINIO OF PORDENONE
+        The Adoration of the Magi
+            Treviso: Duomo                                           152
+
+    GIOVANNI ANTONIO SOGLIANI
+        The Legend of S. Dominic
+            Florence: S. Marco                                       162
+
+    IL ROSSO
+        Madonna and Child, with Saints
+            Florence: Uffizi, 47                                     190
+
+    IL ROSSO
+        The Transfiguration
+            Città di Castello: Duomo                                 198
+
+    BARTOLOMMEO DA BAGNACAVALLO
+        The Holy Family, with Saints
+            Bologna: Accademia, 133                                  208
+
+    AMICO OF BOLOGNA (AMICO ASPERTINI)
+        The Adoration
+            Bologna: Pinacoteca, 297                                 210
+
+    INNOCENZIO DA IMOLA
+        The Marriage of S. Catharine
+            Bologna: S. Giacomo Maggiore                             214
+
+    FRANCIABIGIO (FRANCIA)
+        The Marriage of the Virgin
+            Florence: SS. Annunziata                                 218
+
+    FRANCESCO MAZZUOLI (PARMIGIANO)
+        The Marriage of S. Catharine
+            Parma: Gallery, 192                                      246
+
+    FRANCESCO MAZZUOLI (PARMIGIANO)
+        Madonna and Child, with Saints
+            Bologna: Accademia, 116                                  250
+
+    JACOPO PALMA (PALMA VECCHIO)
+        S. Sebastian
+            Venice: S. Maria Formosa                                 260
+
+    LORENZO LOTTO
+        The Glorification of S. Nicholas
+            Venice: S. Maria del Carmine                             262
+
+    LORENZO LOTTO
+        Andrea Odoni
+            Hampton Court Palace                                     262
+
+    RONDINELLO (NICCOLÒ RONDINELLI)
+        Madonna and Child, with Saints
+            Ravenna: Accademia                                       264
+
+    FRANCESCO DA COTIGNOLA
+        The Adoration of the Shepherds
+            Ravenna: Accademia                                       266
+
+
+
+
+CORRIGENDUM
+
+P. 151, l. 13, _Vicenza_ is an error of the Italian text for Piacenza,
+the church referred to being in the latter town
+
+
+
+
+ANDREA DA FIESOLE
+
+
+
+
+LIVES OF ANDREA DA FIESOLE
+
+[_ANDREA FERRUCCI_]
+
+SCULPTOR
+
+AND OF OTHER CRAFTSMEN OF FIESOLE
+
+
+Seeing that it is no less necessary for sculptors to have mastery over
+their carving-tools than it is for him who practises painting to be able
+to handle colours, it therefore happens that many who work very well in
+clay prove to be unable to carry their labours to any sort of perfection
+in marble; and some, on the contrary, work very well in marble, without
+having any more knowledge of design than a certain instinct for a good
+manner, I know not what, that they have in their minds, derived from the
+imitation of certain things which please their judgment, and which their
+imagination absorbs and proceeds to use for its own purposes. And it is
+almost a marvel to see the manner in which some sculptors, without in
+any way knowing how to draw on paper, nevertheless bring their works to
+a fine and praiseworthy completion with their chisels. This was seen in
+Andrea, a sculptor of Fiesole, the son of Piero di Marco Ferrucci, who
+learnt the rudiments of sculpture in his earliest boyhood from Francesco
+di Simone Ferrucci, another sculptor of Fiesole. And although at the
+beginning he learnt only to carve foliage, yet little by little he
+became so well practised in his work that it was not long before he set
+himself to making figures; insomuch that, having a swift and resolute
+hand, he executed his works in marble rather with a certain judgment and
+skill derived from nature than with any knowledge of design.
+Nevertheless, he afterwards gave a little more attention to art, when,
+in the flower of his youth, he followed Michele Maini, likewise a
+sculptor of Fiesole; which Michele made the S. Sebastian of marble in
+the Minerva at Rome, which was so much praised in those days.
+
+Andrea, then, having been summoned to work at Imola, built a chapel of
+grey-stone, which was much extolled, in the Innocenti in that city.
+After that work, he went to Naples at the invitation of Antonio di
+Giorgio of Settignano, a very eminent engineer, and architect to King
+Ferrante, with whom Antonio was in such credit, that he had charge not
+only of all the buildings in that kingdom, but also of all the most
+important affairs of State. On arriving in Naples, Andrea was set to
+work, and he executed many things for that King in the Castello di San
+Martino and in other parts of that city. Now Antonio died; and after the
+King had caused him to be buried with obsequies suited rather to a royal
+person than to an architect, and with twenty pairs of mourners following
+him to the grave, Andrea, recognizing that this was no country for him,
+departed from Naples and made his way back to Rome, where he stayed for
+some time, attending to the studies of his art, and also to some work.
+
+Afterwards, having returned to Tuscany, he built the marble chapel
+containing the baptismal font in the Church of S. Jacopo at Pistoia, and
+with much diligence executed the basin of that font, with all its
+ornamentation. And on the main wall of the chapel he made two lifesize
+figures in half-relief--namely, S. John baptizing Christ, a work
+executed very well and with a beautiful manner. At the same time he made
+some other little works, of which there is no need to make mention. I
+must say, indeed, that although these things were wrought by Andrea
+rather with the skill of his hand than with art, yet there may be
+perceived in them a boldness and an excellence of taste worthy of great
+praise. And, in truth, if such craftsmen had a thorough knowledge of
+design united to their practised skill and judgment, they would vanquish
+in excellence those who, drawing perfectly, only hack the marble when
+they set themselves to work it, and toil at it painfully with a sorry
+result, through not having practice and not knowing how to handle the
+tools with the skill that is necessary.
+
+After these works, Andrea executed a marble panel that was placed
+exactly between the two flights of steps that ascend to the upper choir
+in the Church of the Vescovado at Fiesole; in which panel he made three
+figures in the round and some scenes in low-relief. And for S. Girolamo,
+at Fiesole, he made the little marble panel that is built into the
+middle of the church. Having come into repute by reason of the fame of
+these works, Andrea was commissioned by the Wardens of Works of S. Maria
+del Fiore, at the time when Cardinal Giulio de' Medici was governing
+Florence, to make a statue of an Apostle four braccia in height; at that
+time, I mean, when four other similar statues were allotted at one and
+the same moment to four other masters--one to Benedetto da Maiano,
+another to Jacopo Sansovino, a third to Baccio Bandinelli, and the
+fourth to Michelagnolo Buonarroti; which statues were eventually to be
+twelve in number, and were to be placed in that part of that magnificent
+temple where there are the Apostles painted by the hand of Lorenzo di
+Bicci. Andrea, then, executed his rather with fine skill and judgment
+than with design; and he acquired thereby, if not as much praise as the
+others, at least the name of a good and practised master. Wherefore he
+was almost continually employed ever afterwards by the Wardens of Works
+of that church; and he made the head of Marsilius Ficinus that is to be
+seen therein, within the door that leads to the chapter-house. He made,
+also, a marble fountain that was sent to the King of Hungary, which
+brought him great honour; and by his hand was a marble tomb that was
+sent, likewise, to Strigonia, a city of Hungary. In this tomb was a
+Madonna, very well executed, with other figures; and in it was
+afterwards laid to rest the body of the Cardinal of Strigonia. To
+Volterra Andrea sent two Angels of marble in the round; and for Marco
+del Nero, a Florentine, he made a lifesize Crucifix of wood, which is
+now in the Church of S. Felicita at Florence. He made a smaller one for
+the Company of the Assumption in Fiesole. Andrea also delighted in
+architecture, and he was the master of Mangone, the stonecutter and
+architect, who afterwards erected many palaces and other buildings in
+Rome in a passing good manner.
+
+In the end, having grown old, Andrea gave his attention only to mason's
+work, like one who, being a modest and worthy person, loved a quiet
+life more than anything else. He received from Madonna Antonia Vespucci
+the commission for a tomb for her husband, Messer Antonio Strozzi; but
+since he could not work much himself, the two Angels were made for him
+by Maso Boscoli of Fiesole, his disciple, who afterwards executed many
+works in Rome and elsewhere, and the Madonna was made by Silvio Cosini
+of Fiesole, although it was not set into place immediately after it was
+finished, which was in the year 1522, because Andrea died, and was
+buried by the Company of the Scalzo in the Church of the Servi.
+
+[Illustration: FONT
+
+(_After_ Andrea da Fiesole [Andrea Ferrucci]. _Pistoia: Duomo_)
+
+_Brogi_]
+
+Silvio, when the said Madonna was set into place and the tomb of the
+Strozzi completely finished, pursued the art of sculpture with
+extraordinary zeal; wherefore he afterwards executed many works in a
+graceful and beautiful manner, and surpassed a host of other masters,
+above all in the bizarre fancy of his grotesques, as may be seen in the
+sacristy of Michelagnolo Buonarroti, from some carved marble capitals
+over the pilasters of the tombs, with some little masks so well hollowed
+out that there is nothing better to be seen. In the same place he made
+some friezes with very beautiful masks in the act of crying out;
+wherefore Buonarroti, seeing the genius and skill of Silvio, caused him
+to begin certain trophies to complete those tombs, but they remained
+unfinished, with other things, by reason of the siege of Florence.
+Silvio executed a tomb for the Minerbetti in their chapel in the
+tramezzo[1] of the Church of S. Maria Novella, as well as any man could,
+since, in addition to the beautiful shape of the sarcophagus, there are
+carved upon it various shields, helmet-crests, and other fanciful
+things, and all with as much design as could be desired in such a work.
+Being at Pisa in the year 1528, Silvio made there an Angel that was
+wanting over a column on the high-altar of the Duomo, to face the one by
+Tribolo; and he made it so like the other that it could not be more like
+even if it were by the same hand. In the Church of Monte Nero, near
+Livorno, he made a little panel of marble with two figures, for the
+Frati Ingesuati; and at Volterra he made a tomb for Messer Raffaello da
+Volterra, a man of great learning, wherein he portrayed him from nature
+on a sarcophagus of marble, with some ornaments and figures.
+Afterwards, while the siege of Florence was going on, Niccolò Capponi, a
+most honourable citizen, died at Castel Nuovo della Garfagnana on his
+return from Genoa, where he had been as Ambassador from his Republic to
+the Emperor; and Silvio was sent in great haste to make a cast of his
+head, to the end that he might afterwards make one in marble, having
+already executed a very beautiful one in wax.
+
+Now Silvio lived for some time with all his family in Pisa; and since he
+belonged to the Company of the Misericordia, which in that city
+accompanies those condemned to death to the place of execution, there
+once came into his head, being sacristan at that time, the strangest
+caprice in the world. One night he took out of the grave the body of one
+who had been hanged the day before; and, after having dissected it for
+the purposes of his art, being a whimsical fellow, and perhaps a wizard,
+and ready to believe in enchantments and suchlike follies, he flayed it
+completely, and with the skin, prepared after a method that he had been
+taught, he made a jerkin, which he wore for some time over his shirt,
+believing that it had some great virtue, without anyone ever knowing of
+it. But having once been upbraided by a good Father to whom he had
+confessed the matter, he pulled off the jerkin and laid it to rest in a
+grave, as the monk had urged him to do. Many other similar stories could
+be told of this man, but, since they have nothing to do with our
+history, I will pass them over in silence.
+
+After the death of his first wife in Pisa, Silvio went off to Carrara.
+There he remained to execute some works, and took another wife, with
+whom, no long time after, he went to Genoa, where, entering the service
+of Prince Doria, he made a most beautiful escutcheon of marble over the
+door of his palace, and many ornaments in stucco all over that palace,
+after the directions given to him by the painter Perino del Vaga. He
+made, also, a very beautiful portrait in marble of the Emperor Charles
+V. But since it was Silvio's habit never to stay long in one place--for
+he was a wayward person--he grew weary of his prosperity in Genoa, and
+set out to make his way to France. He departed, therefore, but before
+arriving at Monsanese he turned back, and, stopping at Milan, he
+executed in the Duomo some scenes and figures and many ornaments, with
+much credit for himself. And there, finally, he died at the age of
+forty-five. He was a man of fine genius, capricious, very dexterous in
+any kind of work, and a person who could execute with great diligence
+anything to which he turned his hand. He delighted in composing sonnets
+and improvising songs, and in his early youth he gave his attention to
+arms. If he had concentrated his mind on sculpture and design, he would
+have had no equal; and, even as he surpassed his master Andrea Ferrucci,
+so, had he lived, he would have surpassed many others who have enjoyed
+the name of excellent masters.
+
+There flourished at the same time as Andrea and Silvio another sculptor
+of Fiesole, called Il Cicilia, who was a person of much skill; and a
+work by his hand may be seen in the Church of S. Jacopo, in the Campo
+Corbolini at Florence--namely, the tomb of the Chevalier Messer Luigi
+Tornabuoni, which is much extolled, particularly because he made therein
+the escutcheon of that Chevalier, in the form of a horse's head, as if
+to show, according to the ancient belief, that the shape of shields was
+originally taken from the head of a horse.
+
+About the same time, also, Antonio da Carrara, a very rare sculptor,
+made three statues in Palermo for the Duke of Monteleone, a Neapolitan
+of the house of Pignatella, and Viceroy of Sicily--namely, three figures
+of Our Lady in different attitudes and manners, which were placed over
+three altars in the Duomo of Monteleone in Calabria. For the same patron
+he made some scenes in marble, which are in Palermo. He left behind him
+a son who is also a sculptor at the present day, and no less excellent
+than was his father.
+
+[Illustration: TOMB OF RAFFAELE MAFFEI
+
+(_After_ Silvio Cosini [Silvio da Fiesole]. _Volterra: S. Lino_)
+
+_Alinari_]
+
+FOOTNOTE:
+
+[1] See note on p. 57, Vol. I.
+
+
+
+
+VINCENZIO DA SAN GIMIGNANO AND TIMOTEO DA URBINO
+
+
+
+
+[Illustration: TIMOTEO DA URBINO (TIMOTEO VITI): A MUSE
+
+(_Florence: Corsini Gallery. Panel_)]
+
+
+
+
+LIVES OF VINCENZIO DA SAN GIMIGNANO AND TIMOTEO DA URBINO
+
+[_TIMOTEO DELLA VITE_]
+
+PAINTERS
+
+
+Having now to write, after the Life of the sculptor Andrea da Fiesole,
+the Lives of two excellent painters, Vincenzio da San Gimignano of
+Tuscany, and Timoteo da Urbino, I propose to speak first of Vincenzio,
+as the man whose portrait is above,[2] and immediately afterwards of
+Timoteo, since they lived almost at one and the same time, and were both
+disciples and friends of Raffaello.
+
+Vincenzio, then, working in company with many others in the Papal Loggie
+for the gracious Raffaello da Urbino, acquitted himself in such a manner
+that he was much extolled by Raffaello and by all the others. Having
+therefore been set to work in the Borgo, opposite to the Palace of
+Messer Giovanni Battista dall' Aquila, with great credit to himself he
+painted on a façade a frieze in terretta, in which he depicted the Nine
+Muses, with Apollo in the centre, and above them some lions, the device
+of the Pope, which are held to be very beautiful. Vincenzio showed great
+diligence in his manner and softness in his colouring, and his figures
+were very pleasing in aspect; in short, he always strove to imitate the
+manner of Raffaello da Urbino, as may also be seen in the same Borgo,
+opposite to the Palace of the Cardinal of Ancona, from the façade of a
+house that was built by Messer Giovanni Antonio Battiferro of Urbino,
+who, in consequence of the strait friendship that he had with Raffaello,
+received from him the design for that façade, and also, through his good
+offices, many benefits and rich revenues at the Court. In this design,
+then, which was afterwards carried into execution by Vincenzio,
+Raffaello drew, in allusion to the name of the Battiferri, the Cyclopes
+forging thunderbolts for Jove, and in another part Vulcan making arrows
+for Cupid, with some most beautiful nudes and other very lovely scenes
+and statues. The same Vincenzio painted a great number of scenes on a
+façade in the Piazza di S. Luigi de' Francesi at Rome, such as the Death
+of Cæsar, a Triumph of Justice, and a battle of horsemen in a frieze,
+executed with spirit and much diligence; and in this work, close to the
+roof, between the windows, he painted some Virtues that are very well
+wrought. In like manner, on the façade of the Epifani, behind the Curia
+di Pompeo, and near the Campo di Fiore, he painted the Magi following
+the Star; with an endless number of other works throughout that city,
+the air and position of which seem to be in great measure the reason
+that men are inspired to produce marvellous works there. Experience
+teaches us, indeed, that very often the same man has not the same manner
+and does not produce work of equal excellence in every place, but makes
+it better or worse according to the nature of the place.
+
+[Illustration: THE BIRTH OF THE VIRGIN
+
+(_After the fresco by =Vincenzio da San Gimignano [Vincenzio Tamagni]=.
+San Gimignano: S. Agostino_)
+
+_Brogi_]
+
+Vincenzio being in very good repute in Rome, there took place in the
+year 1527 the ruin and sack of that unhappy city, which had been the
+mistress of the nations. Whereupon, grieved beyond measure, he returned
+to his native city of San Gimignano; and there, by reason of the
+sufferings that he had undergone, and the weakening of his love for art,
+now that he was away from the air which nourishes men of fine genius and
+makes them bring forth works of the rarest merit, he painted some things
+that I will pass over in silence, in order not to veil with them the
+renown and the great name that he had honourably acquired in Rome. It is
+enough to point out clearly that violence turns the most lofty
+intellects roughly aside from their chief goal, and makes them direct
+their steps into the opposite path; which may also be seen in a
+companion of Vincenzio, called Schizzone, who executed some works in the
+Borgo that were highly extolled, and also in the Campo Santo of Rome and
+in S. Stefano degl' Indiani, and who was likewise caused by the
+senseless soldiery to turn aside from art and in a short time to
+lose his life. Vincenzio died in his native city of San Gimignano,
+having had but little gladness in his life after his departure from
+Rome.
+
+[Illustration: MADONNA AND SAINTS, WITH A CHILD ANGEL
+
+(_After the painting by =Timoteo da Urbino [Timoteo della Vite]=. Milan:
+Brera, 508_)
+
+_Brogi_]
+
+Timoteo, a painter of Urbino, was the son of Bartolommeo della Vite, a
+citizen of good position, and Calliope, the daughter of Maestro Antonio
+Alberto of Ferrara, a passing good painter in his day, as is shown by
+his works at Urbino and elsewhere. While Timoteo was still a child, his
+father dying, he was left to the care of his mother Calliope, with good
+and happy augury, from the circumstance that Calliope is one of the Nine
+Muses, and the conformity that exists between poetry and painting. Then,
+after he had been brought discreetly through his boyhood by his wise
+mother, and initiated by her into the studies of the simpler arts and
+likewise of drawing, the young man came into his first knowledge of the
+world at the very time when the divine Raffaello Sanzio was flourishing.
+Applying himself in his earliest years to the goldsmith's art, he was
+summoned by Messer Pier Antonio, his elder brother, who was then
+studying at Bologna, to that most noble city, to the end that he might
+follow that art, to which he seemed to be inclined by nature, under the
+discipline of some good master. While living, then, in Bologna, in which
+city he stayed no little time, and was much honoured and received by the
+noble and magnificent Messer Francesco Gombruti into his house with
+every sort of courtesy, Timoteo associated continually with men of
+culture and lofty intellect. Wherefore, having become known in a few
+months as a young man of judgment, and inclined much more to the
+painter's than to the goldsmith's art, of which he had given proofs in
+some very well-executed portraits of his friends and of others, it
+seemed good to his brother, wishing to encourage the young man's natural
+genius, and also persuaded to this by his friends, to take him away from
+his files and chisels, and to make him devote himself entirely to the
+study of drawing. At which he was very content, and applied himself
+straightway to drawing and to the labours of art, copying and drawing
+all the best works in that city; and establishing a close intimacy with
+painters, he set out to such purpose on his new road, that it was a
+marvel to see the progress that he made from one day to another, and all
+the more because he learnt with facility the most difficult things
+without any particular teaching from any appointed master. And so,
+becoming enamoured of his profession, and learning many secrets of
+painting merely by sometimes seeing certain painters of no account
+making their mixtures and using their brushes, and guided by himself and
+by the hand of nature, he set himself boldly to colouring, and acquired
+a very pleasing manner, very similar to that of the new Apelles, his
+compatriot, although he had seen nothing by his hand save a few works at
+Bologna. Thereupon, after executing some works on panel and on walls
+with very good results, guided by his own good intellect and judgment,
+and believing that in comparison with other painters he had succeeded
+very well in everything, he pursued the studies of painting with great
+ardour, and to such purpose, that in course of time he found that he had
+gained a firm footing in his art, and was held in good repute and vast
+expectation by all the world.
+
+Having then returned to his own country, now a man twenty-six years of
+age, he stayed there for some months, giving excellent proofs of his
+knowledge. Thus he executed, to begin with, the altar-piece of the
+Madonna for the altar of S. Croce in the Duomo, containing, besides the
+Virgin, S. Crescenzio and S. Vitale; and there is a little Angel seated
+on the ground, playing on a viola with a grace truly angelic and a
+childlike simplicity expressed with art and judgment. Afterwards he
+painted another altar-piece for the high-altar of the Church of the
+Trinità, together with a S. Apollonia on the left hand of that altar.
+
+By means of these works and certain others, of which there is no need to
+make mention, the name and fame of Timoteo spread abroad, and he was
+invited with great insistence by Raffaello to Rome; whither having gone
+with the greatest willingness, he was received with that loving kindness
+that was as peculiar to Raffaello as was his excellence in art. Working,
+then, with Raffaello, in little more than a year he made a great
+advance, not only in art, but also in prosperity, for in that time he
+sent home a good sum of money. While working with his master in the
+Church of S. Maria della Pace, he made with his own hand and invention
+the Sibyls that are in the lunettes on the right hand, so much esteemed
+by all painters. That they are his is maintained by some who still
+remember having seen them painted; and we have also testimony in the
+cartoons which are still to be found in the possession of his
+successors. On his own account, likewise, he afterwards painted the bier
+and the dead body contained therein, with the other things, so highly
+extolled, that are around it, in the Scuola of S. Caterina da Siena; and
+although certain men of Siena, carried away by love of their own
+country, attribute these works to others, it may easily be recognized
+that they are the handiwork of Timoteo, both from the grace and
+sweetness of the colouring, and from other memorials of himself that he
+left in that most noble school of excellent painters.
+
+Now, although Timoteo was well and honourably placed in Rome, yet, not
+being able to endure, as many do, the separation from his own country,
+and also being invited and urged every moment to come home by the
+counsels of his friends and by the prayers of his mother, now an old
+woman, he returned to Urbino, much to the displeasure of Raffaello, who
+loved him dearly for his good qualities. And not long after, having
+taken a wife in Urbino at the suggestion of his family, and having
+become enamoured of his country, in which he saw that he was highly
+honoured, besides the circumstance, even more important, that he had
+begun to have children, Timoteo made up his mind firmly never again to
+consent to go abroad, notwithstanding, as may still be seen from some
+letters, that he was invited back to Rome by Raffaello. But he did not
+therefore cease to work, and he made many works in Urbino and in the
+neighbouring cities. At Forlì he painted a chapel in company with
+Girolamo Genga, his friend and compatriot; and afterwards he painted
+entirely with his own hand a panel that was sent to Città di Castello,
+and likewise another for the people of Cagli. At Castel Durante, also,
+he executed some works in fresco, which are truly worthy of praise, as
+are all the other works by his hand, which bear witness that he was a
+graceful painter in figures, landscapes, and every other field of
+painting. In Urbino, at the instance of Bishop Arrivabene of Mantua, he
+painted the Chapel of S. Martino in the Duomo, in company with the same
+Genga; but the altar-panel and the middle of the chapel are entirely by
+the hand of Timoteo. For the same church, also, he painted a Magdalene
+standing, clothed in a short mantle, and covered below this by her own
+tresses, which reach to the ground and are so beautiful and natural,
+that the wind appears to move them; not to mention the divine beauty of
+the expression of her countenance, which reveals clearly the love that
+she bore to her Master.
+
+In S. Agata there is another panel by the hand of the same man, with
+some very good figures. And for S. Bernardino, without that city, he
+made that work so greatly renowned that is at the right hand upon the
+altar of the Buonaventuri, gentlemen of Urbino; wherein the Virgin is
+represented with most beautiful grace as having received the
+Annunciation, standing with her hands clasped and her face and eyes
+uplifted to Heaven. Above, in the sky, in the centre of a great circle
+of light, stands a little Child, with His foot on the Holy Spirit in the
+form of a Dove, and holding in His left hand a globe symbolizing the
+dominion of the world, while, with the other hand raised, He gives the
+benediction; and on the right of the Child is an angel, who is pointing
+Him out with his finger to the Madonna. Below--that is, on the level of
+the Madonna, to her right--is the Baptist, clothed in a camel's skin,
+which is torn on purpose that the nude figure may be seen; and on her
+left is a S. Sebastian, wholly naked, and bound in a beautiful attitude
+to a tree, and wrought with such diligence that the figure could not
+have stronger relief nor be in any part more beautiful.
+
+At the Court of the most illustrious Dukes of Urbino, in a little
+private study, may be seen an Apollo and two half-nude Muses by his
+hand, beautiful to a marvel. For the same patrons he executed many
+pictures, and made some decorations for apartments, which are very
+beautiful. And afterwards, in company with Genga, he painted some
+caparisons for horses, which were sent to the King of France, with such
+beautiful figures of various animals that they appeared to all who
+beheld them to have life and movement. He made, also, some triumphal
+arches similar to those of the ancients, on the occasion of the marriage
+of the most illustrious Duchess Leonora to the Lord Duke Francesco
+Maria, to whom they gave vast satisfaction, as they did to the whole
+Court; on which account he was received for many years into the
+household of that Duke, with an honourable salary.
+
+[Illustration: THE MAGDALENE
+
+(_After the panel by =Timoteo da Urbino [Timoteo della Vite]=. Bologna:
+Accademia, 204_)
+
+_Anderson_]
+
+Timoteo was a bold draughtsman, and even more notable for the sweetness
+and charm of his colouring, insomuch that his works could not have been
+executed with more delicacy or greater diligence. He was a merry fellow,
+gay and festive by nature, and most acute and witty in his sayings and
+discourses. He delighted in playing every sort of instrument, and
+particularly the lyre, to which he sang, improvising upon it with
+extraordinary grace. He died in the year of our salvation 1524, the
+fifty-fourth of his life, leaving his native country as much enriched by
+his name and his fine qualities as it was grieved by his loss. He left
+in Urbino some unfinished works, which were finished afterwards by
+others and show by comparison how great were the worth and ability of
+Timoteo.
+
+In our book are some drawings by his hand, very beautiful and truly
+worthy of praise, which I received from the most excellent and gentle
+Messer Giovanni Maria, his son--namely, a pen-sketch for the portrait of
+the Magnificent Giuliano de' Medici, which Timoteo made when Giuliano
+was frequenting the Court of Urbino and that most famous academy, a
+"Noli me tangere," and a S. John the Evangelist sleeping while Christ is
+praying in the Garden, all very beautiful.
+
+FOOTNOTE:
+
+[2] In the original edition of 1568.
+
+
+
+
+ANDREA DAL MONTE SANSOVINO
+
+
+
+
+LIFE OF ANDREA DAL MONTE SANSOVINO
+
+[_ANDREA CONTUCCI_]
+
+SCULPTOR AND ARCHITECT
+
+
+Although Andrea, the son of Domenico Contucci of Monte Sansovino, was
+born from a poor father, a tiller of the earth, and rose from the
+condition of shepherd, nevertheless his conceptions were so lofty, his
+genius so rare, and his mind so ready, both in his works and in his
+discourses on the difficulties of architecture and perspective, that
+there was not in his day a better, rarer, or more subtle intellect than
+his, nor one that was more able than he was to render the greatest
+doubts clear and lucid; wherefore he well deserved to be held in his own
+times, by all who were qualified to judge, to be supreme in those
+professions. Andrea was born, so it is said, in the year 1460; and in
+his childhood, while looking after his flocks, he would draw on the sand
+the livelong day, as is also told of Giotto, and copy in clay some of
+the animals that he was guarding. So one day it happened that a
+Florentine citizen, who is said to have been Simone Vespucci, at that
+time Podestà of the Monte, passing by the place where Andrea was looking
+after his little charges, saw the boy standing all intent on drawing or
+modelling in clay. Whereupon he called to him, and, having seen what was
+the boy's bent, and heard whose son he was, he asked for him from
+Domenico Contucci, who graciously granted his request; and Simone
+promised to place him in the way of learning design, in order to see
+what virtue there might be in that inclination of nature, if assisted by
+continual study.
+
+Having returned to Florence, then, Simone placed him to learn art with
+Antonio del Pollaiuolo, under whom Andrea made such proficience, that in
+a few years he became a very good master. In the house of that Simone,
+on the Ponte Vecchio, there may still be seen a cartoon executed by him
+at that time, of Christ being scourged at the Column, drawn with much
+diligence; and, in addition, two marvellous heads in terra-cotta, copied
+from ancient medals, one of the Emperor Nero, and the other of the
+Emperor Galba, which heads served to adorn a chimney-piece; but the
+Galba is now at Arezzo, in the house of Giorgio Vasari. Afterwards,
+while still living in Florence, he made an altar-piece in terra-cotta
+for the Church of S. Agata at Monte Sansovino, with a S. Laurence and
+some other saints, and little scenes most beautifully executed. And no
+long time after this he made another like it, containing a very
+beautiful Assumption of Our Lady, S. Agata, S. Lucia, and S. Romualdo;
+which altar-piece was afterwards glazed by the Della Robbia family.
+
+[Illustration: ALTAR-PIECE
+
+(_After_ Andrea dal Monte Sansovino [Andrea Contucci]. _Florence: S.
+Spirito_)
+
+_Alinari_]
+
+Then, pursuing the art of sculpture, he made in his youth for Simone del
+Pollaiuolo, otherwise called Il Cronaca, two capitals for pilasters in
+the Sacristy of S. Spirito, which brought him very great fame, and led
+to his receiving a commission to execute the antechamber that is between
+the said sacristy and the church; and since the space was very small,
+Andrea was forced to use great ingenuity. He made, therefore, a
+structure of grey-stone in the Corinthian Order, with twelve round
+columns, six on either side; and having laid architrave, frieze, and
+cornice over these columns, he then raised a barrel-shaped vault, all of
+the same stone, with a coffer-work surface full of carvings, which was
+something novel, rich and varied, and much extolled. It is true, indeed,
+that if the mouldings of that coffer-work ceiling, which serve to divide
+the square and round panels by which it is adorned, had been contrived
+so as to fall in a straight line with the columns, with truer proportion
+and harmony, this work would be wholly perfect in every part; and it
+would have been an easy thing to do this. But, according to what I once
+heard from certain old friends of Andrea, he used to defend himself by
+saying that he had adhered in his vault to the method of the coffering
+in the Ritonda at Rome, wherein the ribs that radiate from the round
+window in the centre above, from which that temple gets its light, serve
+to enclose the square sunk panels containing the rosettes, which
+diminish little by little, as likewise do the ribs; and for that reason
+they do not fall in a straight line with the columns. Andrea used to
+add that if he who built the Temple of the Ritonda, which is the best
+designed and proportioned that there is, and made with more harmony than
+any other, paid no attention to this in a vault of such size and
+importance, much less should he do so in a coffered ceiling with far
+smaller panels. Nevertheless many craftsmen, and Michelagnolo in
+particular, have been of the opinion that the Ritonda was built by three
+architects, of whom the first carried it as far as the cornice that is
+above the columns, and the second from the cornice upwards, the part,
+namely, that contains those windows of more graceful workmanship, for in
+truth this second part is very different in manner from the part below,
+since the vaulting was carried out without any relation between the
+coffering and the straight lines of what is below. The third is believed
+to have made the portico, which was a very rare work. And for these
+reasons the masters who practise this art at the present day should not
+fall into such an error and then make excuses, as did Andrea.
+
+After that work, having received from the family of the Corbinelli the
+commission for the Chapel of the Sacrament in the same church, he
+carried it out with much diligence, imitating in the low-reliefs Donato
+and other excellent craftsmen, and sparing no labour in his desire to do
+himself credit, as, indeed, he did. In two niches, one on either side of
+a very beautiful tabernacle, he placed two saints somewhat more than one
+braccio in height, S. James and S. Matthew, executed with such spirit
+and excellence, that every sort of merit is revealed in them and not one
+fault. Equally good, also, are two Angels in the round that are the
+crowning glory of this work, with the most beautiful draperies--for they
+are in the act of flying--that are anywhere to be seen; and in the
+centre is a little naked Christ full of grace. There are also some
+scenes with little figures in the predella and over the tabernacle, all
+so well executed that the point of a brush could scarcely do what Andrea
+did with his chisel. But whosoever wishes to be amazed by the diligence
+of this extraordinary man should look at the architecture of this work
+as a whole, for it is so well executed and joined together in its small
+proportions that it appears to have been chiselled out of one single
+stone. Much extolled, also, is a large Pietà of marble that he made in
+half-relief on the front of the altar, with the Madonna and S. John
+weeping. Nor could one imagine any more beautiful pieces of casting than
+are the bronze gratings that enclose that chapel, with their ornaments
+of marble, and with stags, the device, or rather the arms, of the
+Corbinelli, which serve as adornments for the bronze candelabra. In
+short, this work was executed without any sparing of labour, and with
+all the best considerations that could possibly be imagined.
+
+By these and by other works the name of Andrea spread far and wide, and
+he was sought for from the elder Lorenzo de' Medici, the Magnificent, in
+whose garden, as has been related, he had pursued the studies of design,
+by the King of Portugal; and, being therefore sent to him by Lorenzo, he
+executed for that King many works of sculpture and of architecture, and
+in particular a very beautiful palace with four towers, and many other
+buildings. Part of the palace was painted after designs and cartoons by
+the hand of Andrea, who drew very well, as may be seen from some
+drawings by his own hand in our book, finished with a charcoal-point,
+and some other architectural drawings, showing excellent design. He also
+made for that King a carved altar of wood, containing some Prophets; and
+likewise a very beautiful battle-piece in clay, to be afterwards carved
+in marble, representing the wars that the King waged with the Moors, who
+were vanquished by him; and no work by the hand of Andrea was ever seen
+that was more spirited or more terrible than this, what with the
+movements and various attitudes of the horses, the heaps of dead, and
+the vehement fury of the soldiers in combat. And he made a figure of S.
+Mark in marble, which was a very rare work. While in the service of that
+King, Andrea also gave his attention to some difficult and fantastic
+architectural works, according to the custom of that country, in order
+to please the King; of which things I once saw a book at Monte Sansovino
+in the possession of his heirs, which is now in the hands of Maestro
+Girolamo Lombardo, who was his disciple, and to whom it fell, as will be
+related, to finish some works begun by Andrea.
+
+[Illustration: TOMB OF CARDINAL ASCANIO SFORZA
+
+(_After_ Andrea dal Monte Sansovino [Andrea Contucci]. _Rome: S. Maria
+del Popolo_)
+
+_Alinari_]
+
+Having been nine years in Portugal, and growing weary of that service,
+and desirous of seeing his relatives and friends in Tuscany again,
+Andrea determined, now that he had put together a good sum of money,
+to obtain leave from the King and return home. And so, having been
+granted permission, although not willingly, he returned to Florence,
+leaving behind him one who should complete such of his works as remained
+unfinished. After arriving in Florence, he began in the year 1500 a
+marble group of S. John baptizing Christ, which was to be placed over
+that door of the Temple of S. Giovanni that faces the Misericordia; but
+he did not finish it, because he was almost forced to go to Genoa, where
+he made two figures of marble, Christ, or rather S. John, and a Madonna,
+which are truly worthy of the highest praise. And those at Florence
+remained unfinished, and are still to be found at the present day in the
+Office of Works of the said S. Giovanni.
+
+He was then summoned to Rome by Pope Julius II, and received the
+commission for two tombs of marble, which were erected in S. Maria del
+Popolo--one for Cardinal Ascanio Sforza, and the other for the Cardinal
+of Recanati, a very near relative of the Pope--and these works were
+wrought so perfectly by Andrea that nothing more could be desired, since
+they were so well executed and finished, and with such purity, beauty,
+and grace, that they reveal the true consideration and proportion of
+art. There may be seen there, also, a Temperance with an hourglass in
+her hand, which is held to be a thing divine; and, indeed, it does not
+appear to be a modern work, but ancient and wholly perfect. And although
+there are other figures there similar to it, yet on account of its
+attitude and grace it is much the best; not to mention that nothing
+could be more pleasing and beautiful than the veil that she has around
+her, which is executed with such delicacy that it is a miracle to
+behold.
+
+In S. Agostino at Rome, on a pilaster in the middle of the church, he
+made in marble a S. Anne embracing a Madonna with the Child, a little
+less than lifesize. This work may be counted as one of the best of
+modern times, since, even as a lively and wholly natural gladness is
+seen in the old woman, and a divine beauty in the Madonna, so the figure
+of the Infant Christ is so well wrought, that no other was ever executed
+with such delicacy and perfection. Wherefore it well deserved that for
+many years a succession of sonnets and various other learned
+compositions should be attached to it, of which the friars of that
+place have a book full, which I myself have seen, to my no little
+marvel. And in truth the world was right in doing this, for the reason
+that the work can never be praised enough.
+
+[Illustration: THE MADONNA AND CHILD WITH S. ANNE
+
+(_After_ Andrea dal Monte Sansovino [Andrea Contucci]. _Rome: S.
+Agostino_)
+
+_Alinari_]
+
+The fame of Andrea having thereby grown greater, Leo X, who had resolved
+that the adornment with wrought marble of the Chamber of the Madonna in
+S. Maria at Loreto should be carried out, according to the beginning
+made by Bramante, ordained that Andrea should bring that work to
+completion. The ornamentation of that Chamber, which Bramante had begun,
+had at the corners four double projections, which, adorned by pillars
+with bases and carved capitals, rested on a socle rich with carvings,
+and two braccia and a half in height; over which socle, between the two
+aforesaid pillars, he had made a large niche to contain seated figures,
+and, above each of these niches, a smaller one, which, reaching to the
+collarino of the capitals of those pillars, left a frieze of the same
+height as the capitals. Above these were afterwards laid architrave,
+frieze, and richly carved cornice, which, going right round all the four
+walls, project over the four corners; and in the middle of each of the
+larger walls--for the Chamber is greater in length than in breadth--were
+left two spaces, since there was the same projection in the centre of
+those walls as there was at the corners; whence the larger niche below,
+with the smaller one above it, came to be enclosed by a space of five
+braccia on either side. In this space were two doors, one on either
+side, through which one entered into the chapel; and above the doors was
+a space of five braccia between one niche and another, wherein were to
+be carved scenes in marble. The front wall was the same, but without
+niches in the centre, and the height of the socle, with the projection,
+formed an altar, which was set off by the pillars and the niches at the
+corners. In the same front wall, in the centre, was a space of the same
+breadth as the spaces at the sides, to contain some scenes in the upper
+part, while below, the same in height as the spaces of the sides, but
+beginning immediately above the altar, was a bronze grating opposite to
+the inner altar, through which it was possible to hear the Mass and to
+see the inside of the Chamber and the aforesaid altar of the Madonna.
+Altogether, then, the spaces and compartments for the scenes were
+seven: one in front, above the grating, two on each of the longer sides,
+and two on the upper part--that is to say, behind the altar of the
+Madonna; and, in addition, there were eight large and eight small
+niches, with other smaller spaces for the arms and devices of the Pope
+and of the Church.
+
+Andrea, then, having found the work in this condition, distributed over
+these spaces, with a rich and beautiful arrangement, scenes from the
+life of the Madonna. In one of the two side-walls, he began in one part
+the Nativity of the Madonna, and executed half of it; and it was
+completely finished afterwards by Baccio Bandinelli. In the other part
+he began the Marriage of the Virgin, but this also remained unfinished,
+and after the death of Andrea it was completed as we see it by Raffaello
+da Montelupo. On the front wall he arranged that there should be made,
+in two small squares which are on either side of the bronze grating, in
+one the Visitation and in the other the scene of the Virgin and Joseph
+going to have themselves enrolled for taxes; which scenes were
+afterwards executed by Francesco da San Gallo, then a young man. Then,
+in that part where the greatest space is, Andrea made the Angel Gabriel
+bringing the Annunciation to the Virgin--which happened in that very
+chamber which these marbles enclose--with such grace and beauty that
+there is nothing better to be seen, for he made the Virgin wholly intent
+on that Salutation, and the Angel, kneeling, appears to be not of
+marble, but truly celestial, with "Ave Maria" issuing from his mouth. In
+company with Gabriel are two other Angels, in full-relief and detached
+from the marble, one of whom is walking after him and the other appears
+to be flying. Behind a building stand two other Angels, carved out by
+the chisel in such a way that they seem to be alive. In the air, on a
+cloud much undercut--nay, almost entirely detached from the marble--are
+many little boys upholding a God the Father, who is sending down the
+Holy Spirit by means of a ray of marble, which, descending from Him
+completely detached, appears quite real; as, likewise, is the Dove upon
+it, which represents the Holy Spirit. Nor can one describe how great is
+the beauty and how delicate the carving of a vase filled with flowers,
+which was made in this work by the gracious hand of Andrea, who
+lavished so much excellence on the plumes of the Angels, the hair, the
+grace of their features and draperies, and, in short, on every other
+thing, that this divine work cannot be extolled enough. And, in truth,
+that most holy place, which was the very house and habitation of the
+Mother of the Son of God, could not obtain from the resources of the
+world a greater, richer, or more beautiful adornment than that which it
+received from the architecture of Bramante and the sculpture of Andrea
+Sansovino; although, even if it were entirely of the most precious gems
+of the East, it would be little more than nothing in comparison with
+such merits.
+
+Andrea spent an almost incredible amount of time over this work, and
+therefore had no time to finish the others that he had begun; for, in
+addition to those mentioned above, he began in a space on one of the
+side-walls the Nativity of Jesus Christ, with the Shepherds and four
+Angels singing; and all these he finished so well that they seem to be
+wholly alive. But the story of the Magi, which he began above that one,
+was afterwards finished by Girolamo Lombardo, his disciple, and by
+others. On the back wall he arranged that two large scenes should be
+made, one above the other; in one, the Death of Our Lady, with the
+Apostles bearing her to her burial, four Angels in the air, and many
+Jews seeking to steal that most holy corpse; and this was finished after
+Andrea's lifetime by the sculptor Bologna. Below this one, then, he
+arranged that there should be made a scene of the Miracle of Loreto,
+showing in what manner that chapel, which was the Chamber of Our Lady,
+wherein she was born, brought up, and saluted by the Angel, and in which
+she reared her Son up to the age of twelve and lived ever after His
+Death, was finally carried by the Angels, first into Sclavonia,
+afterwards to a forest in the territory of Recanati, and in the end to
+the place where it is now held in such veneration and continually
+visited in solemn throng by all the Christian people. This scene, I say,
+was executed in marble on that wall, according to the arrangement made
+by Andrea, by the Florentine sculptor Tribolo, as will be related in due
+place. Andrea likewise blocked out the Prophets for the niches, but did
+not finish them completely, save one alone, and the others were
+afterwards finished by the aforesaid Girolamo Lombardo and by other
+sculptors, as will be seen in the Lives that are to follow. But with
+regard to all the works wrought by Andrea in this undertaking, they are
+the most beautiful and best executed works of sculpture that had ever
+been made up to that time.
+
+In like manner, the Palace of the Canons of the same church was also
+carried on by Andrea, after the arrangements made by Bramante at the
+commission of Pope Leo. But this, also, remained unfinished after the
+death of Andrea, and the building was continued under Clement VII by
+Antonio da San Gallo, and then by the architect Giovanni Boccalino,
+under the patronage of the very reverend Cardinal da Carpi, up to the
+year 1563. While Andrea was at work on the aforesaid Chapel of the
+Virgin, there were built the fortifications of Loreto and other works,
+which were highly extolled by the all-conquering Signor Giovanni de'
+Medici, with whom Andrea had a very strait friendship, having become
+first acquainted with him in Rome.
+
+Having four months of holiday in the year for repose while he was
+working at Loreto, he used to spend that time in agriculture at his
+native place of Monte Sansovino, enjoying meanwhile a most tranquil rest
+with his relatives and friends. Living thus at the Monte during the
+summer, he built there a commodious house for himself and bought much
+property; and for the Friars of S. Agostino in that place he had a
+cloister made, which, although small, is very well designed, but also
+out of the square, since those Fathers insisted on having it built over
+the old walls. Andrea, however, made the interior rectangular by
+increasing the thickness of the pilasters at the corners, in order to
+change it from an ill-proportioned structure into one with good and true
+measurements. He designed, also, for a Company that had its seat in that
+cloister, under the title of S. Antonio, a very beautiful door of the
+Doric Order; and likewise the tramezzo[3] and pulpit of the Church of S.
+Agostino. He also caused a little chapel to be built for the friars
+half-way down the hill on the descent to the fountain, without the door
+that leads to the old Pieve, although they had no wish for it. He made
+the design for the house of Messer Pietro, a most skilful astrologer, at
+Arezzo; and a large figure of terra-cotta for Montepulciano, of King
+Porsena, which was a rare work, although I have never seen it again
+since the first time, so that I fear that it may have come to an evil
+end. And for a German priest, who was his friend, he made a lifesize S.
+Rocco of terra-cotta, very beautiful; which priest had it placed in the
+Church of Battifolle, in the district of Arezzo. This was the last piece
+of sculpture that Andrea executed.
+
+He gave the design, also, for the steps ascending to the Vescovado of
+Arezzo; and for the Madonna delle Lagrime, in the same city, he made the
+design of a very beautiful ornament that was to be executed in marble,
+with four figures, each four braccia high; but this work was carried no
+farther, on account of the death of our Andrea. For he, having reached
+the age of sixty-eight, and being a man who would never stay idle, set
+to work to move some stakes from one place to another at his villa,
+whereby he caught a chill; and in a few days, worn out by a continuous
+fever, he died, in the year 1529.
+
+The death of Andrea grieved his native place by reason of the honour
+that he had brought it, and his sons and the women of his household, who
+lost both their dearest one and their support. And not long ago Muzio
+Camillo, one of the three aforesaid sons, who was displaying a most
+beautiful intellect in the studies of learning and letters, followed
+him, to the great loss of his family and displeasure of his friends.
+
+Andrea, in addition to his profession of art, was truly a person of much
+distinction, for he was wise in his discourse, and reasoned most
+beautifully on every subject. He was prudent and regular in his every
+action, much the friend of learned men, and a philosopher of great
+natural gifts. He gave much attention to the study of cosmography, and
+left to his family a number of drawings and writings on the subject of
+distances and measurements. He was somewhat small in stature, but robust
+and beautifully made. His hair was soft and long, his eyes light in
+colour, his nose aquiline, and his skin pink and white; but he had a
+slight impediment in his speech.
+
+His disciples were the aforesaid Girolamo Lombardo, the Florentine
+Simone Cioli, Domenico dal Monte Sansovino (who died soon after him),
+and the Florentine Leonardo del Tasso, who made the S. Sebastian of
+wood over his own tomb in S. Ambrogio at Florence, and the marble panel
+of the Nuns of S. Chiara. A disciple of Andrea, likewise, was the
+Florentine Jacopo Sansovino--so called after his master--of whom there
+will be a long account in the proper place.
+
+Architecture and sculpture, then, are much indebted to Andrea, in that
+he enriched the one with many rules of measurement and devices for
+drawing weights, and with a degree of diligence that had not been
+employed before, and in the other he brought his marble to perfection
+with marvellous judgment, care, and mastery.
+
+FOOTNOTE:
+
+[3] See note on p. 57, Vol. I.
+
+
+
+
+BENEDETTO DA ROVEZZANO
+
+
+
+
+LIFE OF BENEDETTO DA ROVEZZANO
+
+SCULPTOR
+
+
+Great, I think, must be the displeasure of those who, having executed
+some work of genius, yet, when they hope to enjoy the fruits of this in
+their old age, and to see the beautiful results achieved by other
+intellects in works similar to their own, and to be able to perceive
+what perfection there may be in that field of art that they themselves
+have practised, find themselves robbed by adverse fortune, by time, by a
+bad habit of body, or by some other cause, of the sight of their eyes;
+whence they are not able, as they were before, to perceive either the
+deficiencies or the perfection of men whom they hear of as living and
+practising their own professions. And even more are they grieved to hear
+the praises of the new masters, not through envy, but because they are
+not able to judge, like others, whether that fame be well-deserved or
+not.
+
+This misfortune happened to Benedetto da Rovezzano, a sculptor of
+Florence, of whom we are now about to write the Life, to the end that
+the world may know how able and practised a sculptor he was, and with
+what diligence he carved marble in strong relief against its ground in
+the marvellous works that he made. Among the first of many labours that
+this master executed in Florence, may be numbered a chimney-piece of
+grey-stone that is in the house of Pier Francesco Borgherini, wherein
+are capitals, friezes, and many other ornaments, carved by his hand in
+open-work with great diligence. In the house of Messer Bindo Altoviti,
+likewise, is a chimney-piece by the same hand, with a lavatory of
+marble, and some other things executed with much delicacy; but
+everything in these that has to do with architecture was designed by
+Jacopo Sansovino, then a young man.
+
+Next, in the year 1512, Benedetto received the commission for a tomb of
+marble, with rich ornaments, in the principal chapel of the Carmine in
+Florence, for Piero Soderini, who had been Gonfalonier in that city; and
+that work was executed by him with incredible diligence, seeing that,
+besides foliage, carved emblems of death, and figures, he made therein
+with basanite, in low-relief, a canopy in imitation of black cloth, with
+so much grace and such beautiful finish and lustre, that the stone
+appears to be exquisite black satin rather than basanite. And, to put it
+in a few words, for all that the hand of Benedetto did in this work
+there is no praise that would not seem too little.
+
+And since he also gave his attention to architecture, there was restored
+from the design of Benedetto a house near S. Apostolo in Florence,
+belonging to Messer Oddo Altoviti, Patron and Prior of that church.
+There Benedetto made the principal door in marble, and, over the door of
+the house, the arms of the Altoviti in grey-stone, with the wolf, lean,
+excoriated, and carved in such strong relief, that it seems to be almost
+separate from the shield; and some pendant ornaments carved in open-work
+with such delicacy, that they appear to be not of stone, but of the
+finest paper. In the same church, above the two chapels of Messer Bindo
+Altoviti, for which Giorgio Vasari of Arezzo painted the panel-picture
+of the Conception in oils, Benedetto made a marble tomb for the said
+Messer Oddo, surrounded by an ornament full of most masterly foliage,
+with a sarcophagus, likewise very beautiful.
+
+Benedetto also executed, in competition with Jacopo Sansovino and Baccio
+Bandinelli, as has been related, one of the Apostles, four and a half
+braccia in height, for S. Maria del Fiore--namely, a S. John the
+Evangelist, which is a passing good figure, wrought with fine design and
+skill. This figure is in the Office of Works, in company with the
+others.
+
+Next, in the year 1515, the chiefs and heads of the Order of
+Vallombrosa, wishing to transfer the body of S. Giovanni Gualberto from
+the Abbey of Passignano to the Church of S. Trinità, an abbey of the
+same Order, in Florence, commissioned Benedetto to make a design, upon
+which he was to set to work, for a chapel and tomb combined, with a vast
+number of lifesize figures in the round, which were to be suitably
+distributed over that work in some niches separated by pilasters filled
+with ornaments and friezes and with delicately carved grotesques. And
+below this whole work there was to be a base one braccio and a half in
+height, wherein were to be scenes from the life of the said S. Giovanni
+Gualberto; while endless numbers of other ornaments were to be round the
+sarcophagus, and as a crown to the work. On this tomb, then, Benedetto,
+assisted by many carvers, laboured continually for ten years, with vast
+expense to that Congregation; and he brought the work to completion in
+their house of Guarlondo, a place near San Salvi, without the Porta alla
+Croce, where the General of the Order that was having the work executed
+almost always lived. Benedetto, then, carried out the making of that
+chapel and tomb in such a manner as amazed Florence; but, as Fate would
+have it--for even marbles and the finest works of men of excellence are
+subject to the whims of fortune--after much discord among those monks,
+their government was changed, and the work remained unfinished in the
+same place until the year 1530. At which time, war raging round
+Florence, all those labours were ruined by soldiers, the heads wrought
+with such diligence were impiously struck off from the little figures,
+and the whole work was so completely destroyed and broken to pieces,
+that the monks afterwards sold what was left for a mere song. If any one
+wishes to see a part of it, let him go to the Office of Works of S.
+Maria del Fiore, where there are a few pieces, bought as broken marble
+not many years ago by the officials of that place. And, in truth, even
+as everything is brought to fine completion in those monasteries and
+other places where peace and concord reign, so, on the contrary, nothing
+ever reaches perfection or an end worthy of praise in places where there
+is naught save rivalry and discord, because what takes a good and wise
+man a hundred years to build up can be destroyed by an ignorant and
+crazy boor in one day. And it seems as if fortune wishes that those who
+know the least and delight in nothing that is excellent, should always
+be the men who govern and command, or rather, ruin, everything: as was
+also said of secular Princes, with no less learning than truth, by
+Ariosto, at the beginning of his seventeenth canto. But returning to
+Benedetto: it was a sad pity that all his labours and all the money
+spent by that Order should have come to such a miserable end.
+
+By the same architect were designed the door and vestibule of the Badia
+of Florence, and likewise some chapels, among them that of S. Stefano,
+erected by the family of the Pandolfini. Finally, Benedetto was summoned
+to England into the service of the King, for whom he executed many works
+in marble and in bronze, and, in particular, his tomb; from which works,
+through the liberality of that King, he gained enough to be able to live
+in comfort for the rest of his life. Thereupon he returned to Florence;
+but, after he had finished some little things, a sort of giddiness,
+which even in England had begun to affect his eyes, and other troubles
+caused, so it was said, by standing too long over the fire in the
+founding of metals, or by some other reasons, in a short time robbed him
+completely of the sight of his eyes; wherefore he ceased to work about
+the year 1550, and to live a few years after that. Benedetto endured
+that blindness during the last years of his life with the patience of a
+good Christian, thanking God that He had first enabled him, by means of
+his labours, to live an honourable life.
+
+Benedetto was a courteous gentleman, and he always delighted in the
+society of men of culture. His portrait was copied from one made, when
+he was a young man, by Agnolo di Donnino. This original is in our book
+of drawings, wherein there are also some drawings very well executed by
+the hand of Benedetto, who deserves, on account of all those works, to
+be numbered among our most excellent craftsmen.
+
+[Illustration: TOMB OF PIETRO SODERINI
+
+(_After_ Benedetto da Rovezzano. _Florence: S. Maria del Carmine_)
+
+_Alinari_]
+
+
+
+
+BACCIO DA MONTELUPO AND RAFFAELLO, HIS SON
+
+
+
+
+LIVES OF BACCIO DA MONTELUPO
+
+SCULPTOR
+
+AND OF RAFFAELLO, HIS SON
+
+
+So strong is the belief of mankind that those who are negligent in the
+arts which they profess to practise can never arrive at any perfection
+in them, that it was in the face of the judgment of many that Baccio da
+Montelupo learnt the art of sculpture; and this happened to him because
+in his youth, led astray by pleasures, he would scarcely ever study,
+and, although he was exhorted and upbraided by many, he thought little
+or nothing of art. But having come to years of discretion, which bring
+sense with them, he was forced straightway to learn how far he was from
+the good way. Whereupon, seeing with shame that others were going ahead
+of him in that art, he resolved with a stout heart to follow and
+practise with all possible zeal that which in his idleness he had
+hitherto shunned. This resolution was the reason that he produced in
+sculpture such fruits as the opinions of many no longer expected from
+him.
+
+Having thus devoted himself with all his powers to his art, and
+practising it continually, he became a rare and excellent master. And of
+this he gave a proof in a work in hard-stone, wrought with the chisel,
+on the corner of the garden attached to the Palace of the Pucci in
+Florence; which was the escutcheon of Pope Leo X, with two children
+supporting it, executed in a beautiful and masterly manner. He made a
+Hercules for Pier Francesco de' Medici; and from the Guild of Porta
+Santa Maria he received the commission for a statue of S. John the
+Evangelist, to be executed in bronze, in securing which he had many
+difficulties, since a number of masters made models in competition with
+him. This figure was afterwards placed on the corner of S. Michele in
+Orto, opposite to the Ufficio; and the work was finished by him with
+supreme diligence. It is said that when he had made the figure in clay,
+all who saw the arrangement of the armatures, and the moulds laid upon
+them, held it to be a beautiful piece of work, recognizing the rare
+ingenuity of Baccio in such an enterprise; and when they had seen it
+cast with the utmost facility, they gave Baccio credit for having shown
+supreme mastery, and having made a solid and beautiful casting. These
+labours endured in that profession, brought him the name of a good and
+even excellent master; and that figure is esteemed more than ever at the
+present day by all craftsmen, who hold it to be most beautiful.
+
+Setting himself also to work in wood, he carved lifesize Crucifixes, of
+which he made an endless number for all parts of Italy, and among them
+one that is over the door of the choir of the Monks of S. Marco at
+Florence. These are all excellent and full of grace, but there are some
+that are much more perfect than the rest, such as the one of the Murate
+in Florence, and another, no less famous than the first, in S. Pietro
+Maggiore; and for the Monks of SS. Fiora e Lucilla he made a similar
+one, which they placed over the high-altar of their abbey at Arezzo, and
+which is held to be much the most beautiful of them all. For the visit
+of Pope Leo X to Florence, Baccio erected between the Palace of the
+Podestà and the Badia a very beautiful triumphal arch of wood and clay;
+with many little works, which have either disappeared or been dispersed
+among the houses of citizens.
+
+Having grown weary, however, of living in Florence, he went off to
+Lucca, where he executed some works in sculpture, and even more in
+architecture, in the service of that city, and, in particular, the
+beautiful and well-designed Temple of S. Paulino, the Patron Saint of
+the people of Lucca, built with proofs of a fine and well-trained
+intelligence both within and without, and richly adorned. Living in that
+city, then, up to the eighty-eighth year of his life, he ended his days
+there, and received honourable burial in the aforesaid S. Paulino from
+those whom he had honoured when alive.
+
+[Illustration: S. JOHN THE EVANGELIST
+
+(_After_ Baccio da Montelupo. _Florence: Or San Michele_)
+
+_Alinari_]
+
+A contemporary of Baccio was Agostino, a very famous sculptor and carver
+of Milan, who began in S. Maria, at Milan, the tomb of Monsignore de
+Foix, which remains unfinished even now; and in it may still be seen
+many large figures, some finished, some half completed, and others only
+blocked out, with a number of scenes in half-relief, in pieces and not
+built in, and a great quantity of foliage and trophies. For the Biraghi,
+also, he made another tomb, which is finished and erected in S.
+Francesco, with six large figures, the base wrought with scenes, and
+other very beautiful ornaments, which bear witness to the masterly skill
+of that valiant craftsman.
+
+Baccio left at his death, among other sons, Raffaello, who applied
+himself to sculpture, and not merely equalled his father, but surpassed
+him by a great measure. This Raffaello, beginning in his youth to work
+in clay, in wax, and in bronze, acquired the name of an excellent
+sculptor, and was therefore taken by Antonio da San Gallo to Loreto,
+together with many others, in order to finish the ornamentation of that
+Chamber, according to the directions left by Andrea Sansovino; where
+Raffaello completely finished the Marriage of Our Lady, begun by the
+said Sansovino, executing many things in a beautiful and perfect manner,
+partly over the beginnings of Andrea, and partly from his own invention.
+Wherefore he was deservedly esteemed to be one of the best craftsmen who
+worked there in his time.
+
+He had finished this work, when Michelagnolo, by order of Pope Clement
+VII, proceeded to finish the new sacristy and the library of S. Lorenzo
+in Florence; and that master, having recognized the talent of Raffaello,
+made use of him in that work, and caused him to execute, among other
+things, after the model that he himself had made, the S. Damiano of
+marble which is now in that sacristy--a very beautiful statue, very
+highly extolled by all men. After the death of Clement, Raffaello
+attached himself to Duke Alessandro de' Medici, who was then having the
+fortress of Prato built; and he made for him in grey-stone, on one of
+the extremities of the chief bastion of that fortress--namely, on the
+outer side--the escutcheon of the Emperor Charles V, upheld by two nude
+and lifesize Victories, which were much extolled, as they still are. And
+for the extremity of another bastion, in the direction of the city, on
+the southern side, he made the arms of Duke Alessandro in the same kind
+of stone, with two figures. Not long after, he executed a large Crucifix
+of wood for the Nuns of S. Apollonia; and for Alessandro Antinori, a
+very rich and noble merchant of Florence at that time, he prepared a
+most magnificent festival for the marriage of his daughter, with
+statues, scenes, and many other most beautiful ornaments.
+
+Having then gone to Rome, he received from Buonarroti a commission to
+make two figures of marble, each five braccia high, for the tomb of
+Julius II, which was finished and erected at that time by Michelagnolo
+in S. Pietro in Vincula. But Raffaello, falling ill while he was
+executing this work, was not able to put into it his usual zeal and
+diligence, on which account he lost credit thereby, and gave little
+satisfaction to Michelagnolo. At the visit of the Emperor Charles V to
+Rome, for which Pope Paul III prepared a festival worthy of that
+all-conquering Prince, Raffaello made with clay and stucco, on the Ponte
+S. Angelo, fourteen statues so beautiful, that they were judged to be
+the best that had been made for that festival. And, what is more, he
+executed them with such rapidity that he was in time to come to
+Florence, where the Emperor was likewise expected, to make within the
+space of five days and no more, on the abutment of the Ponte a S.
+Trinità two Rivers of clay, each five braccia high, the Rhine to stand
+for Germany and the Danube for Hungary.
+
+After this, having been summoned to Orvieto, he made in marble, in a
+chapel wherein the excellent sculptor Mosca had previously executed many
+most beautiful ornaments, the story of the Magi in half-relief, which
+proved to be a very fine work, on account of the great variety of
+figures and the good manner with which he executed them.
+
+[Illustration: HEAD OF GASTON DE FOIX, FROM THE TOMB
+
+(_After_ Agostino Busti [Il Bambaja]. _Milan: Brera_)
+
+_Alinari_]
+
+Then, having returned to Rome, he was appointed by Tiberio Crispo, at
+that time Castellan of the Castello di S. Angelo, as architect of that
+great structure; whereupon he set in order many rooms there, adorning
+them with carvings in many kinds of stone and various sorts of
+variegated marbles on the chimney-pieces, windows, and doors. In
+addition to this, he made a marble statue, five braccia high, of the
+Angel of that Castle, which is on the summit of the great square tower
+in the centre, where the standard flies, after the likeness of that
+Angel that appeared to S. Gregory, who, having prayed that the people
+should be delivered from a most grievous pestilence, saw him sheathing
+his sword in the scabbard. Later, when the said Crispo had been
+made a Cardinal, he sent Raffaello several times to Bolsena, where he
+was building a palace. Nor was it long before the very reverend Cardinal
+Salviati and Messer Baldassarre Turini da Pescia commissioned Raffaello,
+who had already left the service of the Castle and of Cardinal Crispo,
+to make the statue of Pope Leo that is now over his tomb in the Minerva
+at Rome. That work finished, Raffaello made a tomb for the same Messer
+Baldassarre in the Church of Pescia, where that gentleman had built a
+chapel of marble. And for a chapel in the Consolazione, at Rome, he made
+three figures of marble in half-relief. But afterwards, having given
+himself up to the sort of life fit rather for a philosopher than for a
+sculptor, and wishing to live in peace, he retired to Orvieto, where he
+undertook the charge of the building of S. Maria, in which he made many
+improvements; and with this he occupied himself for many years, growing
+old before his time.
+
+[Illustration: S. DAMIANO
+
+(_After_ Raffaello da Montelupo. _Florence: New Sacristy of S. Lorenzo_)
+
+_Alinari_]
+
+I believe that Raffaello, if he had undertaken great works, as he might
+have done, would have executed more things in art, and better, than he
+did. But he was too kindly and considerate, avoiding all conflict, and
+contenting himself with that wherewith fortune had provided him; and
+thus he neglected many opportunities of making works of distinction.
+Raffaello was a very masterly draughtsman, and he had a much better
+knowledge of all matters of art than had been shown by his father
+Baccio. In our book are some drawings by the hand both of the one and of
+the other; but those of Raffaello are much the finer and more graceful,
+and executed with better art. In his architectural decorations Raffaello
+followed in great measure the manner of Michelagnolo, as is proved by
+the chimney-pieces, doors, and windows that he made in the aforesaid
+Castello di S. Angelo, and by some chapels built under his direction, in
+a rare and beautiful manner, at Orvieto.
+
+But returning to Baccio: his death was a great grief to the people of
+Lucca, who had known him as a good and upright man, courteous to all,
+and very loving. Baccio's works date about the year of our Lord 1533.
+His dearest friend, who learnt many things from him, was Zaccaria da
+Volterra, who executed many works in terra-cotta at Bologna, some of
+which are in the Church of S. Giuseppe.
+
+
+
+
+LORENZO DI CREDI
+
+
+
+
+[Illustration: LORENZO DI CREDI: VENUS
+
+(_Florence: Uffizi_, 3452. _Panel_)]
+
+
+
+
+LIFE OF LORENZO DI CREDI
+
+PAINTER OF FLORENCE
+
+
+The while that Maestro Credi, an excellent goldsmith in his day, was
+working in Florence with very good credit and repute, Andrea
+Sciarpelloni placed with him, to the end that he might learn that craft,
+his son Lorenzo, a young man of beautiful intellect and excellent
+character. And since the ability and willingness of the master to teach
+were not greater than the zeal and readiness with which the disciple
+absorbed whatever was shown to him, no long time passed before Lorenzo
+became not only a good and diligent designer, but also so able and
+finished a goldsmith, that no young man of that time was his equal; and
+this brought such honour to Credi, that from that day onward Lorenzo was
+always called by everyone, not Lorenzo Sciarpelloni, but Lorenzo di
+Credi.
+
+Growing in courage, then, Lorenzo attached himself to Andrea Verrocchio,
+who at that time had taken it into his head to devote himself to
+painting; and under him, having Pietro Perugino and Leonardo da Vinci as
+his companions and friends, although they were rivals, he set himself
+with all diligence to learn to paint. And since Lorenzo took an
+extraordinary pleasure in the manner of Leonardo, he contrived to
+imitate it so well that there was no one who came nearer to it than he
+did in the high finish and thorough perfection of his works, as may be
+seen from many drawings that are in our book, executed with the style,
+with the pen, or in water-colours, among which are some drawings made
+from models of clay covered with waxed linen cloths and with liquid
+clay, imitated with such diligence, and finished with such patience, as
+it is scarcely possible to conceive, much less to equal.
+
+For these reasons, then, Lorenzo was so beloved by his master, that,
+when Andrea went to Venice to cast in bronze the horse and the statue
+of Bartolommeo da Bergamo, he left to Lorenzo the whole management and
+administration of his revenues and affairs, and likewise all his
+drawings, reliefs, statues, and art materials. And Lorenzo, on his part,
+loved his master Andrea so dearly, that, besides occupying himself with
+incredible zeal with his interests in Florence, he also went more than
+once to Venice to see him and to render him an account of his good
+administration, which was so much to the satisfaction of his master,
+that, if Lorenzo had consented, Andrea would have made him his heir. Nor
+did Lorenzo prove in any way ungrateful for this good-will, for, after
+the death of Andrea, he went to Venice and brought his body to Florence;
+and then he handed over to his heirs everything that was found to belong
+to Andrea, except his drawings, pictures, sculptures, and all other
+things connected with art.
+
+The first paintings of Lorenzo were a round picture of Our Lady, which
+was sent to the King of Spain (the design of which picture he copied
+from one by his master Andrea), and a picture, much better than the
+other, which was likewise copied by Lorenzo from one by Leonardo da
+Vinci, and also sent to Spain; and so similar was it to that by
+Leonardo, that no difference could be seen between the one and the
+other. By the hand of Lorenzo is a Madonna in a very well executed
+panel, which is beside the great Church of S. Jacopo at Pistoia; and
+another, also, which is in the Hospital of the Ceppo, and is one of the
+best pictures in that city. Lorenzo painted many portraits, and when he
+was a young man he made that one of himself which is now in the
+possession of his disciple, Gian Jacopo, a painter in Florence, together
+with many other things left to him by Lorenzo, among which are the
+portrait of Pietro Perugino and that of Lorenzo's master, Andrea
+Verrocchio. He also made a portrait of Girolamo Benivieni, a man of
+great learning, and much his friend.
+
+[Illustration: ANDREA VERROCCHIO
+
+(_After the panel by =Lorenzo di Credi=. Florence: Uffizi, 1163_)
+
+_Anderson_]
+
+For the Company of S. Sebastiano, behind the Church of the Servi in
+Florence, he executed a panel-picture of Our Lady, S. Sebastian, and
+other saints; and for the altar of S. Giuseppe, in S. Maria del Fiore,
+he painted the first-named saint. To Montepulciano he sent a panel that
+is now in the Church of S. Agostino, containing a Crucifix, Our Lady,
+and S. John, painted with much diligence. But the best work that
+Lorenzo ever executed, and that to which he devoted the greatest care
+and zeal, in order to surpass himself, was the one that is in a chapel
+at Cestello, a panel containing Our Lady, S. Julian, and S. Nicholas;
+and whoever wishes to know how necessary it is for a painter to work
+with a high finish in oils if he desires that his pictures should remain
+fresh, must look at this panel, which is painted with such a finish as
+could not be excelled.
+
+While still a young man, Lorenzo painted a S. Bartholomew on a pilaster
+in Orsanmichele, and for the Nuns of S. Chiara, in Florence, a
+panel-picture of the Nativity of Christ, with some shepherds and angels;
+in which picture, besides other things, he took great pains with the
+imitation of some herbage, painting it so well that it appears to be
+real. For the same place he made a picture of S. Mary Magdalene in
+Penitence; and in a round picture that is in the house of Messer
+Ottaviano de' Medici he painted a Madonna. For S. Friano he painted a
+panel; and he executed some figures in S. Matteo at the Hospital of
+Lelmo. For S. Reparata he painted a picture with the Angel Michael, and
+for the Company of the Scalzo he made a panel-picture, executed with
+much diligence. And, in addition to these works, he made many pictures
+of Our Lady and others, which are dispersed among the houses of citizens
+in Florence.
+
+Having thus got together a certain sum of money by means of these
+labours, and being a man who loved quiet more than riches, Lorenzo
+retired to S. Maria Nuova in Florence, where he lived and had a
+comfortable lodging until his death. Lorenzo was much inclined to the
+sect of Fra Girolamo of Ferrara, and always lived like an upright and
+orderly man, showing a friendly courtesy whenever the occasion arose.
+Finally, having come to the seventy-eighth year of his life, he died of
+old age, and was buried in S. Pietro Maggiore, in the year 1530.
+
+He showed such a perfection of finish in his works, that any other
+painting, in comparison with his, must always seem merely sketched and
+dirty. He left many disciples, and among them Giovanni Antonio Sogliani
+and Tommaso di Stefano. Of Sogliani there will be an account in another
+place; and as for Tommaso, he imitated his master closely in his high
+finish, and made many works in Florence and abroad, including a
+panel-picture for Marco del Nero at his villa of Arcetri, of the
+Nativity of Christ, executed with great perfection of finish. But
+ultimately it became Tommaso's principal profession to paint on cloth,
+insomuch that he painted church-hangings better than any other man. Now
+Stefano, the father of Tommaso, had been an illuminator, and had also
+done something in architecture; and Tommaso, after his father's death,
+in order to follow in his steps, rebuilt the bridge of Sieve, which had
+been destroyed by a flood about that time, at a distance of ten miles
+from Florence, and likewise that of S. Piero a Ponte on the River
+Bisenzio, which is a beautiful work; and afterwards he erected many
+buildings for monasteries and other places. Then, being architect to the
+Guild of Wool, he made the model for the new buildings which were
+constructed by that Guild behind the Nunziata; and, finally, having
+reached the age of seventy or more, he died in the year 1564, and was
+buried in S. Marco, to which he was followed by an honourable train of
+the Academy of Design.
+
+But returning to Lorenzo: he left many works unfinished at his death,
+and, in particular, a very beautiful picture of the Passion of Christ,
+which came into the hands of Antonio da Ricasoli, and a panel painted
+for M. Francesco da Castiglioni, Canon of S. Maria del Fiore, who sent
+it to Castiglioni. Lorenzo had no wish to make many large works, because
+he took great pains in executing his pictures, and devoted an incredible
+amount of labour to them, for the reason, above all, that the colours
+which he used were ground too fine; besides which, he was always
+purifying and distilling his nut-oils, and he made mixtures of colours
+on his palette in such numbers, that from the first of the light tints
+to the last of the darks there was a gradual succession involving an
+over-careful and truly excessive elaboration, so that at times he had
+twenty-five or thirty of them on his palette. For each tint he kept a
+separate brush; and where he was working he would never allow any
+movement that might raise dust. Such excessive care is perhaps no more
+worthy of praise than the other extreme of negligence, for in all things
+one should observe a certain mean and avoid extremes, which are
+generally harmful.
+
+[Illustration: MADONNA AND CHILD WITH SAINTS
+
+(_After the panel by =Lorenzo di Credi=. Paris: Louvre, 1263_)
+
+_Alinari_]
+
+[Illustration: THE NATIVITY
+
+(_After the panel by =Lorenzo di Credi=. Florence: Accademia, 92_)
+
+_Anderson_]
+
+
+
+
+LORENZETTO AND BOCCACCINO
+
+[Illustration: BERNARDINO DEL LUPINO (LUINI): S. CATHARINE BORNE TO HER
+TOMB BY ANGELS
+
+(_Milan: Brera, 288. Fresco_)]
+
+
+
+
+LIVES OF LORENZETTO
+
+SCULPTOR AND ARCHITECT OF FLORENCE
+
+AND OF BOCCACCINO
+
+PAINTER OF CREMONA
+
+
+It happens at times, after Fortune has kept the talent of some fine
+intellect subjected for a period by poverty, that she thinks better of
+it, and at an unexpected moment provides all sorts of benefits for one
+who has hitherto been the object of her hatred, so as to atone in one
+year for the affronts and discomforts of many. This was seen in Lorenzo,
+the son of Lodovico the bell-founder, a Florentine, who was engaged in
+the work both of architecture and of sculpture, and was loved so dearly
+by Raffaello da Urbino, that he not only was assisted by him and
+employed in many enterprises, but also received from the same master a
+wife in the person of a sister of Giulio Romano, a disciple of
+Raffaello.
+
+Lorenzetto[4]--for thus he was always called--finished in his youth the
+tomb of Cardinal Forteguerra, formerly begun by Andrea Verrocchio, which
+was erected in S. Jacopo at Pistoia; and there, among other things, is a
+Charity by the hand of Lorenzetto, which is not otherwise than passing
+good. And a little afterwards he made a figure for Giovanni Bartolini,
+to adorn his garden; which finished, he went to Rome, where in his first
+years he executed many works, of which there is no need to make any
+further record. Then, receiving from Agostino Chigi, at the instance of
+Raffaello da Urbino, the commission to make a tomb for him in S. Maria
+del Popolo, where Agostino had built a chapel, Lorenzo set himself to
+work on this with all the zeal, diligence, and labour in his power, in
+order to come out of it with credit and to give satisfaction to
+Raffaello, from whom he had reason to expect much favour and
+assistance, and also in the hope of being richly rewarded by the
+liberality of Agostino, a man of great wealth. Nor were these labours
+expended without an excellent result, for, assisted by Raffaello, he
+executed the figures to perfection: a nude Jonah delivered from the
+belly of the whale, as a symbol of the resurrection from the dead, and
+an Elijah, living by grace, with his cruse of water and his bread baked
+in the ashes, under the juniper-tree. These statues, then, were brought
+to the most beautiful completion by Lorenzetto with all the art and
+diligence at his command, but he did not by any means obtain for them
+that reward which his great labours and the needs of his family called
+for, since, death having closed the eyes of Agostino, and almost at the
+same time those of Raffaello, the heirs of Agostino, with scant respect,
+allowed these figures to remain in Lorenzetto's workshop, where they
+stood for many years. In our own day, indeed, they have been set into
+place on that tomb in the aforesaid Church of S. Maria del Popolo; but
+Lorenzo, robbed for those reasons of all hope, found for the present
+that he had thrown away his time and labour.
+
+[Illustration: ELIJAH
+
+(_After_ Lorenzetto. _Rome: S. Maria del Popolo, Chigi Chapel_)
+
+_Anderson_]
+
+Next, by way of executing the testament of Raffaello, Lorenzo was
+commissioned to make a marble statue of Our Lady, four braccia high, for
+the tomb of Raffaello in the Temple of S. Maria Ritonda, where the
+tabernacle was restored by order of that master. The same Lorenzo made a
+tomb with two children in half-relief, for a merchant of the Perini
+family, in the Trinità at Rome. And in architecture he made the designs
+for many houses; in particular, that of the Palace of Messer Bernardino
+Caffarelli, and in the Valle, for Cardinal Andrea della Valle, the inner
+façade, and also the design of the stables and of the upper garden. In
+the composition of that work he included ancient columns, bases, and
+capitals, and around the whole, to serve as base, he distributed ancient
+sarcophagi covered with carved scenes. Higher up, below some large
+niches, he made another frieze with fragments of ancient works, and
+above this, in those niches, he placed some statues, likewise ancient
+and of marble, which, although they were not entire--some being without
+the head, some without arms, others without legs, and every one, in
+short, with something missing--nevertheless he arranged to the best
+advantage, having caused all that was lacking to be restored by
+good sculptors. This was the reason that other lords have since done the
+same thing and have restored many ancient works; as, for example,
+Cardinals Cesis, Ferrara, and Farnese, and, in a word, all Rome. And, in
+truth, antiquities restored in this way have more grace than those
+mutilated trunks, members without heads, or figures in any other way
+maimed and defective. But to return to the aforesaid garden: over the
+niches was placed the frieze that is still seen there, of supremely
+beautiful ancient scenes in half-relief; and this invention of Lorenzo's
+stood him in very good stead, since, after the troubles of Pope Clement
+had abated, he was employed by him with much honour and profit to
+himself. For the Pope had seen, when the fight for the Castello di S.
+Angelo was raging, that two little chapels of marble, which were at the
+head of the bridge, had been a source of mischief, in that some
+harquebusiers, standing in them, shot down all who exposed themselves at
+the walls, and, themselves in safety, inflicted great losses and baulked
+the defence; and his Holiness resolved to remove those chapels and to
+set up in place of them two marble statues on pedestals. And so, after
+the S. Paul of Paolo Romano, of which there has been an account in
+another Life, had been set in place, the commission for the other, a S.
+Peter, was given to Lorenzetto, who acquitted himself passing well, but
+did not surpass the work of Paolo Romano. These two statues were set up,
+and are to be seen at the present day at the head of the bridge.
+
+[Illustration: S. PETER
+
+(_After_ Lorenzetto. _Rome: Ponte S. Angelo_)
+
+_Anderson_]
+
+After Pope Clement was dead, Baccio Bandinelli was given the commissions
+for the tombs of that Pope and of Leo X, and Lorenzo was entrusted with
+the marble masonry that was to be executed for them; whereupon the
+latter spent no little time over that work. Finally, at the election of
+Paul III as Pontiff, when Lorenzo was in sorry straits and almost worn
+out, having nothing but a house which he had built for himself in the
+Macello de' Corbi, and being weighed down by his five children and by
+other expenses, Fortune changed and began to raise him and to set him
+back on a better path; for Pope Paul wishing to have the building of S.
+Pietro continued, and neither Baldassarre of Siena nor any of the others
+who had been employed in that work being now alive, Antonio da San
+Gallo appointed Lorenzo as architect for that structure, wherein the
+walls were being built at a fixed price of so much for every four
+braccia. Thereupon Lorenzo, without exerting himself, in a few years
+became more famous and prosperous than he had been after many years of
+endless labour, through having found God, mankind, and Fortune all
+propitious at that one moment. And if he had lived longer, he would have
+done even more towards wiping out those injuries that a cruel fate had
+unjustly brought upon him during his best period of work. But after
+reaching the age of forty-seven, he died of fever in the year 1541.
+
+The death of this master caused great grief to his many friends, who had
+always known him as a loving and reasonable man. And since he had always
+lived like an upright and orderly citizen, the Deputati of S. Pietro
+gave him honourable burial in a tomb, on which they placed the following
+epitaph:
+
+  SCULPTORI LAURENTIO FLORENTINO
+
+  ROMA MIHI TRIBUIT TUMULUM, FLORENTIA VITAM:
+  NEMO ALIO VELLET NASCI ET OBIRE LOCO.
+  MDXLI
+  VIX. ANN. XLVII, MEN. II, D. XV.
+
+[Illustration: MADONNA AND CHILD WITH SAINTS
+
+(_After the panel by =Boccaccino=. Rome: Doria Gallery, 125_)
+
+_Anderson_]
+
+Boccaccino of Cremona, who lived about the same time, had acquired the
+name of a rare and excellent painter in his native place and throughout
+all Lombardy, and his works were very highly extolled, when he went to
+Rome to see the works, so much renowned, of Michelagnolo; but no sooner
+had he seen them than he sought to the best of his power to disparage
+and revile them, believing that he could exalt himself almost exactly in
+proportion as he vilified a man who truly was in the matters of design,
+and indeed in all others without exception, supremely excellent. This
+master, then, was commissioned to paint the Chapel of S. Maria
+Traspontina; but when he had finished it and thrown it open to view, it
+was a revelation to all those who thought that he would soar above the
+heavens, for they saw that he could not reach even to the level of the
+lowest floor of a house. And so the painters of Rome, on seeing the
+Coronation of Our Lady that he had painted in that work, with some
+children flying around her, changed from marvel to laughter.
+
+From this it may be seen that when people begin to exalt with their
+praise men who are more excellent in name than in deeds, it is a
+difficult thing to contrive to bring such men down to their true level
+with words, however reasonable, before their own works, wholly contrary
+to their reputation, reveal what the masters so celebrated really are.
+And it is a very certain fact that the worst harm that one man can do to
+another is the giving of praise too early to any intellect engaged in
+work, since such praise, swelling him with premature pride, prevents him
+from going any farther, and a man so greatly extolled, on finding that
+his works have not that excellence which was expected, takes the censure
+too much to heart, and despairs completely of ever being able to do good
+work. Wise men, therefore, should fear praise much more than censure,
+for the first flatters and deceives, and the second, revealing the
+truth, gives instruction.
+
+Boccaccino, then, departing from Rome, where he felt himself wounded and
+torn to pieces, returned to Cremona, and there continued to practise
+painting to the best of his power and knowledge. In the Duomo, over the
+arches in the middle, he painted all the stories of the Madonna; and
+this work is much esteemed in that city. He also made other works
+throughout that city and in the neighbourhood, of which there is no need
+to make mention.
+
+He taught his art to a son of his own, called Camillo, who, applying
+himself to the art with more study, strove to make amends for the
+shortcomings of the boastful Boccaccino. By the hand of this Camillo are
+some works in S. Gismondo, which is a mile distant from Cremona; and
+these are esteemed by the people of Cremona as the best paintings that
+they have. He also painted the façade of a house on their Piazza, all
+the compartments of the vaulting and some panels in S. Agata, and the
+façade of S. Antonio, together with other works, which made him known as
+a practised master. If death had not snatched him from the world before
+his time, he would have achieved a most honourable success, for he was
+advancing on the good way; and even for those works that he has left to
+us, he deserves to have record made of him.
+
+But returning to Boccaccino; without having ever made any improvement in
+his art, he passed from this life at the age of fifty-eight. In his time
+there lived in Milan a passing good illuminator, called Girolamo, whose
+works may be seen in good numbers both in that city and throughout all
+Lombardy. A Milanese, likewise, living about the same time, was
+Bernardino del Lupino,[5] a very delicate and pleasing painter, as may
+be seen from many works by his hand that are in that city, and from a
+Marriage of Our Lady at Sarone, a place twelve miles distant from Milan,
+and other scenes that are in the Church of S. Maria, executed most
+perfectly in fresco. He also worked with a very high finish in oils, and
+he was a courteous person, and very liberal with his possessions;
+wherefore he deserves all the praise that is due to any craftsman who
+makes the works and ways of his daily life shine by the adornment of
+courtesy no less than do his works of art on account of their
+excellence.
+
+[Illustration: THE MARRIAGE OF THE VIRGIN
+
+(_After the fresco by =Bernardino del Lupino [Luini]=. Saronno:
+Santuario della Beata Vergine_)
+
+_Anderson_]
+
+FOOTNOTE:
+
+[4] Diminutive of Lorenzo.
+
+[5] Luini.
+
+
+
+
+BALDASSARRE PERUZZI
+
+
+
+
+LIFE OF BALDASSARRE PERUZZI
+
+PAINTER AND ARCHITECT OF SIENA
+
+
+Among all the gifts that Heaven distributes to mortals, none, in truth,
+can or should be held in more account than talent, with calmness and
+peace of soul, for the first makes us for ever immortal, and the second
+blessed. He, then, who is endowed with these gifts, in addition to the
+deep gratitude that he should feel towards God, must make himself known
+among other men almost as a light amid darkness. And even so, in our own
+times, did Baldassarre Peruzzi, a painter and architect of Siena, of
+whom we can say with certainty that the modesty and goodness which were
+revealed in him were no mean offshoots of that supreme serenity for
+which the minds of all who are born in this world are ever sighing, and
+that the works which he left to us are most honourable fruits of that
+true excellence which was infused in him by Heaven.
+
+Now, although I have called him above, Baldassarre of Siena, because he
+was always known as a Sienese, I will not withhold that even as seven
+cities contended for Homer, each claiming that he was her citizen, so
+three most noble cities of Tuscany--Florence, Volterra, and Siena--have
+each held that Baldassarre was her son. But, to tell the truth, each of
+them has a share in him, seeing that Antonio Peruzzi, a noble citizen of
+Florence, that city being harassed by civil war, went off, in the hope
+of a quieter life, to Volterra; and after living some time there, in the
+year 1482 he took a wife in that city, and in a few years had two
+children, one a boy, called Baldassarre, and the other a girl, who
+received the name of Virginia. Now it happened that war pursued this man
+who sought nothing but peace and quiet, and that no long time afterwards
+Volterra was sacked; whence Antonio was forced to fly to Siena, and to
+live there in great poverty, having lost almost all that he had.
+
+Meanwhile Baldassarre, having grown up, was for ever associating with
+persons of ability, and particularly with goldsmiths and draughtsmen;
+and thus, beginning to take pleasure in the arts, he devoted himself
+heart and soul to drawing. And not long after, his father being now
+dead, he applied himself to painting with such zeal, that in a very
+short time he made marvellous progress therein, imitating living and
+natural things as well as the works of the best masters. In this way,
+executing what work he could find, he was able to maintain himself, his
+mother, and his sister with his art, and to pursue the studies of
+painting.
+
+[Illustration: CUPOLA OF THE PONZETTI CHAPEL
+
+(_After the fresco by =Baldassarre Peruzzi=. Rome: S. Maria della Pace_)
+
+_Anderson_]
+
+His first work--apart from some things at Siena, not worthy of
+mention--was in a little chapel near the Porta Fiorentina at Volterra,
+wherein he executed some figures with such grace, that they led to his
+forming a friendship with a painter of Volterra, called Piero, who lived
+most of his time in Rome, and going off with that master to that city,
+where he was doing some work in the Palace for Alexander VI. But after
+the death of Alexander, Maestro Piero working no more in that place,
+Baldassarre entered the workshop of the father of Maturino, a painter of
+no great excellence, who at that time had always plenty of work to do in
+the form of commonplace commissions. That painter, then, placing a panel
+primed with gesso before Baldassarre, but giving him no scrap of drawing
+or cartoon, told him to make a Madonna upon it. Baldassarre took a piece
+of charcoal, and in a moment, with great mastery, he had drawn what he
+wished to paint in the picture; and then, setting his hand to the
+colouring, in a few days he painted a picture so beautiful and so well
+finished, that it amazed not only the master of the workshop, but also
+many painters who saw it; and they, recognizing his ability, contrived
+to obtain for him the commission to paint the Chapel of the High-Altar
+in the Church of S. Onofrio, which he executed in fresco with much grace
+and in a very beautiful manner. After this, he painted two other little
+chapels in fresco in the Church of S. Rocco a Ripa. Having thus begun to
+be in good repute, he was summoned to Ostia, where he painted most
+beautiful scenes in chiaroscuro in some apartments of the great tower of
+the fortress; in particular, a hand-to-hand battle after the manner
+in which the ancient Romans used to fight, and beside this a company of
+soldiers delivering an assault on a fortress, wherein the attackers,
+covered by their shields, are seen making a beautiful and spirited
+onslaught and planting their ladders against the walls, while the men
+within are hurling them back with the utmost fury. In this scene, also,
+he painted many antique instruments of war, and likewise various kinds
+of arms; with many other scenes in another hall, which are held to be
+among the best works that he ever made, although it is true that he was
+assisted in this work by Cesare da Milano.
+
+After these labours, having returned to Rome, Baldassarre formed a very
+strait friendship with Agostino Chigi of Siena, both because Agostino
+had a natural love for every man of talent, and because Baldassarre
+called himself a Sienese. And thus, with the help of so great a man, he
+was able to maintain himself while studying the antiquities of Rome, and
+particularly those in architecture, wherein, out of rivalry with
+Bramante, in a short time he made marvellous proficience, which
+afterwards brought him, as will be related, very great honour and
+profit. He also gave attention to perspective, and became such a master
+of that science, that we have seen few in our own times who have worked
+in it as well as he. Pope Julius II having meanwhile built a corridor in
+his Palace, with an aviary near the roof, Baldassarre painted there, in
+chiaroscuro, all the months of the year and the pursuits that are
+practised in each of them. In this work may be seen an endless number of
+buildings, theatres, amphitheatres, palaces, and other edifices, all
+distributed with beautiful invention in that place. He then painted, in
+company with other painters, some apartments in the Palace of S. Giorgio
+for Cardinal Raffaello Riario, Bishop of Ostia; and he painted a façade
+opposite to the house of Messer Ulisse da Fano, and also that of the
+same Messer Ulisse, wherein he executed stories of Ulysses that brought
+him very great renown and fame.
+
+Even greater was the fame that came to him from the model of the Palace
+of Agostino Chigi, executed with such beautiful grace that it seems not
+to have been built, but rather to have sprung into life; and with his
+own hand he decorated the exterior with most beautiful scenes in
+terretta. The hall, likewise, is adorned with rows of columns executed
+in perspective, which, with the depth of the intercolumniation, cause it
+to appear much larger. But what is the greatest marvel of all is a
+loggia that may be seen over the garden, painted by Baldassarre with
+scenes of the Medusa turning men into stone, such that nothing more
+beautiful can be imagined; and then there is Perseus cutting off her
+head, with many other scenes in the spandrels of that vaulting, while
+the ornamentation, drawn in perspective with colours, in imitation of
+stucco, is so natural and lifelike, that even to excellent craftsmen it
+appears to be in relief. And I remember that when I took the Chevalier
+Tiziano, a most excellent and honoured painter, to see that work, he
+would by no means believe that it was painted, until he had changed his
+point of view, when he was struck with amazement. In that place are some
+works executed by Fra Sebastiano Viniziano, in his first manner; and by
+the hand of the divine Raffaello, as has been related, there is a
+Galatea being carried off by sea-gods.
+
+[Illustration: PALAZZO DELLA FARNESINA
+
+(_After_ Baldassarre Peruzzi. _Rome_)
+
+_Alinari_]
+
+Baldassarre also painted, beyond the Campo di Fiore, on the way to the
+Piazza Giudea, a most beautiful façade in terretta with marvellous
+perspectives, for which he received the commission from a Groom of the
+Chamber to the Pope; and it is now in the possession of Jacopo Strozzi,
+the Florentine. In like manner, he wrought for Messer Ferrando Ponzetti,
+who afterwards became a Cardinal, a chapel at the entrance of the Church
+of the Pace, on the left hand, with little scenes from the Old
+Testament, and also with some figures of considerable size; and for a
+work in fresco this is executed with much diligence. But even more did
+he prove his worth in painting and perspective near the high-altar of
+the same church, where he painted a scene for Messer Filippo da Siena,
+Clerk of the Chamber, of Our Lady going into the Temple, ascending the
+steps, with many figures worthy of praise, such as a gentleman in
+antique dress, who, having dismounted from his horse, with his servants
+waiting, is giving alms to a beggar, quite naked and very wretched, who
+may be seen asking him for it with pitiful humility. In this place,
+also, are various buildings and most beautiful ornaments; and right
+round the whole work, executed likewise in fresco, are counterfeited
+decorations of stucco, which have the appearance of being attached to
+the wall with large rings, as if it were a panel painted in oils.
+
+And in the magnificent festival that the Roman people prepared on the
+Campidoglio when the baton of Holy Church was given to Duke Giuliano de'
+Medici, out of six painted scenes which were executed by six different
+painters of eminence, that by the hand of Baldassarre, twenty-eight
+braccia high and fourteen broad, showing the betrayal of the Romans by
+Julia Tarpeia, was judged to be without a doubt better than any of the
+others. But what amazed everyone most was the perspective-view or
+scenery for a play, which was so beautiful that it would be impossible
+to imagine anything finer, seeing that the variety and beautiful manner
+of the buildings, the various loggie, the extravagance of the doors and
+windows, and the other architectural details that were seen in it, were
+so well conceived and so extraordinary in invention, that one is not
+able to describe the thousandth part.
+
+For the house of Messer Francesco di Norcia, on the Piazza de' Farnesi,
+he made a very graceful door of the Doric Order; and for Messer
+Francesco Buzio he executed, near the Piazza degl' Altieri, a very
+beautiful façade, in the frieze of which he painted portraits from life
+of all the Roman Cardinals who were then alive, while on the wall itself
+he depicted the scenes of Cæsar receiving tribute from all the world,
+and above he painted the twelve Emperors, who are standing upon certain
+corbels, being foreshortened with a view to being seen from below, and
+wrought with extraordinary art. For this whole work he rightly obtained
+vast commendation. In the Banchi he executed the escutcheon of Pope Leo,
+with three children, that seemed to be alive, so tender was their flesh.
+For Fra Mariano Fetti, Friar of the Piombo, he made a very beautiful S.
+Bernard in terretta in his garden at Montecavallo. And for the Company
+of S. Catherine of Siena, on the Strada Giulia, in addition to a bier
+for carrying the dead to burial, he executed many other things, all
+worthy of praise. In Siena, also, he gave the design for the organ of
+the Carmine; and he made some other works in that city, but none of much
+importance.
+
+Later, having been summoned to Bologna by the Wardens of Works of S.
+Petronio, to the end that he might make the model for the façade of that
+church, he made for this two large ground-plans and two elevations, one
+in the modern manner and the other in the German; and the latter is
+still preserved in the Sacristy of the same S. Petronio, as a truly
+extraordinary work, since he drew that building in such sharply-detailed
+perspective that it appears to be in relief. In the house of Count
+Giovan Battista Bentivogli, in the same city, he made several drawings
+for the aforesaid structure, which were so beautiful, that it is not
+possible to praise enough the wonderful expedients sought out by this
+man in order not to destroy the old masonry, but to join it in beautiful
+proportion with the new. For the Count Giovan Battista mentioned above
+he made the design of a Nativity with the Magi, in chiaroscuro, wherein
+it is a marvellous thing to see the horses, the equipage, and the courts
+of the three Kings, executed with supreme beauty and grace, as are also
+the walls of the temples and some buildings round the hut. This work was
+afterwards given to be coloured by the Count to Girolamo Trevigi, who
+brought it to fine completion. Baldassarre also made the design for the
+door of the Church of S. Michele in Bosco, a most beautiful monastery of
+the Monks of Monte Oliveto, without Bologna; and the design and model of
+the Duomo of Carpi, which was very beautiful, and was built under his
+direction according to the rules of Vitruvius. And in the same place he
+made a beginning with the Church of S. Niccola, but it was not finished
+at that time, because Baldassarre was almost forced to return to Siena
+in order to make designs for the fortifications of that city, which were
+afterwards carried into execution under his supervision.
+
+He then returned to Rome, where, after building the house that is
+opposite to the Farnese Palace, with some others within that city, he
+was employed in many works by Pope Leo X. That Pontiff wished to finish
+the building of S. Pietro, begun by Julius II after the design of
+Bramante, but it appeared to him that the edifice was too large and
+lacking in cohesion; and Baldassarre made a new model, magnificent and
+truly ingenious, and revealing such good judgment, that some parts of it
+have since been used by other architects. So diligent, indeed, was this
+craftsman, so rare and so beautiful his judgment, and such the method
+with which his buildings were always designed, that he has never had an
+equal in works of architecture, seeing that, in addition to his other
+gifts, he combined that profession with a good and beautiful manner of
+painting. He made the design of the tomb of Adrian VI, and all that is
+painted round it is by his hand; and Michelagnolo, a sculptor of Siena,
+executed that tomb in marble, with the help of our Baldassarre.
+
+When the Calandra, a play by Cardinal Bibbiena, was performed before the
+same Pope Leo, Baldassarre made the scenic setting, which was no less
+beautiful--much more so, indeed--than that which he had made on another
+occasion, as has been related above. In such works he deserved all the
+greater praise, because dramatic performances, and consequently the
+scenery for them, had been out of fashion for a long time, festivals and
+sacred representations taking their place. And either before or after
+(it matters little which) the performance of the aforesaid Calandra,
+which was one of the first plays in the vulgar tongue to be seen or
+performed, in the time of Leo X, Baldassarre made two such scenes, which
+were marvellous, and opened the way to those who have since made them in
+our own day. Nor is it possible to imagine how he found room, in a space
+so limited, for so many streets, so many palaces, and so many bizarre
+temples, loggie, and various kinds of cornices, all so well executed
+that it seemed that they were not counterfeited, but absolutely real,
+and that the piazza was not a little thing, and merely painted, but real
+and very large. He designed, also, the chandeliers and the lights within
+that illuminated the scene, and all the other things that were
+necessary, with much judgment, although, as has been related, the drama
+had fallen almost completely out of fashion. This kind of spectacle, in
+my belief, when it has all its accessories, surpasses any other kind,
+however sumptuous and magnificent.
+
+Afterwards, at the election of Pope Clement VII in the year 1524, he
+prepared the festivities for his coronation. He finished with
+peperino-stone the front of the principal chapel, formerly begun by
+Bramante, in S. Pietro; and in the chapel wherein is the bronze tomb of
+Pope Sixtus, he painted in chiaroscuro the Apostles that are in the
+niches behind the altar, besides making the design of the Tabernacle of
+the Sacrament, which is very graceful.
+
+Then in the year 1527, when the cruel sack of Rome took place, our poor
+Baldassarre was taken prisoner by the Spaniards, and not only lost all
+his possessions, but was also much maltreated and outraged, because he
+was grave, noble, and gracious of aspect, and they believed him to be
+some great prelate in disguise, or some other man able to pay a fat
+ransom. Finally, however, those impious barbarians having found that he
+was a painter, one of them, who had borne a great affection to Bourbon,
+caused him to make a portrait of that most rascally captain, the enemy
+of God and man, either letting Baldassarre see him as he lay dead, or
+giving him his likeness in some other way, with drawings or with words.
+After this, having slipped from their hands, Baldassarre took ship to go
+to Porto Ercole, and thence to Siena; but on the way he was robbed of
+everything and stripped to such purpose, that he went to Siena in his
+shirt. However, he was received with honour and reclothed by his
+friends, and a little time afterwards he was given a provision and a
+salary by the Commonwealth, to the end that he might give his attention
+to the fortification of that city. Living there, he had two children;
+and, besides what he did for the public service, he made many designs of
+houses for his fellow-citizens, and the design for the ornament of the
+organ, which is very beautiful, in the Church of the Carmine.
+
+[Illustration: COURTYARD OF PALAZZO MASSIMI
+
+(_After_ Baldassarre Peruzzi. _Rome_)
+
+_Anderson_]
+
+Meanwhile, the armies of the Emperor and the Pope had advanced to the
+siege of Florence, and his Holiness sent Baldassarre to the camp to
+Baccio Valori, the Military Commissary, to the end that Baccio might
+avail himself of his services for the purposes of his operations and for
+the capture of the city. But Baldassarre, loving the liberty of his
+former country more than the favour of the Pope, and in no way fearing
+the indignation of so great a Pontiff, would never lend his aid in any
+matter of importance. The Pope, hearing of this, for a short time bore
+him no little ill-will; but when the war was finished, Baldassarre
+desiring to return to Rome, Cardinals Salviati, Trivulzi, and Cesarino,
+to all of whom he had given faithful service in many works, restored him
+to the favour of the Pope and to his former appointments. He was thus
+able to return without hindrance to Rome, where, not many days after, he
+made for the Signori Orsini the designs of two very beautiful palaces,
+which were built on the way to Viterbo, and of some other edifices for
+Apuglia. But meanwhile he did not neglect the studies of astrology, nor
+those of mathematics and the others in which he much delighted, and he
+began a book on the antiquities of Rome, with a commentary on Vitruvius,
+making little by little illustrative drawings beside the writings of
+that author, some of which are still to be seen in the possession of
+Francesco da Siena, who was his disciple, and among them some papers
+with drawings of ancient edifices and of the modern manner of building.
+
+While living in Rome, also, he made the design for the house of the
+Massimi, drawn in an oval form, with a new and beautiful manner of
+building; and for the façade he made a vestibule of Doric columns
+showing great art and good proportion, with a beautiful distribution of
+detail in the court and in the disposition of the stairs; but he was not
+able to see this work finished, for he was overtaken by death.
+
+And yet, although the talents and labours of this noble craftsman were
+so great, they brought much more benefit to others than to himself; for,
+while he was employed by Popes, Cardinals, and other great and rich
+persons, not one of them ever gave him any remarkable reward. That this
+should have happened is not surprising, not so much through want of
+liberality in such patrons, although for the most part they are least
+liberal where they should be the very opposite, as through the timidity
+and excessive modesty, or rather, to be more exact in this case, the
+lack of shrewdness of Baldassarre. To tell the truth, in proportion as
+one should be discreet with magnanimous and liberal Princes, so should
+one always be pressing and importunate with such as are miserly,
+unthankful, and discourteous, for the reason that, even as in the case
+of the generous importunate asking would always be a vice, so with the
+miserly it is a virtue, and with such men it is discretion that would be
+the vice.
+
+In the last years of his life, then, Baldassarre found himself poor and
+weighed down by his family. Finally, having always lived a life without
+reproach, he fell grievously ill, and took to his bed; and Pope Paul
+III, hearing this, and recognizing too late the harm that he was like to
+suffer in the loss of so great a man, sent Jacopo Melighi, the
+accountant of S. Pietro, to give him a present of one hundred crowns,
+and to make him most friendly offers. However, his sickness increased,
+either because it was so ordained, or, as many believe, because his
+death was hastened with poison by some rival who desired his place, from
+which he drew two hundred and fifty crowns of salary; and, the
+physicians discovering this too late, he died, very unwilling to give up
+his life, more on account of his poor family than for his own sake, as
+he thought in what sore straits he was leaving them. He was much
+lamented by his children and his friends, and he received honourable
+burial, next to Raffaello da Urbino, in the Ritonda, whither he was
+followed by all the painters, sculptors, and architects of Rome, doing
+him honour and bewailing him; with the following epitaph:
+
+  BALTHASARI PERUTIO SENENSI, VIRO ET PICTURA ET ARCHITECTURA
+  ALIISQUE INGENIORUM ARTIBUS ADEO EXCELLENTI, UT SI PRISCORUM
+  OCCUBUISSET TEMPORIBUS, NOSTRA ILLUM FELICIUS LEGERENT. VIX.
+  ANN. LV, MENS. XI, DIES XX.
+  LUCRETIA ET JO. SALUSTIUS OPTIMO CONJUGI ET PARENTI, NON SINE LACRIMIS
+  SIMONIS, HONORII, CLAUDII, ÆMILIÆ, AC SULPITIÆ, MINORUM FILIORUM,
+  DOLENTES POSUERUNT, DIE IIII JANUARII, MDXXXVI.
+
+The name and fame of Baldassarre became greater after his death than
+they had been during his lifetime; and then, above all, was his talent
+missed, when Pope Paul III resolved to have S. Pietro finished, because
+men recognized how great a help he would have been to Antonio da San
+Gallo. For, although Antonio had to his credit all that is to be seen
+executed by him, yet it is believed that in company with Baldassarre he
+would have done more towards solving some of the difficulties of that
+work. The heir to many of the possessions of Baldassarre was Sebastiano
+Serlio of Bologna, who wrote the third book on architecture and the
+fourth on the antiquities of Rome with their measurements; in which
+works the above-mentioned labours of Baldassarre were partly inserted in
+the margins, and partly turned to great advantage by the author. Most of
+these writings of Baldassarre came into the hands of Jacomo Melighino of
+Ferrara, who was afterwards chosen by Pope Paul as architect for his
+buildings, and of the aforesaid Francesco da Siena, his former assistant
+and disciple, by whose hand is the highly renowned escutcheon of
+Cardinal Trani in Piazza Navona, with some other works. From this
+Francesco we received the portrait of Baldassarre, and information about
+some matters which I was not able to ascertain when this book was
+published for the first time. Another disciple of Baldassarre was
+Virgilio Romano, who executed a façade with some prisoners in
+sgraffito-work in the centre of the Borgo Nuovo in his native city, and
+many other beautiful works. From the same master, also, Antonio del
+Rozzo, a citizen of Siena and a very excellent engineer, learnt the
+first principles of architecture; and Baldassarre was followed, in like
+manner, by Riccio, a painter of Siena, who, however, afterwards imitated
+to no small extent the manner of Giovanni Antonio Sodoma of Vercelli.
+And another of his pupils was Giovan Battista Peloro, an architect of
+Siena, who gave much attention to mathematics and cosmography, and made
+with his own hand mariner's compasses, quadrants, many irons and
+instruments for measuring, and likewise the ground-plans of many
+fortifications, most of which are in the possession of Maestro Giuliano,
+a goldsmith of Siena, who was very much his friend. This Giovan Battista
+made for Duke Cosimo de' Medici a plan of Siena, all in relief and
+altogether marvellous, with the valleys and the surroundings for a mile
+and a half round--the walls, the streets, the forts, and, in a word, a
+most beautiful model of the whole place. But, since he was unstable by
+nature, he left Duke Cosimo, although he had a good allowance from that
+Prince; and, thinking to do better, he made his way into France, where
+he followed the Court without any success for a long time, and finally
+died at Avignon. And although he was an able and well-practised
+architect, yet in no place are there to be seen any buildings erected by
+him or after his design, for he always stayed such a short time in any
+one place, that he could never bring anything to completion; wherefore
+he consumed all his time with designs, measurements, models, and
+caprices. Nevertheless, as a follower of our arts, he has deserved to
+have record made of him.
+
+Baldassarre drew very well in every manner, with great judgment and
+diligence, but more with the pen, in water-colours, and in chiaroscuro,
+than in any other way, as may be seen from many drawings by his hand
+that belong to different craftsmen. Our book, in particular, contains
+various drawings; and in one of these is a scene full of invention and
+caprice, showing a piazza filled with arches, colossal figures,
+theatres, obelisks, pyramids, temples of various kinds, porticoes, and
+other things, all after the antique, while on a pedestal stands a
+Mercury, round whom are all sorts of alchemists with bellows large and
+small, retorts, and other instruments for distilling, hurrying about and
+giving him a clyster in order to purge his body--an invention as
+ludicrous as it is beautiful and bizarre.
+
+Friends and intimate companions of Baldassarre, who was always
+courteous, modest, and gentle with every man, were Domenico Beccafumi of
+Siena, an excellent painter, and Il Capanna, who, in addition to many
+other works that he painted in Siena, executed the façade of the house
+of the Turchi and another that is on the Piazza.
+
+
+
+
+GIOVAN FRANCESCO PENNI OF FLORENCE AND PELLEGRINO DA MODENA
+
+
+
+
+LIVES OF GIOVAN FRANCESCO PENNI OF FLORENCE
+
+[_CALLED IL FATTORE_]
+
+AND OF PELLEGRINO DA MODENA
+
+PAINTERS
+
+
+Giovan Francesco Penni, called Il Fattore, a painter of Florence, was no
+less indebted to Fortune than he was to the goodness of his own nature,
+in that his ways of life, his inclination for painting, and his other
+qualities brought it about that Raffaello da Urbino took him into his
+house and educated him together with Giulio Romano, looking on both of
+them ever afterwards as his children, and proving at his death how much
+he thought both of the one and of the other by leaving them heirs to his
+art and to his property alike. Now Giovan Francesco, who began from his
+boyhood, when he first entered the house of Raffaello, to be called Il
+Fattore, and always retained that name, imitated in his drawings the
+manner of Raffaello, and never ceased to follow it, as may be perceived
+from some drawings by his hand that are in our book. And it is nothing
+wonderful that there should be many of these to be seen, all finished
+with great diligence, because he delighted much more in drawing than in
+colouring.
+
+The first works of Giovan Francesco were executed by him in the Papal
+Loggie at Rome, in company with Giovanni da Udine, Perino del Vaga, and
+other excellent masters; and in these may be seen a marvellous grace,
+worthy of a master striving at perfection of workmanship. He was very
+versatile, and he delighted much in making landscapes and buildings. He
+was a good colourist in oils, in fresco, and in distemper, and made
+excellent portraits from life; and he was much assisted in every respect
+by nature, so that he gained great mastery over all the secrets of art
+without much study. He was a great help to Raffaello, therefore, in
+painting a large part of the cartoons for the tapestries of the Pope's
+Chapel and of the Consistory, and particularly the ornamental borders.
+He also executed many other things from the cartoons and directions of
+Raffaello, such as the ceiling for Agostino Chigi in the Trastevere,
+with many pictures, panels, and various other works, in which he
+acquitted himself so well, that every day he won greater affection from
+Raffaello. On the Monte Giordano, in Rome, he painted a façade in
+chiaroscuro, and in S. Maria de Anima, by the side-door that leads to
+the Pace, a S. Christopher in fresco, eight braccia high, which is a
+very good figure; and in this work is a hermit with a lantern in his
+hand, in a grotto, executed with good draughtsmanship, harmony, and
+grace.
+
+Giovan Francesco then came to Florence, and painted for Lodovico Capponi
+at Montughi, a place without the Porta a San Gallo, a shrine with a
+Madonna, which is much extolled.
+
+Raffaello having meanwhile been overtaken by death, Giulio Romano and
+Giovan Francesco, who had been his disciples, remained together for a
+long time, and finished in company such of Raffaello's works as had been
+left unfinished, and in particular those that he had begun in the Vigna
+of the Pope, and likewise those of the Great Hall in the Palace, wherein
+are painted by the hands of these two masters the stories of
+Constantine, with excellent figures, executed in an able and beautiful
+manner, although the invention and the sketches of these stories came in
+part from Raffaello. While these works were in progress, Perino del
+Vaga, a very excellent painter, took to wife a sister of Giovan
+Francesco; on which account they executed many works in company. And
+afterwards Giulio and Giovan Francesco, continuing to work together,
+painted a panel in two parts, containing the Assumption of Our Lady,
+which went to Monteluci, near Perugia; and also other works and pictures
+for various places.
+
+[Illustration: THE BAPTISM OF CONSTANTINE
+
+(_After the fresco by =Giovanni Francesco Penni [Il Fattore]=. Rome: The
+Vatican_)
+
+_Anderson_]
+
+Then, receiving a commission from Pope Clement to paint a panel-picture
+like the one by Raffaello (which is in S. Pietro a Montorio), which was
+to be sent to France, whither Raffaello had meant to send the first,
+they began it; but soon afterwards, having fallen out with each other,
+they divided their inheritance of drawings and everything else left
+to them by Raffaello, and Giulio went off to Mantua, where he executed
+an endless number of works for the Marquis. Thither, not long
+afterwards, Giovan Francesco also made his way, drawn either by love of
+Giulio or by the hope of finding work; but he received so cold a welcome
+from Giulio that he soon departed, and, after travelling round Lombardy,
+he returned to Rome. And from Rome he went to Naples by ship in the
+train of the Marchese del Vasto, taking with him the now finished copy
+of the panel-picture of S. Pietro a Montorio, with other works, which he
+left in Ischia, an island belonging to the Marquis, while the panel was
+placed where it is at the present day, in the Church of S. Spirito degli
+Incurabili at Naples. Having thus settled in Naples, where he occupied
+himself with drawing and painting, Giovan Francesco was entertained and
+treated with great kindness by Tommaso Cambi, a Florentine merchant, who
+managed the affairs of that nobleman. But he did not live there long,
+because, being of a sickly habit of body, he fell ill and died, to the
+great grief of the noble Marquis and of all who knew him.
+
+He had a brother called Luca, likewise a painter, who worked in Genoa
+with his brother-in-law Perino, as well as at Lucca and many other
+places in Italy. In the end he went to England, where, after executing
+certain works for the King and for some merchants, he finally devoted
+himself to making designs for copper-plates for sending abroad, which he
+had engraved by Flemings. Of such he sent abroad a great number, which
+are known by his name as well as by the manner; and by his hand, among
+others, is a print wherein are some women in a bath, the original of
+which, by the hand of Luca himself, is in our book.
+
+A disciple of Giovan Francesco was Leonardo, called Il Pistoia because
+he came from that city, who executed some works at Lucca, and made many
+portraits from life in Rome. At Naples, for Diomede Caraffa, Bishop of
+Ariano, and now a Cardinal, he painted a panel-picture of the Stoning of
+S. Stephen for his chapel in S. Domenico. And for Monte Oliveto he
+painted another, which was placed on the high-altar, although it was
+afterwards removed to make room for a new one, similar in subject, by
+the hand of Giorgio Vasari of Arezzo. Leonardo earned large sums from
+these Neapolitan nobles, but he accumulated little, for he squandered it
+all as it came to his hand; and finally he died in Naples, leaving
+behind him the reputation of having been a good colourist, but not of
+having shown much excellence in draughtsmanship.
+
+Giovan Francesco lived forty years, and his works date about 1528.
+
+A friend of Giovan Francesco, and likewise a disciple of Raffaello, was
+Pellegrino da Modena, who, having acquired in his native city the name
+of a man of fine genius for painting, and having heard of the marvels of
+Raffaello da Urbino, determined, in order to justify by means of labour
+the hopes already conceived of him, to go to Rome. Arriving there, he
+placed himself under Raffaello, who never refused anything to men of
+ability. There were then in Rome very many young men who were working at
+painting and seeking in mutual rivalry to surpass one another in
+draughtsmanship, in order to win the favour of Raffaello and to gain a
+name among men; and thus Pellegrino, giving unceasing attention to his
+studies, became not only a good draughtsman, but also a well-practised
+master of the whole of his art. And when Leo X commissioned Raffaello to
+paint the Loggie, Pellegrino also worked there, in company with the
+other young men; and so well did he succeed, that Raffaello afterwards
+made use of him in many other things.
+
+He executed three figures in fresco in S. Eustachio at Rome, over an
+altar near the entrance into the church; and in the Church of the
+Portuguese, near the Scrofa, he painted in fresco the Chapel of the
+High-Altar, as well as the altar-piece. Afterwards, Cardinal Alborense
+having caused a chapel richly adorned with marbles to be erected in S.
+Jacopo, the Church of the Spanish people, with a S. James of marble by
+Jacopo Sansovino, four braccia and a half in height, and much extolled,
+Pellegrino painted there in fresco the stories of that Apostle, giving
+an air of great sweetness to his figures in imitation of his master
+Raffaello, and designing the whole composition so well, that the work
+made him known as an able man with a fine and beautiful genius for
+painting. This work finished, he made many others in Rome, both by
+himself and in company with others.
+
+[Illustration: THE LAST SUPPER
+
+(_After the fresco by =Gaudenzio Milanese [Gaudenzio Ferrari]=. Milan:
+S. Maria della Passione_)
+
+_Anderson_]
+
+But finally, when death had come upon Raffaello, Pellegrino returned to
+Modena, where he executed many works; among others, he painted for a
+Confraternity of Flagellants a panel-picture in oils of S. John
+baptizing Christ, and another panel for the Church of the Servi,
+containing S. Cosimo and S. Damiano, with other figures. Afterwards,
+having taken a wife, he had a son, who was the cause of his death. For
+this son, having come to words with some companions, young men of
+Modena, killed one of them; the news of which being carried to
+Pellegrino, he, in order to help his son from falling into the hands of
+justice, set out to smuggle him away. But he had not gone far from his
+house, when he stumbled against the relatives of the dead youth, who
+were going about searching for the murderer; and they, confronting
+Pellegrino, who had no time to escape, and full of fury because they had
+not been able to catch his son, gave him so many wounds that they left
+him dead on the ground. This event was a great grief to the people of
+Modena, who knew that by the death of Pellegrino they had been robbed of
+a spirit truly excellent and rare.
+
+A contemporary of this craftsman was the Milanese Gaudenzio, a resolute,
+well-practised, and excellent painter, who made many works in fresco at
+Milan; and in particular, for the Frati della Passione, a most beautiful
+Last Supper, which remained unfinished by reason of his death. He also
+painted very well in oils, and there are many highly-esteemed works by
+his hand at Vercelli and Veralla.
+
+
+
+
+ANDREA DEL SARTO
+
+
+
+
+LIFE OF ANDREA DEL SARTO
+
+A MOST EXCELLENT PAINTER OF FLORENCE
+
+
+At length, after the Lives of many craftsmen who have been excellent,
+some in colouring, some in drawing, and others in invention, we have
+come to the most excellent Andrea del Sarto, in whose single person
+nature and art demonstrated all that painting can achieve by means of
+draughtsmanship, colouring, and invention, insomuch that, if Andrea had
+possessed a little more fire and boldness of spirit, to correspond to
+his profound genius and judgment in his art, without a doubt he would
+have had no equal. But a certain timidity of spirit and a sort of
+humility and simplicity in his nature made it impossible that there
+should be seen in him that glowing ardour and that boldness which, added
+to his other qualities, would have made him truly divine in painting;
+for which reason he lacked those adornments and that grandeur and
+abundance of manners which have been seen in many other painters. His
+figures, however, for all their simplicity and purity, are well
+conceived, free from errors, and absolutely perfect in every respect.
+The expressions of his heads, both in children and in women, are
+gracious and natural, and those of men, both young and old, admirable in
+their vivacity and animation; his draperies are beautiful to a marvel,
+and his nudes very well conceived. And although his drawing is simple,
+all that he coloured is rare and truly divine.
+
+Andrea was born in Florence, in the year 1478, to a father who was all
+his life a tailor; whence he was always called Andrea del Sarto by
+everyone. Having come to the age of seven, he was taken away from his
+reading and writing school and apprenticed to the goldsmith's craft. But
+in this he was always much more willing to practise his hand in
+drawing, to which he was drawn by a natural inclination, than in using
+the tools for working in silver or gold; whence it came to pass that
+Gian Barile, a painter of Florence, but one of gross and vulgar taste,
+having seen the boy's good manner of drawing, took him under his
+protection, and, making him abandon his work as goldsmith, directed him
+to the art of painting. Andrea, beginning with much delight to practise
+it, recognized that nature had created him for that profession; and in a
+very short space of time, therefore, he was doing such things with
+colours as filled Gian Barile and the other craftsmen in the city with
+marvel. Now after three years, through continual study, he had acquired
+an excellent mastery over his work, and Gian Barile saw that by
+persisting in his studies the boy was likely to achieve an extraordinary
+success. Having therefore spoken of him to Piero di Cosimo, who was held
+at that time to be one of the best painters in Florence, he placed
+Andrea with Piero. And Andrea, as one full of desire to learn, laboured
+and studied without ceasing; while nature, which had created him to be a
+painter, so wrought in him, that he handled and managed his colours with
+as much grace as if he had been working for fifty years. Wherefore Piero
+conceived an extraordinary love for him, feeling marvellous pleasure in
+hearing that when Andrea had any time to himself, particularly on
+feast-days, he would spend the whole day in company with other young
+men, drawing in the Sala del Papa, wherein were the cartoons of
+Michelagnolo and Leonardo da Vinci, and that, young as he was, he
+surpassed all the other draughtsmen, both native and foreign, who were
+always competing there with one another.
+
+[Illustration: "NOLI ME TANGERE"
+
+(_After the panel by =Andrea del Sarto=. Florence: Uffizi, 93_)
+
+_Alinari_]
+
+Among these young men, there was one who pleased Andrea more than any
+other with his nature and conversation, namely, the painter
+Franciabigio; and Franciabigio, likewise, was attracted by Andrea.
+Having become friends, therefore, Andrea said to Franciabigio that he
+could no longer endure the caprices of Piero, who was now old, and that
+for this reason he wished to take a room for himself. Hearing this,
+Franciabigio, who was obliged to do the same thing because his master
+Mariotto Albertinelli had abandoned the art of painting, said to his
+companion Andrea that he also was in need of a room, and that it would
+be to the advantage of both of them if they were to join forces.
+Having therefore taken a room on the Piazza del Grano, they executed
+many works in company; among others, the curtains that cover the
+panel-pictures on the high-altar of the Servi; for which they received
+the commission from a sacristan very closely related to Franciabigio. On
+one of those curtains, that which faces the choir, they painted the
+Annunciation of the Virgin; and on the other, which is in front, a
+Deposition of Christ from the Cross, like that of the panel-picture
+which was there, painted by Filippo and Pietro Perugino.
+
+The men of that company in Florence which is called the Company of the
+Scalzo used to assemble at the head of the Via Larga, above the houses
+of the Magnificent Ottaviano de' Medici, and opposite to the garden of
+S. Marco, in a building dedicated to S. John the Baptist, which had been
+built in those days by a number of Florentine craftsmen, who had made
+there, among other things, an entrance-court of masonry with a loggia
+which rested on some columns of no great size. And some of them,
+perceiving that Andrea was on the way to becoming known as an excellent
+painter, and being richer in spirit than in pocket, determined that he
+should paint round that cloister twelve pictures in chiaroscuro--that is
+to say, in fresco with terretta--containing twelve scenes from the life
+of S. John the Baptist. Whereupon, setting his hand to this, he painted
+in the first the scene of S. John baptizing Christ, with much diligence
+and great excellence of manner, whereby he gained credit, honour, and
+fame to such an extent, that many persons turned to him with commissions
+for works, as to one whom they thought to be destined in time to reach
+that honourable goal which was foreshadowed by his extraordinary
+beginnings in his profession.
+
+Among other works that he made in that first manner, he painted a
+picture which is now in the house of Filippo Spini, held in great
+veneration in memory of so able a craftsman. And not long after this he
+was commissioned to paint for a chapel in S. Gallo, the Church of the
+Eremite Observantines of the Order of S. Augustine, without the Porta a
+S. Gallo, a panel-picture of Christ appearing in the garden to Mary
+Magdalene in the form of a gardener; which work, what with the colouring
+and a certain quality of softness and harmony, is sweetness itself, and
+so well executed, that it led to his painting two others not long
+afterwards for the same church, as will be related below. This panel is
+now in S. Jacopo tra Fossi, on the Canto degli Alberti, together with
+the two others.
+
+After these works, Andrea and Franciabigio, leaving the Piazza del
+Grano, took new rooms in the Sapienza, near the Convent of the Nunziata;
+whence it came about that Andrea and Jacopo Sansovino, who was then a
+young man and was working at sculpture in the same place under his
+master Andrea Contucci, formed so warm and so strait a friendship
+together, that neither by day nor by night were they ever separated one
+from another. Their discussions were for the most part on the
+difficulties of art, so that it is no marvel that both of them should
+have afterwards become most excellent, as is now being shown of Andrea
+and as will be related in the proper place of Jacopo.
+
+[Illustration: THE LAST SUPPER
+
+(_After the fresco by =Andrea del Sarto=. Florence: S. Salvi_)
+
+_Anderson_]
+
+There was at this same time in the Convent of the Servi, selling the
+candles at the counter, a friar called Fra Mariano dal Canto alla
+Macine, who was also sacristan; and he heard everyone extolling Andrea
+mightily and saying that he was by way of making marvellous proficience
+in painting. Whereupon he planned to fulfil a desire of his own without
+much expense; and so, approaching Andrea, who was a mild and guileless
+fellow, on the side of his honour, he began to persuade him under the
+cloak of friendship that he wished to help him in a matter which would
+bring him honour and profit and would make him known in such a manner,
+that he would never be poor any more. Now many years before, as has been
+related above, Alesso Baldovinetti had painted a Nativity of Christ in
+the first cloister of the Servi, on the wall that has the Annunciation
+behind it; and in the same cloister, on the other side, Cosimo Rosselli
+had begun a scene of S. Filippo, the founder of that Servite Order,
+assuming the habit. But Cosimo had not carried that scene to completion,
+because death came upon him at the very moment when he was working at
+it. The friar, then, being very eager to see the rest finished, thought
+of serving his own ends by making Andrea and Franciabigio, who, from
+being friends, had become rivals in art, compete with one another, each
+doing part of the work. This, besides effecting his purpose very
+well, would make the expense less and their efforts greater. Thereupon,
+revealing his mind to Andrea, he persuaded him to undertake that
+enterprise, by pointing out to him that since it was a public and much
+frequented place, he would become known on account of such a work no
+less by foreigners than by the Florentines; that he should not look for
+any payment in return, or even for an invitation to undertake it, but
+should rather pray to be allowed to do it; and that if he were not
+willing to set to work, there was Franciabigio, who, in order to make
+himself known, had offered to accept it and to leave the matter of
+payment to him. These incitements did much to make Andrea resolve to
+undertake the work, and the rather as he was a man of little spirit; and
+the last reference to Franciabigio induced him to make up his mind
+completely and to come to an agreement, in the form of a written
+contract, with regard to the whole work, on the terms that no one else
+should have a hand in it. The friar, then, having thus pledged him and
+given him money, demanded that he should begin by continuing the life of
+S. Filippo, without receiving more than ten ducats from him in payment
+of each scene; and he told Andrea that he was giving him even that out
+of his own pocket, and was doing it more for the benefit and advantage
+of the painter than through any want or need of the convent.
+
+Andrea, therefore, pursuing that work with the utmost diligence, like
+one who thought more of honour than of profit, after no long time
+completely finished the first three scenes and unveiled them. One was
+the scene of S. Filippo, now a friar, clothing the naked. In another he
+is shown rebuking certain gamesters, who blasphemed God and laughed at
+S. Filippo, mocking at his admonition, when suddenly there comes a
+lightning-flash from Heaven, which, striking a tree under the shade of
+which they were sheltering, kills two of them and throws the rest into
+an incredible panic. Some, with their hands to their heads, cast
+themselves forward in dismay; others, crying aloud in their terror, turn
+to flight; a woman, beside herself with fear at the sound of the
+thunder, is running away so naturally that she appears to be truly
+alive; and a horse, breaking loose amid this uproar and confusion,
+reveals with his leaps and fearsome movements what fear and terror are
+caused by things so sudden and so unexpected. In all this one can see
+how carefully Andrea looked to variety of incident in the representation
+of such events, with a forethought truly beautiful and most necessary
+for one who practises painting. In the third he painted the scene of S.
+Filippo delivering a woman from evil spirits, with all the most
+characteristic considerations that could be imagined in such an action.
+All these scenes brought extraordinary fame and honour to Andrea; and
+thus encouraged, he went on to paint two other scenes in the same
+cloister. On one wall is S. Filippo lying dead, with his friars about
+him making lamentation; and in addition there is a dead child, who,
+touching the bier on which S. Filippo lies, comes to life again, so that
+he is first seen dead, and then revived and restored to life, and all
+with a very beautiful, natural, and appropriate effect. In the last
+picture on that side he represented the friars placing the garments of
+S. Filippo on the heads of certain children; and there he made a
+portrait of Andrea della Robbia, the sculptor, in an old man clothed in
+red, who comes forward, stooping, with a staff in his hand. There, too,
+he portrayed Luca, his son; even as in the other scene mentioned above,
+in which S. Filippo lies dead, he made a portrait of another son of
+Andrea, named Girolamo, a sculptor and very much his friend, who died
+not long since in France.
+
+Having thus finished that side of the cloister, and considering that if
+the honour was great, the payment was small, Andrea resolved to give up
+the rest of the work, however much the friar might complain. But the
+latter would not release him from his bond without Andrea first
+promising that he would paint two other scenes, at his own leisure and
+convenience, however, and with an increase of payment; and thus they
+came to terms.
+
+[Illustration: THE ARRIVAL OF THE MAGI
+
+(_After the fresco by =Andrea del Sarto=. Florence: SS. Annunziata_)
+
+_Alinari_]
+
+Having come into greater repute by reason of these works, Andrea
+received commissions for many pictures and works of importance; among
+others, one from the General of the Monks of Vallombrosa, for painting
+an arch of the vaulting, with a Last Supper on the front wall, in the
+Refectory of the Monastery of S. Salvi, without the Porta alla Croce. In
+four medallions on that vault he painted four figures, S. Benedict, S.
+Giovanni Gualberto, S. Salvi the Bishop, and S. Bernardo degli Uberti
+of Florence, a friar of that Order and a Cardinal; and in the centre
+he made a medallion containing three faces, which are one and the same,
+to represent the Trinity. All this was very well executed for a work in
+fresco, and Andrea, therefore, came to be valued at his true worth in
+the art of painting. Whereupon he was commissioned at the instance of
+Baccio d' Agnolo to paint in fresco, in a close on the steep path of
+Orsanmichele, which leads to the Mercato Nuovo, the Annunciation still
+to be seen there, executed on a minute scale, which brought him but
+little praise; and this may have been because Andrea, who worked well
+without over-exerting himself or forcing his powers, is believed to have
+tried in this work to force himself and to paint with too much care.
+
+As for the many pictures that he executed after this for Florence, it
+would take too long to try to speak of them all; and I will only say
+that among the most distinguished may be numbered the one that is now in
+the apartment of Baccio Barbadori, containing a full-length Madonna with
+a Child in her arms, S. Anne, and S. Joseph, all painted in a beautiful
+manner and held very dear by Baccio. He made one, likewise well worthy
+of praise, which is now in the possession of Lorenzo di Domenico
+Borghini, and another of Our Lady for Leonardo del Giocondo, which at
+the present day is in the hands of Piero, the son of Leonardo. For Carlo
+Ginori he painted two of no great size, which were bought afterwards by
+the Magnificent Ottaviano de' Medici; and one of these is now in his
+most beautiful villa of Campi, while the other, together with many other
+modern pictures executed by the most excellent masters, is in the
+apartment of the worthy son of so great a father, Signor Bernardetto,
+who not only esteems and honours the works of famous craftsmen, but is
+also in his every action a truly generous and magnificent nobleman.
+
+Meanwhile the Servite friar had allotted to Franciabigio one of the
+scenes in the above-mentioned cloister; but that master had not yet
+finished making the screen, when Andrea, becoming apprehensive, since it
+seemed to him that Franciabigio was an abler and more dexterous master
+than himself in the handling of colours in fresco, executed, as it were
+out of rivalry, the cartoons for his two scenes, which he intended to
+paint on the angle between the side-door of S. Bastiano and the smaller
+door that leads from the cloister into the Nunziata. Having made the
+cartoons, he set to work in fresco; and in the first scene he painted
+the Nativity of Our Lady, a composition of figures beautifully
+proportioned and grouped with great grace in a room, wherein some women
+who are friends and relatives of the newly delivered mother, having come
+to visit her, are standing about her, all clothed in such garments as
+were customary at that time, and other women of lower degree, gathered
+around the fire, are washing the newborn babe, while others are
+preparing the swathing-bands and doing other similar services. Among
+them is a little boy, full of life, who is warming himself at the fire,
+with an old man resting in a very natural attitude on a couch, and
+likewise some women carrying food to the mother who is in bed, with
+movements truly lifelike and appropriate. And all these figures,
+together with some little boys who are hovering in the air and
+scattering flowers, are most carefully considered in their expressions,
+their draperies, and every other respect, and so soft in colour, that
+the figures appear to be of flesh and everything else rather real than
+painted.
+
+In the other scene Andrea painted the three Magi from the East, who,
+guided by the Star, went to adore the Infant Jesus Christ. He
+represented them dismounted, as though they were near their destination;
+and that because there was only the space embracing the two doors to
+separate them from the Nativity of Christ which may be seen there, by
+the hand of Alesso Baldovinetti. In this scene Andrea painted the Court
+of those three Kings coming behind them, with baggage, much equipment,
+and many people following in their train, among whom, in a corner, are
+three persons portrayed from life and wearing the Florentine dress, one
+being Jacopo Sansovino, a full-length figure looking straight at the
+spectator, while another, with an arm in foreshortening, who is leaning
+against him and making a sign, is Andrea, the master of the work, and a
+third head, seen in profile behind Jacopo, is that of Ajolle, the
+musician. There are, in addition, some little boys who are climbing on
+the walls, in order to be able to see the magnificent procession and the
+fantastic animals that those three Kings have brought with them. This
+scene is quite equal in excellence to that mentioned above; nay, in
+both the one and the other he surpassed himself, not to speak of
+Franciabigio, who also finished his.
+
+At this same time Andrea painted for the Abbey of S. Godenzo, a benefice
+belonging to the same friars, a panel which was held to be very well
+executed. And for the Friars of S. Gallo he made a panel-picture of Our
+Lady receiving the Annunciation from the Angel, wherein may be seen a
+very pleasing harmony of colouring, while the heads of some Angels
+accompanying Gabriel show a sweet gradation of tints and a perfectly
+executed beauty of expression in their features; and the predella below
+this picture was painted by Jacopo da Pontormo, who was a disciple of
+Andrea at that time, and gave proofs at that early age that he was
+destined to produce afterwards those beautiful works which he actually
+did execute in Florence with his own hand, although in the end he became
+one might say another painter, as will be related in his Life.
+
+Andrea then painted for Zanobi Girolami a picture with figures of no
+great size, wherein was a story of Joseph, the son of Jacob, which was
+finished by him with unremitting diligence, and therefore held to be a
+very beautiful painting. Not long after this, he undertook to execute
+for the men of the Company of S. Maria della Neve, situated behind the
+Nunnery of S. Ambrogio, a little panel with three figures--Our Lady, S.
+John the Baptist, and S. Ambrogio; which work, when finished, was placed
+in due time on the altar of that Company.
+
+Meanwhile, thanks to his talent, Andrea had become intimate with
+Giovanni Gaddi, afterwards appointed Clerk of the Chamber, who, always
+delighting in the arts of design, was then keeping Jacopo Sansovino
+continually at work. Being pleased, therefore, with the manner of
+Andrea, he caused him to paint a picture of Our Lady for himself, which
+was very beautiful, for Andrea painted various patterns and other
+ingenious devices round it, so that it was considered to be the most
+beautiful work that he had executed up to that time. After this he made
+for Giovanni di Paolo, the mercer, another picture of Our Lady, which,
+being truly lovely, gave infinite pleasure to all who saw it. And for
+Andrea Santini he executed another, containing Our Lady, Christ, S.
+John, and S. Joseph, all wrought with such diligence that the painting
+has always been esteemed in Florence as worthy of great praise.
+
+All these works acquired such a name for Andrea in his city, that among
+the many, both young and old, who were painting at that time, he was
+considered one of the most excellent who were handling brushes and
+colours. Wherefore he found himself not only honoured, but even,
+although he exacted the most paltry prices for his labours, in a
+condition to do something to help and support his family, and also to
+shelter himself from the annoyances and anxieties which afflict those of
+us who live in poverty. But he became enamoured of a young woman, and a
+little time afterwards, when she had been left a widow, he took her for
+his wife; and then he had more than enough to do for the rest of his
+life, and much more trouble than he had suffered in the past, for the
+reason that, in addition to the labours and annoyances that such
+entanglements generally involve, he undertook others into the bargain,
+such as that of letting himself be harassed now by jealousy, now by one
+thing, and now by another.
+
+[Illustration: ANDREA DEL SARTO: MADONNA DELL' ARPIE
+
+(_Florence: Uffizi, 1112. Panel_)]
+
+But to return to the works of his hand, which were as rare as they were
+numerous: after those of which mention has been made above, he painted
+for a friar of S. Croce, of the Order of Minorites, who was then
+Governor of the Nunnery of S. Francesco in Via Pentolini, and delighted
+much in paintings, a panel-picture destined for the Church of those
+Nuns, of Our Lady standing on high upon an octagonal pedestal, at the
+corners of which are seated some Harpies, as it were in adoration of the
+Virgin; and she, using one hand to uphold her Son, who is clasping her
+most tenderly round the neck with His arms, in a very beautiful
+attitude, is holding a closed book in the other hand and gazing on two
+little naked boys, who, while helping her to stand upright, serve as
+ornaments about her person. This Madonna has on her right a beautifully
+painted S. Francis, in whose face may be seen the goodness and
+simplicity that truly belonged to that saintly man; besides which, the
+feet are marvellous, and so are the draperies, because Andrea always
+rounded off his figures with a very rich flow of folds and with certain
+most delicate curves, in such a way as to reveal the nude below. On her
+left hand she has a S. John the Evangelist, represented as a young
+man and in the act of writing his Gospel, in a very beautiful manner. In
+this work, moreover, over the building and the figures, is a film of
+transparent clouds, which appear to be really moving. This picture,
+among all Andrea's works, is held at the present day to be one of
+singular and truly rare beauty. For the joiner Nizza, also, he made a
+picture of Our Lady, which was considered to be no less beautiful than
+any of his other works.
+
+After this, the Guild of Merchants determined to have some triumphal
+chariots made of wood after the manner of those of the ancient Romans,
+to the end that these might be drawn in procession on the morning of S.
+John's day, in place of certain altar-cloths and wax tapers which the
+cities and townships carry in token of tribute, passing before the Duke
+and the chief magistrates; and out of ten that were made at that time,
+Andrea painted some with scenes in oils and in chiaroscuro, which were
+much extolled. But although it was proposed that some should be made
+every year, until such time as every city and district had one of its
+own, which would have produced a show of extraordinary magnificence,
+nevertheless this custom was abandoned in the year 1527.
+
+Now, while Andrea was adorning his city with these and other works, and
+his name was growing greater every day, the men of the Company of the
+Scalzo resolved that he should finish the work in their cloister, which
+he had formerly begun by painting the scene of the Baptism of Christ.
+Having resumed that work, therefore, more willingly, he executed two
+scenes there, with two very beautiful figures of Charity and Justice to
+adorn the door that leads into the building of the Company. In one of
+these scenes he represented S. John preaching to the multitude in a
+spirited attitude, lean in person, as befitted the life that he was
+leading, and with an expression of countenance filled with inspiration
+and thoughtfulness. Marvellous, likewise, are the variety and the
+vivacity of his hearers, some being shown in admiration, and all in
+astonishment, at hearing that new message and a doctrine so singular and
+never heard before. Even more did Andrea exert his genius in painting
+the same John baptizing with water a vast number of people, some of whom
+are stripping off their clothes, some receiving the baptism, and
+others, naked, waiting for him to finish baptizing those who are before
+them. In all of them Andrea showed a vivid emotion, with a burning
+desire in the gestures of those who are eager to be purified of their
+sins; not to mention that all the figures are so well executed in that
+chiaroscuro, that the whole has the appearance of a real and most
+lifelike scene in marble.
+
+I will not refrain from saying that while Andrea was employed on these
+and other pictures, there appeared certain copper engravings by Albrecht
+Dürer, and Andrea made use of them, taking some of the figures and
+transforming them into his manner. And this has caused some people,
+while not saying that it is a bad thing for a man to make adroit use of
+the good work of others, to believe that Andrea had not much invention.
+
+At that time there came to Baccio Bandinelli, then a draughtsman of
+great repute, a desire to learn to paint in oils. Whereupon, knowing
+that no man in Florence knew how to do that better than our Andrea, he
+commissioned him to paint his portrait, which was a good likeness of him
+at that age, as may be seen even yet; and thus, by watching him paint
+that work and others, he saw his method of colouring, although
+afterwards, either by reason of the difficulty or from lack of
+inclination, he did not pursue the use of colours, finding more
+satisfaction in sculpture.
+
+Andrea executed for Alessandro Corsini a picture of a Madonna seated on
+the ground with a Child in her arms, surrounded by many little boys,
+which was finished with beautiful art and with very pleasing colour; and
+for a mercer, much his friend, who kept a shop in Rome, he made a most
+beautiful head. Giovan Battista Puccini of Florence, likewise, taking
+extraordinary pleasure in the manner of Andrea, commissioned him to
+paint a picture of Our Lady for sending into France; but it proved to be
+so fine that he kept it for himself, and would by no means send it.
+However, having been asked, while transacting the affairs of his
+business in France, to undertake to send choice paintings to that
+country, he caused Andrea to paint a picture of a Dead Christ surrounded
+by some Angels, who were supporting Him and contemplating with gestures
+of sorrow and compassion their Maker sunk to such a pass through the
+sins of the world. This work, when finished, gave such universal
+satisfaction, that Andrea, urged by many entreaties, had it engraved in
+Rome by the Venetian Agostino; but it did not succeed very well, and he
+would never again give any of his works to be engraved. But to return to
+the picture: it gave no less satisfaction in France, whither it was
+sent, than it had done in Florence, insomuch that the King, kindled with
+even greater desire to have works by Andrea, gave orders that he should
+execute others; which was the reason that Andrea, encouraged by his
+friends, resolved to go in a short time to France.
+
+But meanwhile the Florentines, hearing in the year 1515 that Pope Leo X
+wished to grace his native city with his presence, ordained for his
+reception extraordinary festivities and a sumptuous and magnificent
+spectacle, with so many arches, façades, temples, colossal figures, and
+other statues and ornaments, that there had never been seen up to that
+time anything richer, more gorgeous, or more beautiful; for there was
+then flourishing in that city a greater abundance of fine and exalted
+intellects than had ever been known at any other period. At the entrance
+of the Porta di S. Piero Gattolini, Jacopo di Sandro, in company with
+Baccio da Montelupo, made an arch covered with historical scenes.
+Giuliano del Tasso made another at S. Felice in Piazza, with some
+statues and the obelisk of Romulus at S. Trinità, and Trajan's Column in
+the Mercato Nuovo. In the Piazza de' Signori, Antonio, the brother of
+Giuliano da San Gallo, erected an octagonal temple, and Baccio
+Bandinelli made a Giant for the Loggia. Between the Badia and the Palace
+of the Podestà there was an arch erected by Granaccio and Aristotele da
+San Gallo, and Il Rosso made another on the Canto de' Bischeri with a
+very beautiful design and a variety of figures. But what was admired
+more than everything else was the façade of S. Maria del Fiore, made of
+wood, and so well decorated with various scenes in chiaroscuro by our
+Andrea, that nothing more could have been desired. The architecture of
+this work was by Jacopo Sansovino, as were some scenes in low-relief and
+many figures carved in the round; and it was declared by the Pope that
+this structure--which was designed by Lorenzo de' Medici, father of that
+Pontiff, when he was alive--could not have been more beautiful, even if
+it had been of marble. The same Jacopo made a horse similar to the one
+in Rome, which was held to be a miracle of beauty, on the Piazza di S.
+Maria Novella. An endless number of ornaments, also, were executed for
+the Sala del Papa in the Via della Scala, and that street was half
+filled with most beautiful scenes wrought by the hands of many
+craftsmen, but designed for the most part by Baccio Bandinelli.
+Wherefore, when Leo entered Florence, on the third day of September in
+the same year, this spectacle was pronounced to be the grandest that had
+ever been devised, and the most beautiful.
+
+But to return now to Andrea: being again requested to make another
+picture for the King of France, in a short time he finished one wherein
+he painted a very beautiful Madonna, which was sent off immediately, the
+merchants receiving for it four times as much as they had paid. Now at
+that very time Pier Francesco Borgherini had caused to be made by Baccio
+d' Agnolo some panelling, chests, chairs, and a bed, all carved in
+walnut-wood, for the furnishing of an apartment; wherefore, to the end
+that the paintings therein might be equal in excellence to the rest of
+the work, he commissioned Andrea to paint part of the scenes on these
+with figures of no great size, representing the acts of Joseph the son
+of Jacob, in competition with some of great beauty that had been
+executed by Granaccio and Jacopo da Pontormo. Andrea, then, devoting an
+extraordinary amount of time and diligence to the work, strove to bring
+it about that they should prove to be more perfect than those of the
+others mentioned above; in which he succeeded to a marvel, for in the
+variety of events happening in the stories he showed how great was his
+worth in the art of painting. So excellent were those scenes, that an
+attempt was made by Giovan Battista della Palla, on account of the siege
+of Florence, to remove them from the places where they were fixed, in
+order to send them to the King of France; but, since they were fixed in
+such a way that it would have meant spoiling the whole work, they were
+left where they were, together with a picture of Our Lady, which is held
+to be a very choice work.
+
+[Illustration: CHARITY
+
+(_After the painting by =Andrea del Sarto=. Paris: Louvre, 1514_)
+
+_Neurdein_]
+
+After this Andrea executed a head of Christ, now kept by the Servite
+Friars on the altar of the Nunziata, of such beauty, that I for my part
+do not know whether any more beautiful image of the head of Christ
+could be conceived by the intellect of man. For the chapels in the
+Church of S. Gallo, without the Porta S. Gallo, there had been painted,
+in addition to the two panel-pictures by Andrea, a number of others,
+which were not equal to his; wherefore, since there was a commission to
+be given for another, those friars contrived to persuade the owner of
+the chapel to give it to Andrea; and he, beginning it immediately, made
+therein four figures standing, engaged in a disputation about the
+Trinity. One of these is S. Augustine, who, robed as a Bishop and truly
+African in aspect, is moving impetuously towards S. Peter Martyr, who is
+holding up an open book in a proud and sublime attitude: and the head
+and figure of the latter are much extolled. Beside him is a S. Francis
+holding a book in one hand and pressing the other against his breast;
+and he appears to be expressing with his lips a glowing ardour that
+makes him almost melt away in the heat of the discussion. There is also
+a S. Laurence, who, being young, is listening, and seems to be yielding
+to the authority of the others. Below them are two figures kneeling, one
+a Magdalene with most beautiful draperies, whose countenance is a
+portrait of Andrea's wife; for in no place did he paint a woman's
+features without copying them from her, and if perchance it happened at
+times that he took them from other women, yet, from his being used to
+see her continually, and from the circumstance that he had drawn her so
+often, and, what is more, had her impressed on his mind, it came about
+that almost all the heads of women that he made resembled her. The other
+kneeling figure is a S. Sebastian, who, being naked, shows his back,
+which appears to all who see it to be not painted, but of living flesh.
+And indeed, among so many works in oils, this was held by craftsmen to
+be the best, for the reason that there may be seen in it signs of
+careful consideration in the proportions of the figures, and much order
+in the method, with a sense of fitness in the expressions of the faces,
+the heads of the young showing sweetness of expression, those of the old
+hardness, and those of middle age a kind of blend that inclines both to
+the first and to the second. In a word, this panel is most beautiful in
+all its parts; and it is now to be found in S. Jacopo tra Fossi on the
+Canto degli Alberti, together with others by the hand of the same
+master.
+
+While Andrea was living poorly enough in Florence, engaged in these
+works, but without bettering himself a whit, the two pictures that he
+had sent to France had been duly considered in that country by King
+Francis I; and among many others which had been sent from Rome, from
+Venice, and from Lombardy, they had been judged to be by far the best.
+The King therefore praising them mightily, it was remarked to him that
+it would be an easy matter to persuade Andrea to come to France to serve
+his Majesty; which news was so agreeable to the King, that he gave
+orders that all that was necessary should be done, and that money for
+the journey should be paid to Andrea in Florence. Andrea then set out
+for France with a glad heart, taking with him his assistant Andrea
+Sguazzella; and, having arrived at last at the Court, they were received
+by the King with great kindness and rejoicing. Before the very day of
+his arrival had passed by, Andrea proved for himself how great were the
+courtesy and the liberality of that magnanimous King, receiving presents
+of money and rich and honourable garments. Beginning to work soon
+afterwards, he became so dear to the King and to all the Court, that he
+was treated lovingly by everyone, and it appeared to him that his
+departure from his country had brought him from one extreme of
+wretchedness to the other extreme of bliss. Among his first works was a
+portrait from life of the Dauphin, the son of the King, born only a few
+months before, and still in swaddling-clothes; and when he took this to
+the King, he received a present of three hundred gold crowns. Then,
+continuing to work, he painted for the King a figure of Charity, which
+was considered a very rare work and was held by that Sovereign in the
+estimation that it deserved. After that, his Majesty granted him a
+liberal allowance and did all that he could to induce Andrea to stay
+willingly with him, promising him that he should never want for
+anything; and this because he liked Andrea's resoluteness in his work,
+and also the character of the man, who was contented with everything.
+Moreover, giving great satisfaction to the whole Court, he executed many
+pictures and various other works; and if he had kept in mind the
+condition from which he had escaped and the place to which fortune had
+brought him, there is no doubt that he would have risen--to say nothing
+of riches--to a most honourable rank. But one day, when he was at work
+on a S. Jerome in Penitence for the mother of the King, there came to
+him some letters from Florence, written by his wife; and he began,
+whatever may have been the reason, to think of departing. He sought
+leave, therefore, from the King, saying that he wished to go to
+Florence, but would return without fail to his Majesty after settling
+some affairs; and he would bring his wife with him, in order to live
+more at his ease in France, and would come back laden with pictures and
+sculptures of value. The King, trusting in him, gave him money for that
+purpose; and Andrea swore on the Testament to return to him in a few
+months.
+
+Thus, then, he arrived in Florence, and for several months blissfully
+took his joy of his fair lady, his friends, and the city. And finally,
+the time at which he was to return having passed by, he found in the end
+that what with building, taking his pleasure, and doing no work, he had
+squandered all his money and likewise that of the King. Even so he
+wished to return, but he was more influenced by the sighs and prayers of
+his wife than by his own necessities and the pledge given to the King,
+so that, in order to please his wife, he did not go back; at which the
+King fell into such disdain, that for a long time he would never again
+look with a favourable eye on any painter from Florence, and he swore
+that if Andrea ever came into his hands he would give him a very
+different kind of welcome, with no regard whatever for his abilities.
+And thus Andrea, remaining in Florence, and sinking from the highest
+rung of the ladder to the very lowest, lived and passed the time as best
+he could.
+
+After Andrea's departure to France, the men of the Scalzo, thinking that
+he would never return, had entrusted all the rest of the work in their
+cloister to Franciabigio, who had already executed two scenes there,
+when, seeing Andrea back in Florence, they persuaded him to set his hand
+to the work once more; and he, continuing it, painted four scenes, one
+beside another. In the first is S. John taken before Herod. In the
+second are the Feast and the Dance of Herodias, with figures very well
+grouped and appropriate. In the third is the Beheading of S. John,
+wherein the minister of justice, a half-nude figure, is beautifully
+drawn, as are all the others. In the fourth Herodias is presenting the
+head; and here there are figures expressing their astonishment, which
+are wrought with most beautiful thought and care. These scenes have been
+for some time the study and school of many young men who are now
+excellent in our arts.
+
+In a shrine without the Porta a Pinti, at a corner where the road turns
+towards the Ingesuati, he painted in fresco a Madonna seated with a
+Child in her arms, and a little S. John who is smiling, a figure wrought
+with extraordinary art and with such perfect execution, that it is much
+extolled for its beauty and vivacity; and the head of the Madonna is a
+portrait of his wife from nature. This shrine, on account of the
+incredible beauty of the painting, which is truly marvellous, was left
+standing in 1530, when, because of the siege of Florence, the aforesaid
+Convent of the Ingesuati was pulled down, together with many other very
+beautiful buildings.
+
+About the same time the elder Bartolommeo Panciatichi, who was carrying
+on a great mercantile business in France, desiring to leave a memorial
+of himself in Lyons, ordered Baccio d' Agnolo to have a panel painted
+for him by Andrea, and to send it to him there; saying that he wanted
+the subject to be the Assumption of Our Lady, with the Apostles about
+the tomb. This work, then, Andrea carried almost to completion; but
+since the wood of the panel split apart several times, he would
+sometimes work at it, and sometimes leave it alone, so that at his death
+it remained not quite finished. Afterwards it was placed by the younger
+Bartolommeo Panciatichi in his house, as a work truly worthy of praise
+on account of the beautiful figures of the Apostles; not to speak of the
+Madonna, who is surrounded by a choir of little boys standing, while
+certain others are supporting her and bearing her upwards with
+extraordinary grace. And in the foreground of the panel, among the
+Apostles, is a portrait of Andrea, so natural that it seems to be alive.
+It is now at the villa of the Baroncelli, a little distance from
+Florence, in a small church built by Piero Salviati near his villa to do
+honour to the picture.
+
+At the head of the garden of the Servi, in two angles, Andrea painted
+two scenes of Christ's Vineyard, one showing the planting, staking, and
+binding of the vines, and then the husbandman summoning to the labour
+those who were standing idle, among whom is one who, being asked
+whether he wishes to join the work, sits rubbing his hands and pondering
+whether he will go among the other labourers, exactly as those idle
+fellows do who have but little mind to work. Even more beautiful is the
+other scene, wherein the same husbandman is causing them to be paid,
+while they murmur and complain, and one among them, who is counting over
+his money by himself, wholly intent on examining his share, seems
+absolutely alive, as also does the steward who is paying out the wages.
+These scenes are in chiaroscuro, and executed with extraordinary mastery
+in fresco. After them he painted a Pietà, coloured in fresco, which is
+very beautiful, in a niche at the head of a staircase in the noviciate
+of the same convent. He also painted another Pietà in a little picture
+in oils, in addition to a Nativity, for the room in that convent wherein
+the General, Angelo Aretino, once lived.
+
+The same master painted for Zanobi Bracci, who much desired to have some
+work by his hand, for one of his apartments, a picture of Our Lady, in
+which she is on her knees, leaning against a rock, and contemplating
+Christ, who lies on a heap of drapery and looks up at her, smiling;
+while a S. John, who stands there, is making a sign to the Madonna, as
+if to say that her Child is the true Son of God. Behind these figures is
+a S. Joseph with his head resting on his hands, which are lying on a
+rock; and he appears to be filled with joy at seeing the human race
+become divine through that Birth.
+
+Cardinal Giulio de' Medici having been commissioned by Pope Leo to see
+to the adorning with stucco and paintings of the ceiling in the Great
+Hall of Poggio a Caiano, a palatial villa of the Medici family, situated
+between Pistoia and Florence, the charge of arranging for that work and
+of paying out the money was given to the Magnificent Ottaviano de'
+Medici, as to a person who, not falling short of the standard of his
+ancestors, was well informed in such matters and a loving friend to all
+the masters of our arts, and delighted more than any other man to have
+his dwellings adorned with the works of the most excellent. Ottaviano
+ordained, therefore, although the commission for the whole work had
+already been given to Franciabigio, that he should have only a third,
+Andrea another, and Jacopo da Pontormo the last. But it was found
+impossible, for all the efforts that the Magnificent Ottaviano made to
+urge them on, and for all the money that he offered and even paid to
+them, to get the work brought to completion; and Andrea alone finished
+with great diligence a scene on one wall, representing Cæsar being
+presented with tribute of all kinds of animals. The drawing for this
+work is in our book, with many others by his hand; it is in chiaroscuro,
+and is the most finished that he ever made. In this picture Andrea, in
+order to surpass Franciabigio and Jacopo, subjected himself to
+unexampled labour, drawing in it a magnificent perspective-view and a
+very masterly flight of steps, which formed the ascent to the throne of
+Cæsar. And these steps he adorned with very well-designed statues, not
+being content with having proved the beauty of his genius in the variety
+of figures that are carrying on their backs all those different animals,
+such as the figure of an Indian who is wearing a yellow coat, and
+carrying on his shoulders a cage drawn in perspective with some parrots
+both within it and without, the whole being rarely beautiful; and such,
+also, as some who are leading Indian goats, lions, giraffes, panthers,
+lynxes, and apes, with Moors and other lovely things of fancy, all
+grouped in a beautiful manner and executed divinely well in fresco. On
+these steps, also, he made a dwarf seated and holding a box containing a
+chameleon, which is so well executed in all the deformity of its
+fantastic shape, that it is impossible to imagine more beautiful
+proportions than those that he gave it. But, as has been said, this work
+remained unfinished, on account of the death of Pope Leo; and although
+Duke Alessandro de' Medici had a great desire that Jacopo da Pontormo
+should finish it, he was not able to prevail on him to put his hand to
+it. And in truth it suffered a very grievous wrong in the failure to
+complete it, seeing that the hall, for one in a villa, is the most
+beautiful in the world.
+
+After returning to Florence, Andrea painted a picture with a nude
+half-length figure of S. John the Baptist, a very beautiful thing, which
+he executed at the commission of Giovan Maria Benintendi, who presented
+it afterwards to the Lord Duke Cosimo.
+
+[Illustration: CÆSAR RECEIVING THE TRIBUTE OF EGYPT
+
+(_After the fresco by =Andrea del Sarto=. Florence: Poggio a Caiano_)
+
+_Alinari_]
+
+While affairs were proceeding in this manner, Andrea, remembering
+sometimes his connection with France, sighed from his heart: and if
+he had hoped to find pardon for the fault he had committed, there is no
+doubt that he would have gone back. Indeed, to try his fortune, he
+sought to see whether his talents might be helpful to him in the matter.
+Thus he painted a picture of a half-naked S. John the Baptist, meaning
+to send it to the Grand Master of France, to the end that he might
+occupy himself with restoring the painter to the favour of the King.
+However, whatever may have been the reason, he never sent it after all,
+but sold it to the Magnificent Ottaviano de' Medici, who always valued
+it much as long as he lived, even as he did two pictures of Our Lady
+executed for him by Andrea in one and the same manner, which are in his
+house at the present day.
+
+Not long afterwards he was commissioned by Zanobi Bracci to paint a
+picture for Monsignore di San Biause,[6] which he executed with all
+possible diligence, hoping that it might enable him to regain the favour
+of King Francis, to whose service he desired to return. He also executed
+for Lorenzo Jacopi a picture of much greater size than was usual,
+containing a Madonna seated with the Child in her arms, accompanied by
+two other figures that are seated on some steps; and the whole, both in
+drawing and in colouring, is similar to his other works. He painted for
+Giovanni d' Agostino Dini, likewise, a picture of Our Lady, which is now
+much esteemed for its beauty; and he made so good a portrait from life
+of Cosimo Lapi, that it seems absolutely alive.
+
+Afterwards, in the year 1523, the plague came to Florence and also to
+some places in the surrounding country; and Andrea, in order to avoid
+that pestilence and also to do some work, went at the instance of
+Antonio Brancacci to the Mugello to paint a panel for the Nuns of S.
+Piero a Luco, of the Order of Camaldoli, taking with him his wife and a
+stepdaughter, together with his wife's sister and an assistant. Living
+quietly there, then, he set his hand to the work. And since those
+venerable ladies showed more and more kindness and courtesy every day to
+his wife, to himself, and to the whole party, he applied himself with
+the greatest possible willingness to executing that panel, in which he
+painted a Dead Christ mourned by Our Lady, S. John the Evangelist, and
+the Magdalene, figures so lifelike, that they appear truly to have
+spirit and breath. In S. John may be seen the loving tenderness of that
+Apostle, with affection in the tears of the Magdalene, and bitter sorrow
+in the face and whole attitude of the Madonna, whose aspect, as she
+gazes on Christ, who seems to be truly a real corpse and in relief, is
+so pitiful, that she fills with helpless awe and bewilderment the minds
+of S. Peter and S. Paul, who are contemplating the Dead Saviour of the
+World in the lap of His mother. From these marvellous conceptions it is
+clear how much Andrea delighted in finish and perfection of art; and to
+tell the truth, this panel has given more fame to that convent than all
+the buildings and all the other costly works, however magnificent and
+extraordinary, that have been executed there.
+
+This picture finished, Andrea, seeing that the danger of the plague was
+not yet past, stayed some weeks more in the same place, where he was so
+well received and treated with such kindness. During that time, in order
+not to be idle, he painted not only a Visitation of Our Lady to S.
+Elizabeth, which is in the church, on the right hand above the Manger,
+serving as a crown to a little ancient panel, but also, on a canvas of
+no great size, a most beautiful head of Christ, somewhat similar to that
+on the altar of the Nunziata, but not so finished. This head, which may
+in truth be numbered among the better works that issued from the hands
+of Andrea, is now in the Monastery of the Monks of the Angeli at
+Florence, in the possession of that very reverend father, Don Antonio da
+Pisa, who loves not only the men of excellence in our arts, but every
+man of talent without exception. From this picture several copies have
+been taken, for Don Silvano Razzi entrusted it to the painter Zanobi
+Poggini, to the end that he might make a copy for Bartolommeo Gondi, who
+had asked him for one, and some others were made, which are held in vast
+veneration in Florence.
+
+In this manner, then, Andrea passed without danger the time of the
+plague, and those nuns received from the genius of that great man such a
+work as can bear comparison with the most excellent pictures that have
+been painted in our day; wherefore it is no marvel that Ramazzotto, the
+captain of mercenaries of Scaricalasino, sought to obtain it on several
+occasions during the siege of Florence, in order to send it to his
+chapel in S. Michele in Bosco at Bologna.
+
+On his return to Florence, Andrea executed for Beccuccio da Gambassi,
+the glass-blower, who was very much his friend, a panel-picture of Our
+Lady in the sky with the Child in her arms, and four figures below, S.
+John the Baptist, S. Mary Magdalene, S. Sebastian, and S. Rocco; and in
+the predella he made portraits from nature, which are most lifelike, of
+Beccuccio and his wife. This panel is now at Gambassi, a township in
+Valdelsa, between Volterra and Florence. For a chapel in the villa of
+Zanobi Bracci at Rovezzano, he painted a most beautiful picture of Our
+Lady suckling a Child, with a Joseph, all executed with such diligence
+that they stand out from the panel, so strong is the relief; and this
+picture is now in the house of M. Antonio Bracci, the son of that
+Zanobi. About the same time, also, and in the above-mentioned cloister
+of the Scalzo, Andrea painted two other scenes, in one of which he
+depicted Zacharias offering sacrifice and being made dumb by the Angel
+appearing to him, while in the other is the Visitation of Our Lady,
+beautiful to a marvel.
+
+Now Federigo II, Duke of Mantua, in passing through Florence on his way
+to make obeisance to Clement VII, saw over a door in the house of the
+Medici that portrait of Pope Leo between Cardinal Giulio de' Medici and
+Cardinal de' Rossi, which the most excellent Raffaello da Urbino had
+formerly painted; and being extraordinarily pleased with it, he
+resolved, being a man who delighted in pictures of such beauty, to make
+it his own. And so, when he was in Rome and the moment seemed to him to
+have come, he asked for it as a present from Pope Clement, who
+courteously granted his request. Thereupon orders were sent to Florence
+to Ottaviano de' Medici, under whose care and government were Ippolito
+and Alessandro, that he should have it packed up and taken to Mantua.
+This matter was very displeasing to the Magnificent Ottaviano, who would
+never have consented to deprive Florence of such a picture, and he
+marvelled that the Pope should have given it up so readily. However, he
+answered that he would not fail to satisfy the Duke; but that, since
+the frame was bad, he was having a new one made, and when it had been
+gilt he would send the picture with every possible precaution to Mantua.
+This done, Messer Ottaviano, in order to "save both the goat and the
+cabbage," as the saying goes, sent privately for Andrea and told him how
+the matter stood, and how there was no way out of it but to make an
+exact copy of the picture with the greatest care and send it to the
+Duke, secretly retaining the one by the hand of Raffaello. Andrea, then,
+having promised to do all in his power and knowledge, caused a panel to
+be made similar in size and in every respect, and painted it secretly in
+the house of Messer Ottaviano. And to such purpose did he labour, that
+when it was finished even Messer Ottaviano, for all his understanding in
+matters of art, could not tell the one from the other, nor distinguish
+the real and true picture from the copy; especially as Andrea had
+counterfeited even the spots of dirt, exactly as they were in the
+original. And so, after they had hidden the picture of Raffaello, they
+sent the one by the hand of Andrea, in a similar frame, to Mantua; at
+which the Duke was completely satisfied, and above all because the
+painter Giulio Romano, a disciple of Raffaello, had praised it, failing
+to detect the trick. This Giulio would always have been of the same
+opinion, and would have believed it to be by the hand of Raffaello, but
+for the arrival in Mantua of Giorgio Vasari, who, having been as it were
+the adoptive child of Messer Ottaviano, and having seen Andrea at work
+on that picture, revealed the truth. For Giulio making much of Vasari,
+and showing him, after many antiquities and paintings, that picture of
+Raffaello's, as the best work that was there, Giorgio said to him, "A
+beautiful work it is, but in no way by the hand of Raffaello." "What?"
+answered Giulio. "Should I not know it, when I recognize the very
+strokes that I made with my own brush?" "You have forgotten them," said
+Giorgio, "for this picture is by the hand of Andrea del Sarto; and to
+prove it, there is a sign (to which he pointed) that was made in
+Florence, because when the two were together they could not be
+distinguished." Hearing this, Giulio had the picture turned round, and
+saw the mark; at which he shrugged his shoulders and said these words,
+"I value it no less than if it were by the hand of Raffaello--nay, even
+more, for it is something out of the course of nature that a man of
+excellence should imitate the manner of another so well, and should make
+a copy so like. It is enough that it should be known that Andrea's
+genius was as valiant in double harness as in single." Thus, then, by
+the wise judgment of Messer Ottaviano, satisfaction was given to the
+Duke without depriving Florence of so choice a work, which, having been
+presented to him afterwards by Duke Alessandro, he kept in his
+possession for many years; and finally he gave it to Duke Cosimo, who
+has it in his guardaroba together with many other famous pictures.
+
+While Andrea was making this copy, he also painted for the same Messer
+Ottaviano a picture with only the head of Cardinal Giulio de' Medici,
+who afterwards became Pope Clement; and this head, which was similar to
+that by Raffaello, and very beautiful, was presented eventually by
+Messer Ottaviano to old Bishop de' Marzi.
+
+Not long after, Messer Baldo Magini of Prato desiring to have a most
+beautiful panel-picture painted for the Madonna delle Carcere in his
+native city, for which he had already caused a very handsome ornament of
+marble to be made, one of the many painters proposed to him was Andrea.
+Wherefore Messer Baldo, having more inclination for him than for any of
+the others, although he had no great understanding in such a matter, had
+almost given him to believe that he and no other should do the work,
+when a certain Niccolò Soggi of Sansovino, who had some interest at
+Prato, was suggested to Messer Baldo for the undertaking, and assisted
+to such purpose by the assertion that there was not a better master to
+be found, that the work was given to him. Meanwhile, Andrea's supporters
+sending for him, he, holding it as settled that the work was to be his,
+went off to Prato with Domenico Puligo and other painters who were his
+friends. Arriving there, he found that Niccolò not only had persuaded
+Messer Baldo to change his mind, but also was bold and shameless enough
+to say to him in the presence of Messer Baldo that he would compete with
+Andrea for a bet of any sum of money in painting something, the winner
+to take the whole. Andrea, who knew what Niccolò was worth, answered,
+although he was generally a man of little spirit, "Here is my assistant,
+who has not been long in our art. If you will bet with him, I will put
+down the money for him; but with me you shall have no bet for any money
+in the world, seeing that, if I were to beat you, it would do me no
+honour, and if I were to lose, it would be the greatest possible
+disgrace." And, saying to Messer Baldo that he should give the work to
+Niccolò, because he would execute it in such a manner as would please
+the folk that went to market, he returned to Florence.
+
+There he was commissioned to paint a panel for Pisa, divided into five
+pictures, which were afterwards placed round the Madonna of S. Agnese,
+beside the walls of that city, between the old Citadel and the Duomo.
+Making one figure, then, in each picture, he painted in two of them S.
+John the Baptist and S. Peter, one on either side of the Madonna that
+works miracles; and in the others are S. Catharine the Martyr, S.
+Agnese, and S. Margaret, each a figure by itself, and all so beautiful
+as to fill with marvel anyone who beholds them, and considered to be the
+most gracious and lovely women that he ever painted.
+
+M. Jacopo, a Servite friar, in releasing and absolving a woman from a
+vow, had told her that she must have a figure of Our Lady painted over
+the outer side of that lateral door of the Nunziata which leads into the
+cloister; and therefore, finding Andrea, he said to him that he had this
+money to spend, and that although it was not much it seemed to him
+right, since the other works executed by Andrea in that place had
+brought him such fame, that he and no other should paint this one as
+well. Andrea, who was nothing if not an amiable man, moved by the
+persuasions of the friar and by his own desire for profit and glory,
+answered that he would do it willingly; and shortly afterwards, putting
+his hand to the work, he painted in fresco a most beautiful Madonna
+seated with her Son in her arms, and S. Joseph leaning on a sack, with
+his eyes fixed upon an open book. And of such a kind was this work, in
+draughtsmanship, grace, and beauty of colouring, as well as in vivacity
+and relief, that it proved that he outstripped and surpassed by a great
+measure all the painters who had worked up to that time. Such, indeed,
+is this picture, that by its own merit and without praise from any other
+quarter it makes itself clearly known as amazing and most rare.
+
+There was wanting only one scene in the cloister of the Scalzo for it to
+be completely finished; wherefore Andrea, who had added grandeur to his
+manner after having seen the figures that Michelagnolo had begun and
+partly finished for the Sacristy of S. Lorenzo, set his hand to
+executing this last scene. In this, giving the final proof of his
+improvement, he painted the Birth of S. John the Baptist, with figures
+that were very beautiful and much better and stronger in relief than the
+others made by him before in the same place. Most beautiful, among
+others in this work, are a woman who is carrying the newborn babe to the
+bed on which lies S. Elizabeth, who is likewise a most lovely figure,
+and Zacharias, who is writing on a paper that he has placed on his knee,
+holding it with one hand and with the other writing the name of his son,
+and all with such vivacity, that he lacks nothing save the breath of
+life. Most beautiful, also, is an old woman who is seated on a stool,
+smiling with gladness at the delivery of the other aged woman, and
+revealing in her attitude and expression all that would be seen in a
+living person after such an event.
+
+Having finished that work, which is certainly well worthy of all praise,
+he painted for the General of Vallombrosa a panel-picture with four very
+lovely figures, S. John the Baptist, S. Giovanni Gualberto, founder of
+that Order, S. Michelagnolo, and S. Bernardo, a Cardinal and a monk of
+the Order, with some little boys in the centre that could not be more
+vivacious or more beautiful. This panel is at Vallombrosa, on the summit
+of a rocky height, where certain monks live in some rooms called "the
+cells," separated from the others, and leading as it were the lives of
+hermits.
+
+After this he was commissioned by Giuliano Scala to paint a
+panel-picture, which was to be sent to Serrazzana, of a Madonna seated
+with the Child in her arms, and two half-length figures from the knees
+upwards, S. Celso and S. Julia, with S. Onofrio, S. Catharine, S.
+Benedict, S. Anthony of Padua, S. Peter, and S. Mark; which panel was
+held to be equal to the other works of Andrea. And in the hands of
+Giuliano Scala, in place of the balance due to him of a sum of money
+that he had paid for the owners of that work, there remained a lunette
+containing an Annunciation, which was to go above the panel, to complete
+it; and it is now in his chapel in the great tribune round the choir of
+the Church of the Servi.
+
+The Monks of S. Salvi had let many years pass by without thinking of
+having a beginning made with their Last Supper, which they had
+commissioned Andrea to execute at the time when he painted the arch with
+the four figures; but finally an Abbot, who was a man of judgment and
+breeding, determined that he should finish that work. Thereupon Andrea,
+who had already pledged himself to it on a previous occasion, far from
+making any demur, put his hand to the task, and, working at it one piece
+at a time when he felt so inclined, finished it in a few months, and
+that in such a manner, that the work was held to be, as it certainly is,
+the most spontaneous and the most vivacious in colouring and drawing
+that he ever made, or that ever could be made. For, among other things,
+he gave infinite grandeur, majesty, and grace to all the figures,
+insomuch that I know not what to say of this Last Supper that would not
+be too little, it being such that whoever sees it is struck with
+amazement. Wherefore it is no marvel that on account of its excellence
+it was left standing amid the havoc of the siege of Florence, in the
+year 1529, at which time the soldiers and destroyers, by command of
+those in authority, pulled down all the suburbs without the city, and
+all the monasteries, hospitals, and other buildings. These men, I say,
+having destroyed the Church and Campanile of S. Salvi, and beginning to
+throw down part of the convent, had come to the refectory where this
+Last Supper is, when their leader, seeing so marvellous a painting, of
+which he may have heard speak, abandoned the undertaking and would not
+let any more of that place be destroyed, reserving the task until such
+time as there should be no alternative.
+
+[Illustration: PORTRAIT OF THE ARTIST
+
+(_After the painting on a tile by =Andrea del Sarto=. Florence: Uffizi,
+280_)
+
+_Alinari_]
+
+Andrea then painted for the Company of S. Jacopo, called the Nicchio, on
+a banner for carrying in processions, a S. James fondling a little boy
+dressed as a Flagellant by stroking him under the chin, with another boy
+who has a book in his hand, executed with beautiful grace and
+naturalness. He made a portrait from life of a steward of the Monks of
+Vallombrosa, who lived almost always in the country on the affairs of
+his monastery; and this portrait was placed under a sort of bower, in
+which he had made pergole and contrivances of his own in various
+fanciful designs, so that it was buffeted by wind and rain, according to
+the pleasure of that steward, who was the friend of Andrea. And because,
+when the work was finished, there were some colours and lime left over,
+Andrea, taking a tile, called to his wife Lucrezia and said to her:
+"Come here, for these colours are left over, and I wish to make your
+portrait, so that all may see how well you have preserved your beauty
+even at your time of life, and yet may know how your appearance has
+changed, which will make this one different from your early portraits."
+But the woman, who may have had something else in her mind, would not
+stand still; and Andrea, as it were from a feeling that he was near his
+end, took a mirror and made a portrait of himself on that tile, of such
+perfection, that it seems alive and as real as nature; and that portrait
+is in the possession of the same Madonna Lucrezia, who is still living.
+
+He also portrayed a Canon of Pisa, very much his friend; and the
+portrait, which is lifelike and very beautiful, is still in Pisa. He
+then began for the Signoria the cartoons for the paintings to be
+executed on the balustrades of the Ringhiera in the Piazza, with many
+beautiful things of fancy to represent the quarters of the city, and
+with the banners of the Consuls of the chief Guilds supported by some
+little boys, and also ornaments in the form of images of all the
+virtues, and likewise the most famous mountains and rivers of the
+dominion of Florence. But this work, thus begun, remained unfinished on
+account of Andrea's death, as was also the case with a panel--although
+it was all but finished--which he painted for the Abbey of the Monks of
+Vallombrosa at Poppi in the Casentino. In that panel he painted an
+Assumption of Our Lady, who is surrounded by many little boys, with S.
+Giovanni Gualberto, S. Bernardo the Cardinal (a monk of their Order, as
+has been related), S. Catharine, and S. Fedele; and, unfinished as it
+is, the picture is now in that Abbey of Poppi. The same happened to a
+panel of no great size, which, when finished, was to have gone to Pisa.
+But he left completely finished a very beautiful picture which is now in
+the house of Filippo Salviati, and some others.
+
+About the same time Giovan Battista della Palla, having bought all the
+sculptures and pictures of note that he could obtain, and causing copies
+to be made of those that he could not buy, had despoiled Florence of a
+vast number of choice works, without the least scruple, in order to
+furnish a suite of rooms for the King of France, which was to be richer
+in suchlike ornaments than any other in the world. And this man,
+desiring that Andrea should return to the service and favour of the
+King, commissioned him to paint two pictures. In one of these Andrea
+painted Abraham in the act of trying to sacrifice his son; and that with
+such diligence, that it was judged that up to that time he had never
+done anything better. Beautifully expressed in the figure of the
+patriarch was seen that living and steadfast faith which made him ready
+without a moment of dismay or hesitation to slay his own son. The same
+Abraham, likewise, could be seen turning his head towards a very
+beautiful little angel, who appeared to be bidding him stay his hand. I
+will not describe the attitude, the dress, the foot-wear, and other
+details in the painting of that old man, because it is not possible to
+say enough of them; but this I must say, that the boy Isaac, tender and
+most beautiful, was to be seen all naked, trembling with the fear of
+death, and almost dead without having been struck. The same boy had only
+the neck browned by the heat of the sun, and white as snow those parts
+that his draperies had covered during the three days' journey. In like
+manner, the ram among the thorns seemed to be alive, and Isaac's
+draperies on the ground rather real and natural than painted. And in
+addition there were some naked servants guarding an ass that was
+browsing, and a landscape so well represented that the real scene of the
+event could not have been more beautiful or in any way different. This
+picture, having been bought by Filippo Strozzi after the death of Andrea
+and the capture of Battista, was presented by him to Signor Alfonso
+Davalos, Marchese del Vasto, who had it carried to the island of Ischia,
+near Naples, and placed in one of his apartments in company with other
+most noble paintings.
+
+In the other picture Andrea painted a very beautiful Charity, with three
+little boys; and this was afterwards bought from the wife of Andrea,
+after his death, by the painter Domenico Conti, who sold it later to
+Niccolò Antinori, who treasures it as a rare work, as indeed it is.
+
+During this time there came to the Magnificent Ottaviano de' Medici,
+seeing from that last picture how much Andrea had improved his manner, a
+desire to have a picture by his hand. Whereupon Andrea, who was eager to
+serve that lord, to whom he was much indebted, because he had always
+shown favour to men of lofty intellect, and particularly to painters,
+executed for him a picture of Our Lady seated on the ground with the
+Child riding astride on her knees, while He turns His head towards a
+little S. John supported by an old S. Elizabeth, a figure so natural and
+so well painted that she appears to be alive, even as every other thing
+is wrought with incredible diligence, draughtsmanship, and art. Having
+finished this picture, Andrea carried it to Messer Ottaviano; but since
+that lord had something else to think about, Florence being then
+besieged, he told Andrea, while thanking him profoundly and making his
+excuses, to dispose of it as he thought best. To which Andrea made no
+reply but this: "The labour was endured for you, and yours the work
+shall always be." "Sell it," answered Messer Ottaviano, "and use the
+money, for I know what I am talking about." Andrea then departed and
+returned to his house, nor would he ever give the picture to anyone, for
+all the offers that were made to him; but when the siege was raised and
+the Medici back in Florence, he took it once more to Messer Ottaviano,
+who accepted it right willingly, thanking him and paying him double. The
+work is now in the apartment of his wife, Madonna Francesca, sister to
+the very reverend Salviati, who holds the beautiful pictures left to her
+by her magnificent consort in no less account than she does the duty of
+retaining and honouring his friends.
+
+For Giovanni Borgherini Andrea painted another picture almost exactly
+like the one of Charity mentioned above, containing a Madonna, a little
+S. John offering to Christ a globe that represents the world, and a very
+beautiful head of S. Joseph.
+
+There came to Paolo da Terrarossa, a friend to the whole body of
+painters, who had seen the sketch for the aforesaid Abraham, a wish to
+have some work by the hand of Andrea. Having therefore asked him for a
+copy of that Abraham, Andrea willingly obliged him and made a copy of
+such a kind, that in its minuteness it was by no means inferior to the
+large original. Wherefore Paolo, well satisfied with it and wishing to
+pay him, asked him the price, thinking that it would cost him what it
+was certainly worth; but Andrea asked a mere song, and Paolo, almost
+ashamed, shrugged his shoulders and gave him all that he claimed. The
+picture was afterwards sent by him to Naples ...[7] and it is the most
+beautiful and the most highly honoured painting in that place.
+
+During the siege of Florence some captains had fled the city with the
+pay-chests; on which account Andrea was asked to paint on the façade of
+the Palace of the Podestà and in the Piazza not only those captains, but
+also some citizens who had fled and had been proclaimed outlaws. He said
+that he would do it; but in order not to acquire, like Andrea dal
+Castagno, the name of Andrea degl' Impiccati, he gave it out that he was
+entrusting the work to one of his assistants, called Bernardo del Buda.
+However, having made a great enclosure, which he himself entered and
+left by night, he executed those figures in such a manner that they
+appeared to be the men themselves, real and alive. The soldiers, who
+were painted on the façade of the old Mercatanzia in the Piazza, near
+the Condotta, were covered with whitewash many years ago, that they
+might be seen no longer; and the citizens, whom he painted entirely with
+his own hand on the Palace of the Podestà, were destroyed in like
+manner.
+
+After this, being very intimate in these last years of his life with
+certain men who governed the Company of S. Sebastiano, which is behind
+the Servite Convent, Andrea made for them with his own hand a S.
+Sebastian from the navel upwards, so beautiful that it might well have
+seemed that these were the last strokes of the brush which he was to
+make.
+
+The siege being finished, Andrea was waiting for matters to mend,
+although with little hope that his French project would succeed, since
+Giovan Battista della Palla had been taken prisoner, when Florence
+became filled with soldiers and stores from the camp. Among those
+soldiers were some lansquenets sick of the plague, who brought no
+little terror into the city and shortly afterwards left it infected.
+Thereupon, either through this apprehension or through some imprudence
+in eating after having suffered much privation in the siege, one day
+Andrea fell grievously ill and took to his bed with death on his brow;
+and finding no remedy for his illness, and being without much
+attention--for his wife, from fear of the plague, kept as far away from
+him as she could--he died, so it is said, almost without a soul being
+aware of it; and he was buried by the men of the Scalzo with scant
+ceremony in the Church of the Servi, near his own house, in the place
+where the members of that Company are always buried.
+
+The death of Andrea was a very great loss to the city and to art,
+because up to the age of forty-two, which he attained, he went on always
+improving from one work to another in such wise that, if he had lived
+longer, he would have continued to confer benefits on art; for the
+reason that it is better to go on making progress little by little,
+advancing with a firm and steady foot through the difficulties of art,
+than to seek to force one's intellect and nature in a single effort. Nor
+is there any doubt that if Andrea had stayed in Rome when he went there
+to see the works of Raffaello and Michelagnolo, and also the statues and
+ruins of that city, he would have enriched his manner greatly in the
+composition of scenes, and would one day have given more delicacy and
+greater force to his figures; which has never been thoroughly achieved
+save by one who has been some time in Rome, to study those works in
+detail and grow familiar with them. Having then from nature a sweet and
+gracious manner of drawing and great facility and vivacity of colouring,
+both in fresco-work and in oils, it is believed without a doubt that if
+he had stayed in Rome, he would have surpassed all the craftsmen of his
+time. But some believe that he was deterred from this by the abundance
+of works of sculpture and painting, both ancient and modern, that he saw
+in that city, and by observing the many young men, disciples of
+Raffaello and of others, resolute in draughtsmanship and working
+confidently and without effort, whom, like the timid fellow that he was,
+he did not feel it in him to excel. And so, not trusting himself, he
+resolved, as the best course for him, to return to Florence; where,
+reflecting little by little on what he had seen, he made such
+proficience that his works have been admired and held in price, and,
+what is more, imitated more often after his death than during his
+lifetime. Whoever has some holds them dear, and whoever has consented to
+sell them has received three times as much as was paid to him, for the
+reason that he never received anything but small prices for his works,
+both because he was timid by nature, as has been related, and also
+because certain master-joiners, who were executing the best works at
+that time in the houses of citizens, would never allow any commission to
+be given to Andrea (so as to oblige their friends), save when they knew
+that he was in great straits, for at such times he would accept any
+price. But this does not prevent his works from being most rare, or from
+being held in very great account, and that rightly, since he was one of
+the best and greatest masters who have lived even to our own day. In our
+book are many drawings by his hand, all good; but in particular there is
+one that is altogether beautiful, of the scene that he painted at
+Poggio, showing the tribute of all the animals from the East being
+presented to Cæsar. This drawing, which is executed in chiaroscuro, is a
+rare thing, and the most finished that Andrea ever made; for when he
+drew natural objects for reproduction in his works, he made mere
+sketches dashed off on the spot, contenting himself with marking the
+character of the reality; and afterwards, when reproducing them in his
+works, he brought them to perfection. His drawings, therefore, served
+him rather as memoranda of what he had seen than as models from which to
+make exact copies in his pictures.
+
+The disciples of Andrea were innumerable, but they did not all pursue
+the same course of study under his discipline, for some stayed with him
+a long time, and some but little; which was the fault, not of Andrea,
+but of his wife, who, tyrannizing arrogantly over them all, and showing
+no respect to a single one of them, made all their lives a burden. Among
+his disciples, then, were Jacopo da Pontormo; Andrea Sguazzella, who
+adhered to the manner of Andrea and decorated a palace, a work which is
+much extolled, without the city of Paris in France; Solosmeo; Pier
+Francesco di Jacopo di Sandro, who has painted three panels that are in
+S. Spirito; Francesco Salviati; Giorgio Vasari of Arezzo, who was the
+companion of the aforesaid Salviati, although he did not stay long with
+Andrea; Jacopo del Conte of Florence; and Nannoccio, who is now in
+France with Cardinal de Tournon, in the highest credit. In like manner,
+Jacopo, called Jacone, was a disciple of Andrea and much his friend, and
+an imitator of his manner. This Jacone, while Andrea was alive, received
+no little help from him, as is evident in all his works, and
+particularly in the façade executed for the Chevalier Buondelmonti on
+the Piazza di S. Trinita.
+
+The heir to Andrea's drawings and other art-possessions, after his
+death, was Domenico Conti, who made little proficience in painting; but
+one night he was robbed--by some men of the same profession, so it is
+thought--of all the drawings, cartoons, and other things that he had
+from Andrea, nor was it ever discovered who these men were. Now
+Domenico, as one not ungrateful for the benefits received from his
+master, and desiring to render to him after his death the honours that
+he deserved, prevailed upon Raffaello da Montelupo to make for him out
+of courtesy a very handsome tablet of marble, which was built into a
+pilaster in the Church of the Servi, with the following epitaph, written
+for him by the most learned Messer Piero Vettori, then a young man:
+
+  ANDREÆ SARTIO
+  ADMIRABILIS INGENII PICTORI, AC VETERIBUS ILLIS OMNIUM JUDICIO
+  COMPARANDO,
+  DOMINICUS CONTES DISCIPULUS, PRO LABORIBUS IN SE INSTITUENDO SUSCEPTIS,
+  GRATO ANIMO POSUIT.
+  VIXIT ANN. XLII, OB. ANN. MDXXX.
+
+After no long time, certain citizens, Wardens of Works of that church,
+rather ignorant than hostile to honoured memories, so went to work out
+of anger that the tablet should have been set up in that place without
+their leave, that they had it removed; nor has it yet been re-erected in
+any other place. Thus, perchance, Fortune sought to show that the power
+of the Fates prevails not only during our lives, but also over our
+memorials after death. In spite of them, however, the works and the
+name of Andrea are likely to live a long time, as are these my writings,
+I hope, to preserve their memory for many ages.
+
+We must conclude, then, that if Andrea showed poor spirit in the actions
+of his life, contenting himself with little, this does not mean that in
+art he was otherwise than exalted in genius, most resolute, and masterly
+in every sort of labour; and with his works, in addition to the
+adornment that they confer on the places where they are, he rendered a
+most valuable service to his fellow-craftsmen with regard to manner,
+drawing, and colouring, and that with fewer errors than any other
+painter of Florence, for the reason that, as has been said above, he
+understood very well the management of light and shade and how to make
+things recede in the darks, and painted his pictures with a sweetness
+full of vivacity; not to mention that he showed us the method of working
+in fresco with perfect unity and without doing much retouching on the
+dry, which makes his every work appear to have been painted in a single
+day. Wherefore he should serve in every place as an example to Tuscan
+craftsmen, and receive supreme praise and a palm of honour among the
+number of their most celebrated champions.
+
+FOOTNOTE:
+
+[6] Jacques de Beaune.
+
+[7] There is here a gap in the text.
+
+
+
+
+MADONNA PROPERZIA DE' ROSSI
+
+
+
+
+LIFE OF MADONNA PROPERZIA DE' ROSSI
+
+SCULPTOR[8] OF BOLOGNA
+
+
+It is an extraordinary thing that in all those arts and all those
+exercises wherein at any time women have thought fit to play a part in
+real earnest, they have always become most excellent and famous in no
+common way, as one might easily demonstrate by an endless number of
+examples. Everyone, indeed, knows what they are all, without exception,
+worth in household matters; besides which, in connection with war,
+likewise, it is known who were Camilla, Harpalice, Valasca, Tomyris,
+Penthesilea, Molpadia, Orizia, Antiope, Hippolyta, Semiramis, Zenobia,
+and, finally, Mark Antony's Fulvia, who so often took up arms, as the
+historian Dion tells us, to defend her husband and herself. But in
+poetry, also, they have been truly marvellous, as Pausanias relates.
+Corinna was very celebrated as a writer of verse, and Eustathius makes
+mention in his "Catalogue of the Ships of Homer"--as does Eusebius in
+his book of "Chronicles"--of Sappho, a young woman of great renown, who,
+in truth, although she was a woman, was yet such that she surpassed by a
+great measure all the eminent writers of that age. And Varro, on his
+part, gives extraordinary but well-deserved praise to Erinna, who, with
+her three hundred verses, challenged the fame of the brightest light of
+Greece, and counterbalanced with her one small volume, called the
+"Elecate," the ponderous "Iliad" of the great Homer. Aristophanes
+celebrates Carissena, a votary of the same profession, as a woman of
+great excellence and learning; and the same may be said for Teano,
+Merone, Polla, Elpe, Cornificia, and Telesilla, to the last of whom, in
+honour of her marvellous talents, a most beautiful statue was set up in
+the Temple of Venus.
+
+Passing by the numberless other writers of verse, do we not read that
+Arete was the teacher of the learned Aristippus in the difficulties of
+philosophy, and that Lastheneia and Assiotea were disciples of the
+divine Plato? In the art of oratory, Sempronia and Hortensia, women of
+Rome, were very famous. In grammar, so Athenæus relates, Agallis was
+without an equal. And as for the prediction of the future, whether we
+class this with astrology or with magic, it is enough to say that
+Themis, Cassandra, and Manto had an extraordinary renown in their times;
+as did Isis and Ceres in matters of agriculture, and the Thespiades in
+the whole field of the sciences.
+
+But in no other age, for certain, has it been possible to see this
+better than in our own, wherein women have won the highest fame not only
+in the study of letters--as has been done by Signora Vittoria del Vasto,
+Signora Veronica Gambara, Signora Caterina Anguisciuola, Schioppa,
+Nugarola, Madonna Laura Battiferri, and a hundred others, all most
+learned as well in the vulgar tongue as in the Latin and the Greek--but
+also in every other faculty. Nor have they been too proud to set
+themselves with their little hands, so tender and so white, as if to
+wrest from us the palm of supremacy, to manual labours, braving the
+roughness of marble and the unkindly chisels, in order to attain to
+their desire and thereby win fame; as did, in our own day, Properzia de'
+Rossi of Bologna, a young woman excellent not only in household matters,
+like the rest of them, but also in sciences without number, so that all
+the men, to say nothing of the women, were envious of her.
+
+This Properzia was very beautiful in person, and played and sang in her
+day better than any other woman of her city. And because she had an
+intellect both capricious and very ready, she set herself to carve
+peach-stones, which she executed so well and with such patience, that
+they were singular and marvellous to behold, not only for the subtlety
+of the work, but also for the grace of the little figures that she made
+in them and the delicacy with which they were distributed. And it was
+certainly a miracle to see on so small a thing as a peach-stone the
+whole Passion of Christ, wrought in most beautiful carving, with a vast
+number of figures in addition to the Apostles and the ministers of the
+Crucifixion. This encouraged her, since there were decorations to be
+made for the three doors of the first façade of S. Petronio all in
+figures of marble, to ask the Wardens of Works, by means of her husband,
+for a part of that work; at which they were quite content, on the
+condition that she should let them see some work in marble executed by
+her own hand. Whereupon she straightway made for Count Alessandro de'
+Peppoli a portrait from life in the finest marble, representing his
+father, Count Guido, which gave infinite pleasure not only to them, but
+also to the whole city; and the Wardens of Works, therefore, did not
+fail to allot a part of the work to her. In this, to the vast delight of
+all Bologna, she made an exquisite scene, wherein--because at that time
+the poor woman was madly enamoured of a handsome young man, who seemed
+to care but little for her--she represented the wife of Pharaoh's
+Chamberlain, who, burning with love for Joseph, and almost in despair
+after so much persuasion, finally strips his garment from him with a
+womanly grace that defies description. This work was esteemed by all to
+be most beautiful, and it was a great satisfaction to herself, thinking
+that with this illustration from the Old Testament she had partly
+quenched the raging fire of her own passion. Nor would she ever do any
+more work in connection with that building, although there was no person
+who did not beseech her that she should go on with it, save only Maestro
+Amico, who out of envy always dissuaded her and went so far with his
+malignity, ever speaking ill of her to the Wardens, that she was paid a
+most beggarly price for her work.
+
+She also made two angels in very strong relief and beautiful
+proportions, which may now be seen, although against her wish, in the
+same building. In the end she devoted herself to copper-plate engraving,
+which she did without reproach, gaining the highest praise. And so the
+poor love-stricken young woman came to succeed most perfectly in
+everything, save in her unhappy passion.
+
+The fame of an intellect so noble and so exalted spread throughout all
+Italy, and finally came to the ears of Pope Clement VII, who,
+immediately after he had crowned the Emperor in Bologna, made inquiries
+after her; but he found that the poor woman had died that very week, and
+had been buried in the Della Morte Hospital, as she had directed in her
+last testament. At which the Pope, who was eager to see her, felt much
+sorrow at her death; but more bitter even was it for her
+fellow-citizens, who regarded her during her lifetime as one of the
+greatest miracles produced by nature in our days.
+
+In our book are some very good drawings by the hand of this Properzia,
+done with the pen and copied from the works of Raffaello da Urbino; and
+her portrait was given to me by certain painters who were very much her
+friends.
+
+[Illustration: TWO ANGELS, _after_ Madonna Properzia de' Rossi
+
+(THE ASSUMPTION OF THE VIRGIN, _after_ Tribolo)
+
+(_Bologna: S. Petronio_)
+
+_Alinari_]
+
+But, although Properzia drew very well, there have not been wanting
+women not only to equal her in drawing, but also to do as good work in
+painting as she did in sculpture. Of these the first is Sister
+Plautilla, a nun and now Prioress in the Convent of S. Caterina da
+Siena, on the Piazza di S. Marco in Florence. She, beginning little by
+little to draw and to imitate in colours pictures and paintings by
+excellent masters, has executed some works with such diligence, that she
+has caused the craftsmen to marvel. By her hand are two panels in the
+Church of that Convent of S. Caterina, of which the one with the Magi
+adoring Jesus is much extolled. In the choir of the Convent of S. Lucia,
+at Pistoia, there is a large panel, containing Our Lady with the Child
+in her arms, S. Thomas, S. Augustine, S. Mary Magdalene, S. Catherine of
+Siena, S. Agnese, S. Catherine the Martyr, and S. Lucia; and another
+large panel by the same hand was sent abroad by the Director of the
+Hospital of Lelmo. In the refectory of the aforesaid Convent of S.
+Caterina there is a great Last Supper, with a panel in the work-room,
+both by the hand of the same nun. And in the houses of gentlemen
+throughout Florence there are so many pictures, that it would be tedious
+to attempt to speak of them all. A large picture of the Annunciation
+belongs to the wife of the Spaniard, Signor Mondragone, and Madonna
+Marietta de' Fedini has another like it. There is a little picture of
+Our Lady in S. Giovannino, at Florence; and an altar-predella in S.
+Maria del Fiore, containing very beautiful scenes from the life of S.
+Zanobi. And because this venerable and talented sister, before
+executing panels and works of importance, gave attention to painting in
+miniature, there are in the possession of various people many
+wonderfully beautiful little pictures by her hand, of which there is no
+need to make mention. The best works from her hand are those that she
+has copied from others, wherein she shows that she would have done
+marvellous things if she had enjoyed, as men do, advantages for
+studying, devoting herself to drawing, and copying living and natural
+objects. And that this is true is seen clearly from a picture of the
+Nativity of Christ, copied from one which Bronzino once painted for
+Filippo Salviati. In like manner, the truth of such an opinion is proved
+by this, that in her works the faces and features of women, whom she has
+been able to see as much as she pleased, are no little better than the
+heads of the men, and much nearer to the reality. In the faces of women
+in some of her works she has portrayed Madonna Costanza de' Doni, who
+has been in our time an unexampled pattern of beauty and dignity;
+painting her so well, that it is impossible to expect more from a woman
+who, for the reasons mentioned above, has had no great practice in her
+art.
+
+With much credit to herself, likewise, has Madonna Lucrezia, the
+daughter of Messer Alfonso Quistelli della Mirandola, and now the wife
+of Count Clemente Pietra, occupied herself with drawing and painting, as
+she still does, after having been taught by Alessandro Allori, the pupil
+of Bronzino; as may be seen from many pictures and portraits executed by
+her hand, which are worthy to be praised by all. But Sofonisba of
+Cremona, the daughter of Messer Amilcaro Anguisciuola, has laboured at
+the difficulties of design with greater study and better grace than any
+other woman of our time, and she has not only succeeded in drawing,
+colouring, and copying from nature, and in making excellent copies of
+works by other hands, but has also executed by herself alone some very
+choice and beautiful works of painting. Wherefore she well deserved that
+King Philip of Spain, having heard of her merits and abilities from the
+Lord Duke of Alba, should have sent for her and caused her to be
+escorted in great honour to Spain, where he keeps her with a rich
+allowance about the person of the Queen, to the admiration of all that
+Court, which reveres the excellence of Sofonisba as a miracle. And it is
+no long time since Messer Tommaso Cavalieri, a Roman gentleman, sent to
+the Lord Duke Cosimo (in addition to a drawing by the hand of the divine
+Michelagnolo, wherein is a Cleopatra) another drawing by the hand of
+Sofonisba, containing a little girl laughing at a boy who is weeping
+because one of the cray-fish out of a basket full of them, which she has
+placed in front of him, is biting his finger; and there is nothing more
+graceful to be seen than that drawing, or more true to nature.
+Wherefore, in memory of the talent of Sofonisba, who lives in Spain, so
+that Italy has no abundance of her works, I have placed it in my book of
+drawings.
+
+We may truly say, then, with the divine Ariosto, that--
+
+  Le donne son venute in eccellenza
+  Di ciascun' arte ov' hanno posto cura.
+
+And let this be the end of the Life of Properzia, sculptor of Bologna.
+
+FOOTNOTE:
+
+[8] The translator is unwilling to use the somewhat ugly word
+"sculptress."
+
+
+
+
+ALFONSO LOMBARDI OF FERRARA, MICHELAGNOLO DA SIENA, GIROLAMO SANTA CROCE
+OF NAPLES, DOSSO AND BATTISTA DOSSI
+
+
+
+
+LIVES OF ALFONSO LOMBARDI OF FERRARA, MICHELAGNOLO DA SIENA, AND
+GIROLAMO SANTA CROCE OF NAPLES
+
+SCULPTORS
+
+AND DOSSO AND BATTISTA DOSSI
+
+PAINTERS OF FERRARA
+
+
+Alfonso of Ferrara, working in his early youth with stucco and wax, made
+an endless number of portraits from life on little medallions for many
+nobles and gentlemen of his own country. Some of these are still to be
+seen, white in colour and made of wax or stucco, and bear witness to the
+fine intellect and judgment that he possessed; such as those of Prince
+Doria, of Duke Alfonso of Ferrara, of Clement VII, of the Emperor
+Charles V, of Cardinal Ippolito de' Medici, of Bembo, of Ariosto, and of
+other suchlike personages. Finding himself in Bologna at the coronation
+of Charles V, he executed the decorations of the door of S. Petronio as
+a part of the preparations for that festival; and he had come into such
+repute through being the first to introduce the good method of making
+portraits from life in the form of medals, as has been related, that
+there was not a single man of distinction in those Courts for whom he
+did not execute some work, to his own great profit and honour. But, not
+being content with the gain and the glory that came to him from making
+works in clay, in wax, and in stucco, he set himself to work in marble;
+and such was the proficience that he showed in some things that he made,
+although these were of little importance, that he was commissioned to
+execute the tomb of Ramazzotto, which brought him very great fame and
+honour, in S. Michele in Bosco, without Bologna. After that work he made
+some little scenes of marble in half-relief on the predella of the
+altar at the tomb of S. Dominic, in the same city. And for the door of
+S. Petronio, also, on the left hand of the entrance into the church, he
+executed some little scenes in marble, containing a very beautiful
+Resurrection of Christ. But what pleased the people of Bologna most of
+all was the Death of Our Lady, wrought with a very hard mixture of clay
+and stucco, with figures in full-relief, in an upper room of the Della
+Vita Hospital; and marvellous, among other things in that work, is the
+Jew who leaves his hands fixed to the bier of the Madonna. With the same
+mixture, also, he made a large Hercules with the dead Hydra under his
+feet, for the upper room of the Governor in the Palazzo Pubblico of that
+city; which statue was executed in competition with Zaccaria da
+Volterra, who was greatly surpassed by the ability and excellence of
+Alfonso. For the Madonna del Baracane the same master made two Angels in
+stucco, who are upholding a canopy in half-relief; and in some
+medallions in the middle aisle of S. Giuseppe, between one arch and
+another, he made the twelve Apostles from the waist upwards, of
+terra-cotta and in full-relief. In terra-cotta, likewise, for the
+corners of the vaulting of the Madonna del Popolo in the same city, he
+executed four figures larger than life; namely, S. Petronio, S. Procolo,
+S. Francis, and S. Dominic, figures which are all very beautiful and
+grand in manner. And by the hand of the same man are some works in
+stucco at Castel Bolognese, and some others in the Company of S.
+Giovanni at Cesena.
+
+Let no one marvel that hitherto our account of this master has dealt
+with scarcely any work save in clay, wax, and stucco, and very little in
+marble, because--besides the fact that Alfonso was always inclined to
+that sort of work--after passing a certain age, being very handsome in
+person and youthful in appearance, he practised art more for pleasure
+and to satisfy his own vanity than with any desire to set himself to
+chisel stone. He used always to wear on his arms, on his neck, and in
+his clothing, ornaments of gold and suchlike fripperies, which showed
+him to be rather a courtier, vain and wanton, than a craftsman desirous
+of glory. Of a truth, just as such ornaments enhance the splendour of
+those to whom, on account of their wealth, high estate, and noble blood,
+they are becoming, so are they worthy of reproach in craftsmen and
+others, who should not measure themselves, some for one reason and some
+for another, with the rich, seeing that such persons, in place of being
+praised, are held in less esteem by men of judgment, and often laughed
+to scorn. Now Alfonso, charmed with himself and indulging in expressions
+and wanton excesses little worthy of a good craftsman, on one occasion
+robbed himself through this behaviour of all the glory that he had won
+by labouring at his profession. For one evening, chancing to be at a
+wedding in the house of a Count in Bologna, and having made love for
+some time to a lady of quality, he had the luck to be invited by her to
+dance the torch-dance; whereupon, whirling round with her, and overcome
+by the frenzy of his passion, he said with a trembling voice, sighing
+deeply, and gazing at his lady with eyes full of tenderness: "S'amor non
+è, che dunque è quel ch' io sento?"[9] Hearing this, the lady, who had a
+shrewd wit, answered, in order to show him his error: "A louse,
+perhaps." Which answer was heard by many, so that the saying ran through
+all Bologna, and he was held to scorn ever afterwards. Truly, if Alfonso
+had given his attention not to the vanities of the world, but to the
+labours of art, without a doubt he would have produced marvellous works;
+for if he achieved this in part without exerting himself much, what
+would he have done if he had faced the dust and heat?
+
+The aforesaid Emperor Charles V being in Bologna, and the most excellent
+Tiziano da Cadore having come to make a portrait of his Majesty, Alfonso
+likewise was seized with a desire to execute a portrait of that
+Sovereign. And having no other means of contriving to do that, he
+besought Tiziano, without revealing to him what he had in mind, that he
+should do him the favour of introducing him, in the place of one of
+those who used to carry his colours, into the presence of his Majesty.
+Wherefore Tiziano, who loved him much, like the truly courteous man that
+he has always been, took Alfonso with him into the apartments of the
+Emperor. Alfonso, as soon as Tiziano had settled down to work, took up a
+position behind him, in such a way that he could not be seen by the
+other, who was wholly intent on his portrait; and, taking up a little
+box in the shape of a medallion, he made therein a portrait of the
+Emperor in stucco, and had it finished at the very moment when Tiziano
+had likewise brought his picture to completion. The Emperor then rising,
+Alfonso closed the box and had already hidden it in his sleeve, to the
+end that Tiziano might not see it, when his Majesty said to him: "Show
+me what you have done." He was thus forced to give his portrait humbly
+into the hand of the Emperor, who, having examined it and praised it
+highly, said to him: "Would you have the courage to do it in marble?"
+"Yes, your sacred Majesty," answered Alfonso. "Do it, then," added the
+Emperor, "and bring it to me in Genoa." How unusual this proceeding must
+have seemed to Tiziano every man may imagine for himself. For my part, I
+believe that it must have appeared to him that he had compromised his
+credit. But what must have seemed to him most strange was this, that
+when his Majesty sent a present of a thousand crowns to Tiziano, he bade
+him give the half, or five hundred crowns, to Alfonso, keeping the other
+five hundred for himself, at which it is likely enough that Tiziano felt
+aggrieved. Alfonso, then, setting to work with the greatest zeal in his
+power, brought the marble head to completion with such diligence, that
+it was pronounced to be a very fine thing: which was the reason that,
+when he had taken it to the Emperor, his Majesty ordered that three
+hundred crowns more should be given to him.
+
+[Illustration: THE DEATH OF THE VIRGIN
+
+(_After the terra-cotta by =Alfonso Lombardi=. Bologna: S. Maria della
+Vita_)
+
+_Poppi_]
+
+Alfonso having come into great repute through the gifts and praises
+bestowed on him by the Emperor, Cardinal Ippolito de' Medici took him to
+Rome, where he kept many sculptors and painters about his person, in
+addition to a vast number of other men of ability; and he commissioned
+him to make a copy in marble of a very famous antique head of the
+Emperor Vitellius. In that work Alfonso justified the opinion held of
+him by the Cardinal and by all Rome, and he was charged by the same
+patron to make a portrait-bust in marble of Pope Clement VII, after the
+life, and shortly afterwards one of Giuliano de' Medici, father of the
+Cardinal; but the latter was left not quite finished. These heads were
+afterwards sold in Rome, and bought by me at the request of the
+Magnificent Ottaviano de' Medici, together with some pictures; and in
+our own day they have been placed by the Lord Duke Cosimo de' Medici in
+that hall of the new apartments of his palace wherein I have painted, on
+the ceiling and the walls, all the stories of Pope Leo X; they have been
+placed, I say, in that hall, over the doors made of that red veined
+marble which is found near Florence, in company with the heads of other
+illustrious men of the house of Medici.
+
+But returning to Alfonso; he then went on to execute many works in
+sculpture for the same Cardinal, but these, being small things, have
+disappeared. After the death of Clement, when a tomb had to be made for
+him and also for Leo, the work was allotted by Cardinal de' Medici to
+Alfonso; whereupon he made a model with figures of wax, which was held
+to be very beautiful, after some sketches by Michelagnolo Buonarroti,
+and went off to Carrara with money to have the marble quarried. But not
+long afterwards the Cardinal, having departed from Rome on his way to
+Africa, died at Itri, and the work slipped out of the hands of Alfonso,
+because he was dismissed by its executors, Cardinals Salviati, Ridolfi,
+Pucci, Cibo, and Gaddi, and it was entrusted by the favour of Madonna
+Lucrezia Salviati, daughter of the great Lorenzo de' Medici, the elder,
+and sister of Leo, to Baccio Bandinelli, a sculptor of Florence, who had
+made models for it during the lifetime of Clement.
+
+For this reason Alfonso, thus knocked off his high horse and almost
+beside himself, determined to return to Bologna; and, having arrived in
+Florence, he presented to Duke Alessandro a most beautiful head in
+marble of the Emperor Charles V, which is now in Carrara, whither it was
+sent by Cardinal Cibo, who removed it after the death of Duke Alessandro
+from the guardaroba of that Prince. The Duke, when Alfonso arrived in
+Florence, was in the humour to have his portrait taken; for it had
+already been done on medals by Domenico di Polo, a gem-engraver, and by
+Francesco di Girolamo dal Prato, for the coinage by Benvenuto Cellini,
+and in painting by Giorgio Vasari of Arezzo and Jacopo da Pontormo, and
+he wished that Alfonso should likewise portray him. Wherefore he made a
+very beautiful portrait of him in relief, much better than the one
+executed by Danese da Carrara, and then, since he was wholly set on
+going to Bologna, he was given the means to make one there in marble,
+after the model. And so, having received many gifts and favours from
+Duke Alessandro, Alfonso returned to Bologna, where, being still far
+from content on account of the death of the Cardinal, and sorely vexed
+by the loss of the tombs, there came upon him a pestilent and incurable
+disease of the skin, which wasted him away little by little, until,
+having reached the age of forty-nine, he passed to a better life, never
+ceasing to rail at Fortune, which had robbed him of a patron to whom he
+might have looked for all the blessings which could make him happy in
+this life, and saying that she should have closed his own eyes, since
+she had reduced him to such misery, rather than those of Cardinal
+Ippolito de' Medici. Alfonso died in the year 1536.
+
+[Illustration: TOMB OF ADRIAN VI
+
+(_After_ Michelagnolo da Siena. _Rome: S. Maria dell' Anima_)
+
+_Anderson_]
+
+Michelagnolo, a sculptor of Siena, after he had spent the best years of
+his life in Sclavonia with other excellent sculptors, made his way to
+Rome on the following occasion. After the death of Pope Adrian, Cardinal
+Hincfort, who had been the friend and favourite of that Pontiff,
+determined, as one not ungrateful for the benefits received from him, to
+erect to him a tomb of marble; and he gave the charge of this to
+Baldassarre Peruzzi, the painter of Siena. And that master, having made
+the model, desired that the sculptor Michelagnolo, his friend and
+compatriot, should undertake the work on his own account. Michelagnolo,
+therefore, made on that tomb a lifesize figure of Pope Adrian, lying
+upon the sarcophagus and portrayed from nature, with a scene, also in
+marble, below him, showing his arrival in Rome and the Roman people
+going to meet him and to do him homage. Around the tomb, moreover, in
+four niches, are four Virtues in marble, Justice, Fortitude, Peace, and
+Prudence, all executed with much diligence by the hand of Michelagnolo
+after the counsel of Baldassarre. It is true, indeed, that some of the
+things that are in this work were wrought by the Florentine sculptor,
+Tribolo, then a very young man, and these were considered the best of
+all; but Michelagnolo executed the minor details of the work with
+supreme diligence and subtlety, and the little figures that are in it
+deserve to be extolled more than all the rest. Among other things, there
+are some variegated marbles wrought with a high finish, and put
+together so well that nothing more could be desired. For these
+labours Michelagnolo received a just and honourable reward from the
+aforesaid Cardinal, and was treated with much favour by him for the rest
+of his life; and, in truth, with right good reason, seeing that this
+tomb and the Cardinal's gratitude have done as much to bring fame to him
+as did the work to give a name to Michelagnolo in his lifetime and
+renown after his death. This work finished, no long time elapsed before
+Michelagnolo passed from this life to the next, at about the age of
+fifty.
+
+Girolamo Santa Croce of Naples, although he was snatched from us by
+death in the very prime of life, at a time when greater things were
+looked for from him, yet showed in the works of sculpture that he made
+at Naples during his few years, what he would have done if he had lived
+longer; for the works that he executed in sculpture at Naples were
+wrought and finished with all the lovingness that could be desired in a
+young man who wishes to surpass by a great measure those who for many
+years before his day have held the sovereignty in some noble profession.
+In S. Giovanni Carbonaro at Naples he built the Chapel of the Marchese
+di Vico, which is a round temple, partitioned by columns and niches,
+with some tombs carved with much diligence. And because the altar-piece
+of this chapel, made of marble in half-relief and representing the Magi
+bringing their offerings to Christ, is by the hand of a Spaniard,
+Girolamo executed in emulation of this work a S. John in a niche, so
+beautifully wrought in full-relief, that it showed that he was not
+inferior to the Spaniard either in courage or in judgment; on which
+account he won such a name, that, although Giovanni da Nola was held in
+Naples to be a marvellous sculptor and better than any other,
+nevertheless Girolamo worked in competition with him as long as he
+lived, notwithstanding that his rival was now old and had executed a
+vast number of works in that city, where it is much the custom to make
+chapels and altar-pieces of marble. Competing with Giovanni, then,
+Girolamo undertook to execute a chapel in Monte Oliveto at Naples, just
+within the door of the church, on the left hand, while Giovanni executed
+another opposite to his, on the other side, in the same style. In his
+chapel Girolamo made a lifesize Madonna in the round, which is held to
+be a very beautiful figure; and since he took infinite pains in
+executing the draperies and the hands, and in giving bold relief to the
+marble by undercutting, he brought it to such perfection that it was the
+general opinion that he had surpassed all those who had handled tools
+for working marble at Naples in his time. This Madonna he placed between
+a S. John and a S. Peter, figures very well conceived and executed, and
+finished in a beautiful manner, as are also some children which are
+placed above them.
+
+In addition to these, he made two large and most beautiful statues in
+full-relief for the Church of Capella, a seat of the Monks of Monte
+Oliveto. He then began a statue of the Emperor Charles V, at the time of
+his return from Tunis; but after he had blocked it and carved it with
+the pointed chisel, and even in some places with the broad-toothed
+chisel, it remained unfinished, because fortune and death, envying the
+world such excellence, snatched him from us at the age of thirty-five.
+It was confidently expected that Girolamo, if he had lived, even as he
+had outstripped all his compatriots in his profession, would also have
+surpassed all the craftsmen of his time. Wherefore his death was a
+grievous blow to the Neapolitans, and all the more because he had been
+endowed by nature not only with a most beautiful genius, but also with
+as much modesty, sweetness, and gentleness as could be looked for in
+mortal man; so that it is no marvel if all those who knew him are not
+able to restrain their tears when they speak of him. His last sculptures
+were executed in 1537, in which year he was buried at Naples with most
+honourable obsequies.
+
+[Illustration: MADONNA AND CHILD, WITH SS. PETER AND JOHN
+
+(_After the altar-piece_ by Girolamo Santa Croce. _Naples: Monte
+Oliveto_)
+
+_Alinari_]
+
+Old as he was, Giovanni da Nola, who was a well-practised sculptor, as
+may be seen from many works made by him at Naples with good skill of
+hand, but not with much design, still remained alive. Him Don Pedro di
+Toledo, Marquis of Villafranca, and at that time Viceroy of Naples,
+commissioned to execute a tomb of marble for himself and his wife; and
+therein Giovanni made a great number of scenes of the victories obtained
+by that lord over the Turks, with many statues for the same work, which
+stands quite by itself, and was executed with much diligence. This tomb
+was to have been taken to Spain; but, since that nobleman did not do
+this while he was alive, it remained in Naples. Giovanni died at the age
+of seventy, and was buried in Naples, in the year 1558.
+
+About the same time that Heaven presented to Ferrara, or rather, to the
+world, the divine Lodovico Ariosto, there was born in the same city the
+painter Dosso, who, although he was not as rare among painters as
+Ariosto among poets, nevertheless acquitted himself in his art in such a
+manner, that, besides the great esteem wherein his works were held in
+Ferrara, his merits caused the learned poet, his intimate friend, to
+honour his memory by mentioning him in his most celebrated writings; so
+that the pen of Messer Lodovico has given more renown to the name of
+Dosso than did all the brushes and colours that he used in the whole of
+his life. Wherefore I, for my part, declare that there could be no
+greater good-fortune than that of those who are celebrated by such great
+men, since the might of the pen forces most of mankind to accept their
+fame, even though they may not wholly deserve it.
+
+Dosso was much beloved by Duke Alfonso of Ferrara: first for his good
+abilities in the art of painting, and then because he was a very
+pleasant and amiable person--a manner of man in whom the Duke greatly
+delighted. Dosso had the reputation in Lombardy of executing landscapes
+better than any other painter engaged in that branch of the profession,
+whether in mural painting, in oils, or in gouache; and all the more
+after the German manner became known. In Ferrara, for the Cathedral
+Church, he executed a panel-picture with figures in oils, which was held
+to be passing beautiful; and in the Duke's Palace he painted many rooms,
+in company with a brother of his, called Battista. These two were always
+enemies, one against the other, although they worked together by the
+wish of the Duke. In the court of the said palace they executed stories
+of Hercules in chiaroscuro, with an endless number of nudes on those
+walls; and in like manner they painted many works on panel and in fresco
+throughout all Ferrara. By their hands is a panel in the Duomo of
+Modena; and they painted many things in the Cardinal's Palace at Trento,
+in company with other painters.
+
+At this same time the painter and architect, Girolamo Genga, was
+executing various decorations in the Imperiale Palace, above Pesaro, as
+will be related in the proper place, for Duke Francesco Maria of Urbino;
+and among the number of painters who were summoned to that work by order
+of the same Signor Francesco Maria, invitations were sent to Dosso and
+Battista of Ferrara, principally for the painting of landscapes; many
+paintings having been executed long before in that palace by Francesco
+di Mirozzo[10] of Forlì, Raffaello dal Colle of Borgo a San Sepolcro,
+and many others. Now, having arrived at the Imperiale, Dosso and
+Battista, according to the custom of men of their kidney, found fault
+with most of the paintings that they saw, and promised the Duke that
+they would do much better work; and Genga, who was a shrewd person,
+seeing how the matter was likely to end, gave them an apartment to paint
+by themselves. Thereupon, setting to work, they strove with all labour
+and diligence to display their worth; but, whatever may have been the
+reason, never in all the course of their lives did they do any work less
+worthy of praise, or rather, worse, than that one. It seems often to
+happen, indeed, that in their greatest emergencies, when most is
+expected of them, men become blinded and bewildered in judgment, and do
+worse work than at any other time; which may result, perchance, from
+their own malign and evil disposition to be always finding fault with
+the works of others, or from their seeking to force their genius
+overmuch, seeing that to proceed step by step according to the ruling of
+nature, yet without neglecting diligence and study, appears to be a
+better method than seeking to wrest from the brain, as it were by force,
+things that are not there; and it is a fact that in the other arts as
+well, but above all in that of writing, lack of spontaneity is only too
+easily recognized, and also, so to speak, over-elaboration in
+everything.
+
+[Illustration: DOSSO DOSSI: A NYMPH WITH A SATYR
+
+(_Florence: Pitti_, 147. _Canvas_)]
+
+Now, when the work of the Dossi was unveiled, it proved to be so
+ridiculous that they left the service of the Duke in disgrace; and he
+was forced to throw to the ground all that they had executed, and to
+have it repainted by others after the designs of Genga.
+
+[Illustration: MADONNA AND CHILD, WITH SS. GEORGE AND MICHAEL
+
+(_After the painting by =Dosso Dossi=. Modena: Pinacoteca, 437_)
+
+_Anderson_]
+
+Finally, they painted a very beautiful panel-picture in the Duomo of
+Faenza for the Chevalier, M. Giovan Battista de' Buosi, of Christ
+disputing in the Temple; in which work they surpassed themselves, by
+reason of the new manner that they used, and particularly in the
+portraits of that Chevalier and of others. That picture was set up in
+that place in the year 1536. Ultimately Dosso, having grown old, spent
+his last years without working, being pensioned until the close of his
+life by Duke Alfonso. And in the end Battista survived him, executing
+many works by himself, and maintaining himself in a good condition.
+Dosso was buried in his native city of Ferrara.
+
+There lived in the same times the Milanese Bernazzano, a very excellent
+painter of landscapes, herbage, animals, and other things of earth, air,
+and water. And since, as one who knew himself to have little aptitude
+for figures, he did not give much attention to them, he associated
+himself with Cesare da Sesto, who painted them very well and in a
+beautiful manner. It is said that Bernazzano executed in a courtyard
+some very beautiful landscapes in fresco, in which he painted a
+strawberry-bed full of strawberries, ripe, green, and in blossom, and so
+well imitated, that some peacocks, deceived by their natural appearance,
+were so persistent in picking at them as to make holes in the plaster.
+
+FOOTNOTE:
+
+[9] "What is it that I feel, if it is not love?"
+
+[10] This seems to be an error for Melozzo.
+
+
+
+
+GIOVANNI ANTONIO LICINIO OF PORDENONE, AND OTHER PAINTERS OF FRIULI
+
+
+
+
+LIVES OF GIOVANNI ANTONIO LICINIO OF PORDENONE, AND OF OTHER PAINTERS OF
+FRIULI
+
+
+It would seem, as has been remarked already in the same connection, that
+Nature, the kindly mother of the universe, sometimes presents the rarest
+things to certain places that never had any knowledge of such gifts, and
+that at times she creates in some country men so much inclined to design
+and to painting, that, without masters, but only by imitating living and
+natural objects, they become most excellent. And it also happens very
+often that when one man has begun, many set themselves to work in
+competition with him, and labour to such purpose, without seeing Rome,
+Florence, or any other place full of notable pictures, but merely
+through rivalry one with another, that marvellous works are seen to
+issue from their hands. All this may be seen to have happened more
+particularly in Friuli, where, in our own day, in consequence of such a
+beginning, there has been a vast number of excellent painters--a thing
+which had not occurred in those parts for many centuries.
+
+While Giovanni Bellini was working in Venice and teaching his art to
+many, as has been related, he had two disciples who were rivals one with
+another--Pellegrino da Udine, who, as will be told, was afterwards
+called Da San Daniele, and Giovanni Martini of Udine. Let us begin,
+then, by speaking of Giovanni. He always imitated the manner of Bellini,
+which was somewhat crude, hard, and dry; nor was he ever able to give it
+sweetness or softness, although he was a diligent and finished painter.
+This may have happened because he was always making trial of certain
+reflections, half-lights, and shadows, with which, cutting the relief in
+the middle, he contrived to define light and shade very abruptly, in
+such a way that the colouring of all his works was always crude and
+unpleasant, although he strove laboriously with his art to imitate
+Nature. By the hand of this master are numerous works in many places in
+Friuli, particularly in the city of Udine, in the Duomo of which there
+is a panel-picture executed in oils, of S. Mark seated with many figures
+round him, which is held to be the best of all that he ever painted.
+There is another on the altar of S. Ursula in the Church of the Friars
+of S. Pietro Martire, wherein the first-mentioned Saint is standing with
+some of her virgins round her, all painted with much grace and beautiful
+expressions of countenance. This Giovanni, besides being a passing good
+painter, was endowed by Nature with beauty and grace of features and an
+excellent character, and, what is most desirable, with such foresight
+and power of management, that, after his death, in default of heirs
+male, he left an inheritance of much property to his wife. And she,
+being, so I have heard, a lady as shrewd as she was beautiful, knew so
+well how to manage her life after the death of her husband, that she
+married two very beautiful daughters into the richest and most noble
+houses of Udine.
+
+Pellegrino da San Daniele, who was a rival of Giovanni, as has been
+related, and a man of greater excellence in painting, received at
+baptism the name of Martino. But Giovanni Bellini, judging that he was
+destined to become, as he afterwards did, a truly rare master of art,
+changed his name from Martino to Pellegrino.[11] And even as his name
+was changed, so he may be said by chance to have changed his country,
+since, living by preference at San Daniele, a township ten miles distant
+from Udine, and spending most of his time in that place, where he had
+taken a wife, he was called ever afterwards not Martino da Udine, but
+Pellegrino da San Daniele. He painted many pictures in Udine, and some
+may still be seen on the doors of the old organ, on the outer side of
+which is painted a sunken arch in perspective, containing a S. Peter
+seated among a multitude of figures and handing a pastoral staff to S.
+Ermacora the Bishop. On the inner side of the same doors, likewise, in
+some niches, he painted the four Doctors of the Church in the act of
+studying. For the Chapel of S. Giuseppe he executed a panel-picture in
+oils, drawn and coloured with much diligence, in the middle of which is
+S. Joseph standing in a beautiful attitude, with an air of dignity, and
+beside him is Our Lord as a little Child, while S. John the Baptist is
+below in the garb of a little shepherd-boy, gazing intently on his
+Master. And since this picture is much extolled, we may believe what is
+said of it--namely, that he painted it in competition with the aforesaid
+Giovanni, and that he put forward every effort to make it, as it proved
+to be, more beautiful than that which Giovanni painted of S. Mark, as
+has been related above. Pellegrino also painted at Udine, for the house
+of Messer Pre Giovanni, intendant to the illustrious Signori della
+Torre, a picture of Judith from the waist upwards, with the head of
+Holofernes in one hand, which is a very beautiful work. By the hand of
+the same man is a large panel in oils, divided into several pictures,
+which may be seen on the high-altar of the Church of S. Maria in the
+town of Civitale, at a distance of eight miles from Udine; and in it are
+some heads of virgins and other figures with great beauty of expression.
+And in his township of San Daniele, in a chapel of S. Antonio, he
+painted in fresco scenes of the Passion of Jesus Christ, and that so
+finely that he well deserved to be paid more than a thousand crowns for
+the work. He was much beloved for his talents by the Dukes of Ferrara,
+and, in addition to other favours and many gifts, he obtained through
+their good offices two Canonicates in the Duomo of Udine for two of his
+relatives.
+
+Among his pupils, of whom he had many, making much use of them and
+rewarding them liberally, was one of Greek nationality, a man of no
+little ability, who had a very beautiful manner and imitated Pellegrino
+closely. But Luca Monverde of Udine, who was much beloved by Pellegrino,
+would have been superior to the Greek, if he had not been snatched from
+the world prematurely when still a mere lad; although one work by his
+hand was left on the high-altar of S. Maria delle Grazie in Udine, a
+panel-picture in oils, his first and last, in which, in a recess in
+perspective, there is a Madonna seated on high with the Child in her
+arms, painted by him with a soft gradation of shadow, while on the level
+surface below there are two figures on either side, so beautiful that
+they show that if he had lived longer he would have become truly
+excellent.
+
+Another disciple of the same Pellegrino was Bastianello Florigorio, who
+painted a panel-picture that is over the high-altar of S. Giorgio in
+Udine, of a Madonna in the sky surrounded by an endless number of little
+angels in various attitudes, all adoring the Child that she holds in her
+arms; while below there is a very well executed landscape. There is also
+a very beautiful S. John, and a S. George in armour and on horseback,
+who, foreshortened in a spirited attitude, is slaying the Dragon with
+his lance; while the Maiden, who is there on one side, appears to be
+thanking God and the glorious Virgin for the succour sent to her. In the
+head of the S. George Bastianello is said to have made his own portrait.
+He also painted two pictures in fresco in the Refectory of the Friars of
+S. Pietro Martire: in one is Christ seated at table with the two
+disciples at Emmaus, and breaking the bread with a benediction, and in
+the other is the death of S. Peter Martyr. The same master painted in
+fresco in a niche on a corner of the Palace of M. Marguando, an
+excellent physician, a nude man in foreshortening, representing a S.
+John, which is held to be a good painting. Finally, he was forced
+through some dispute to depart from Udine, for the sake of peace, and to
+live like an exile in Civitale.
+
+Bastianello had a crude and hard manner, because he much delighted in
+drawing works in relief and objects of Nature by candle-light. He had
+much beauty of invention, and he took great pleasure in executing
+portraits from life, making them truly beautiful and very like; and at
+Udine, among others, he made one of Messer Raffaello Belgrado, and one
+of the father of M. Giovan Battista Grassi, an excellent painter and
+architect, from whose loving courtesy we have received much particular
+information touching our present subject of Friuli. Bastianello lived
+about forty years.
+
+Another disciple of Pellegrino was Francesco Floriani of Udine, who is
+still alive and is a very good painter and architect, like his younger
+brother, Antonio Floriani, who, thanks to his rare abilities in his
+profession, is now in the service of his glorious Majesty the Emperor
+Maximilian. Some of the pictures of that same Francesco were to be seen
+two years ago in the possession of the Emperor, who was then a King; one
+of these being a Judith who has cut off the head of Holofernes, painted
+with admirable judgment and diligence. And in the collection of that
+monarch there is a book of pen-drawings by the same master, full of
+lovely inventions, buildings, theatres, arches, porticoes, bridges,
+palaces, and many other works of architecture, all useful and very
+beautiful.
+
+Gensio Liberale was also a disciple of Pellegrino, and in his pictures,
+among other things, he imitated every sort of fish excellently well.
+This master is now in the service of the Archduke Ferdinand of Austria,
+a splendid position, which he deserves, for he is a very good painter.
+
+But among the most illustrious and renowned painters of the territory of
+Friuli, the rarest and most famous in our day--since he has surpassed
+those mentioned above by a great measure in the invention of scenes, in
+draughtsmanship, in boldness, in mastery over colour, in fresco work, in
+swiftness of execution, in strength of relief, and in every other
+department of our arts--is Giovanni Antonio Licinio, called by some
+Cuticello. This master was born at Pordenone, a township in Friuli,
+twenty-five miles from Udine; and since he was endowed by nature with a
+beautiful genius and an inclination for painting, he devoted himself
+without any teacher to the study of natural objects, imitating the style
+of Giorgione da Castelfranco, because that manner, seen by him many
+times in Venice, had pleased him much. Now, having learnt the rudiments
+of art, he was forced, in order to save his life from a pestilence that
+had fallen upon his native place, to take to flight; and thus, passing
+many months in the surrounding country, he executed various works in
+fresco for a number of peasants, gaining at their expense experience of
+using colour on plaster. Wherefore, since the surest and best method of
+learning is practice and a sufficiency of work, it came to pass that he
+became a well-practised and judicious master of that kind of painting,
+and learned to make colours produce the desired effect when used in a
+fluid state, which is done on account of the white, which dries the
+plaster and produces a brightness that ruins all softness. And so,
+having mastered the nature of colours, and having learnt by long
+practice to work very well in fresco, he returned to Udine, where he
+painted for the altar of the Nunziata, in the Convent of S. Pietro
+Martire, a panel-picture in oils containing the Madonna at the moment of
+receiving the Salutation from the Angel Gabriel; and in the sky he made
+a God the Father surrounded by many little boys, who is sending down the
+Holy Spirit. This work, which is executed with good drawing, grace,
+vivacity, and relief, is held by all craftsmen of judgment to be the
+best that he ever painted.
+
+In the Duomo of the same city, on the balustrade of the organ, below the
+doors already painted by Pellegrino, he painted a story of S. Ermacora
+and Fortunatus, also in oils, graceful and well designed. In the same
+city, in order to gain the friendship of the Signori Tinghi, he painted
+in fresco the façade of their palace; in which work, wishing to make
+himself known and to prove what a master he was of architectural
+invention and of working in fresco, he made a series of compartments and
+groups of varied ornaments full of figures in niches; and in three great
+spaces in the centre of the work he painted scenes with figures in
+colours, two spaces, high and narrow, being on either side, and one
+square in shape in the middle; and in the latter he painted a Corinthian
+column planted with its base in the sea, with a Siren on the right hand,
+holding the column upright, and a nude Neptune on the left supporting it
+on the other side; while above the capital of the column there is a
+Cardinal's hat, the device, so it is said, of Pompeo Colonna, who was
+much the friend of the owners of that palace. In one of the two other
+spaces are the Giants being slain with thunderbolts by Jove, with some
+dead bodies on the ground very well painted and most beautifully
+foreshortened. On the other side is a Heaven full of Gods, and on the
+earth two Giants who, club in hand, are in the act of striking at Diana,
+who, defending herself in a bold and spirited attitude, is brandishing a
+blazing torch as if to burn the arms of one of them.
+
+[Illustration: THE DISPUTATION OF S. CATHARINE
+
+(_After the fresco by =Giovanni Antonio Licinio of Pordenone=. Piacenza:
+S. Maria di Campagna_)
+
+_Alinari_]
+
+At Spelimbergo, a large place fifteen miles above Udine, the balustrade
+and the doors of the organ in the great church are painted by the hand
+of the same master; on the outer side of one door is the Assumption
+of Our Lady, and on the inner side S. Peter and S. Paul before Nero,
+gazing at Simon Magus in the air above; while on the other door there is
+the Conversion of S. Paul, and on the balustrade the Nativity of Christ.
+
+Through this work, which is very beautiful, and many others, Pordenone
+came into repute and fame, and was summoned to Vicenza, whence, after
+having executed some works there, he made his way to Mantua, where he
+coloured a façade in fresco with marvellous grace for M. Paris, a
+gentleman of that city. Among other beautiful inventions which are in
+that work, much praise is due to a frieze of antique letters, one
+braccio and a half in height, at the top, below the cornice, among
+which, passing in and out of them, are many little children in various
+attitudes, all most beautiful.
+
+That work finished, he returned in great credit to Vicenza, and there,
+besides many other works, he painted the whole of the tribune of S.
+Maria di Campagna, although by reason of his departure a part remained
+unfinished, which was afterwards finished with great diligence by
+Maestro Bernardo da Vercelli. In the same church he painted two chapels
+in fresco: one with stories of S. Catherine, and the other with the
+Nativity of Christ and the Adoration of the Magi, both being worthy of
+the highest praise. He then painted some poetical pictures in the
+beautiful garden of M. Barnaba dal Pozzo, a doctor; and, in the said
+Church of S. Maria di Campagna, the picture of S. Augustine, which is on
+the left hand as one enters the church. All these most beautiful works
+brought it about that the gentlemen of that city persuaded him to take a
+wife there, and always held him in vast veneration.
+
+Going afterwards to Venice, where he had formerly executed some works,
+he painted a wall of S. Geremia, on the Grand Canal, and a panel-picture
+in oils for the Madonna del Orto, with many figures, making a particular
+effort to prove his worth in the S. John the Baptist. He also painted
+many scenes in fresco on the façade of the house of Martin d'Anna on the
+same Grand Canal; in particular, a Curtius on horseback in
+foreshortening, which has the appearance of being wholly in the round,
+like the Mercury flying freely through the air, not to speak of many
+other things that all prove his ability. That work pleased the whole
+city of Venice beyond measure, and Pordenone was therefore extolled
+more highly than any other man who had ever worked in the city up to
+that time.
+
+Among other reasons that caused him to give an incredible amount of
+effort to all his works, was his rivalry with the most excellent
+Tiziano; since, setting himself to compete with him, he hoped by means
+of continual study and by a bold and resolute method of working in
+fresco to wrest from the hands of Tiziano that sovereignty which he had
+gained with so many beautiful works; employing, also, unusual methods
+outside the field of art, such as that of being obliging and courteous
+and associating continually and of set purpose with great persons,
+making his interests universal, and taking a hand in everything. And, in
+truth, this rivalry was a great assistance to him, for it caused him to
+devote the greatest zeal and diligence in his power to all his works, so
+that they proved worthy of eternal praise.
+
+For these reasons, then, he was commissioned by the Wardens of S. Rocco
+to paint in fresco the chapel of that church, with all the tribune.
+Setting his hand, therefore, to this work, he painted a God the Father
+in the tribune, with a vast number of children in various beautiful
+attitudes, radiating from Him. In the frieze of the same tribune he
+painted eight figures from the Old Testament, with the four Evangelists
+in the angles, and the Transfiguration of Christ over the high-altar;
+and in the two lunettes at the sides are the four Doctors of the Church.
+By the hand of the same master are two large pictures in the middle of
+the church: in one is Christ healing an endless number of the sick, all
+very well painted, and in the other is S. Christopher carrying Jesus
+Christ on his shoulders. On the wooden tabernacle of the same church,
+wherein the vessels of silver are kept, he painted a S. Martin on
+horseback, with many beggars who are bringing votive offerings, in a
+building in perspective.
+
+[Illustration: THE ADORATION OF THE MAGI
+
+(_After the fresco by =Giovanni Antonio Licinio of Pordenone=. Treviso:
+Duomo_)
+
+_Alinari_]
+
+This work, which was much extolled and brought him honour and profit,
+was the reason that M. Jacopo Soranzo, having become his intimate
+friend, caused him to be commissioned to paint the Sala de' Pregai in
+competition with Tiziano; and there he executed many pictures with
+figures seen foreshortened from below, which are very beautiful,
+together with a frieze of marine monsters painted in oils round that
+hall. These works made him so dear to the Senate, that as long as he
+lived he always received an honourable salary from them. And since, out
+of rivalry, he always sought to do work in places where Tiziano had also
+worked, he painted for S. Giovanni di Rialto a S. John, as Almoner,
+giving alms to beggars, and also placed on an altar a picture of S.
+Sebastian, S. Rocco, and other saints, which was very beautiful, but yet
+not equal to the work of Tiziano, although many, more out of malignity
+than out of a love for the truth, exalted that of Giovanni Antonio. The
+same master painted in the cloister of S. Stefano many scenes in fresco
+from the Old Testament, and one from the New, divided one from another
+by various Virtues; and in these figures he displayed amazing
+foreshortenings, in which method of painting he always delighted,
+seeking to introduce them into his every composition with no fear of
+difficulties, and making them more ornate than any other painter.
+
+Prince Doria had built a palace on the seashore in Genoa, and had
+commissioned Perino del Vaga, a very celebrated painter, to paint halls,
+apartments, and ante-chambers both in oils and in fresco, which are
+quite marvellous for the richness and beauty of the paintings. But
+seeing that Perino was not then giving much attention to the work, and
+wishing to make him do by the spur of emulation what he was not doing by
+himself, he sent for Pordenone, who began with an open terrace, wherein,
+following his usual manner, he executed a frieze of children, who are
+hurrying about in very beautiful attitudes and unloading a barque full
+of merchandise. He also painted a large scene of Jason asking leave from
+his uncle to go in search of the Golden Fleece. But the Prince, seeing
+the difference that there was between the work of Perino and that of
+Pordenone, dismissed the latter, and summoned in his place Domenico
+Beccafumi of Siena, an excellent painter and a rarer master than
+Pordenone. And he, glad to serve so great a Prince, did not scruple to
+leave his native city of Siena, where there are so many marvellous works
+by his hand; but he did not paint more than one single scene in that
+palace, because Perino brought everything to completion by himself.
+
+Giovanni Antonio then returned to Venice, where he was given to
+understand that Ercole, Duke of Ferrara, had brought a great number of
+masters from Germany, and had caused them to begin to make fabrics in
+silk, gold, floss-silk, and wool, for his own use and pleasure, but that
+he had no good designers of figures in Ferrara, since Girolamo da
+Ferrara had more ability for portraits and separate things than for
+difficult and complicated scenes, which called for great power of art
+and design; and that he should enter the service of that Prince.
+Whereupon, desiring to gain fame no less than riches, he departed from
+Venice, and on reaching Ferrara was received with great warmth by the
+Duke. But a little time after his arrival, being attacked by a most
+grievous affliction of the chest, he took to his bed with the doom of
+death upon him, and, growing continually worse and finding no remedy,
+within three days or little more he finished the course of his life, at
+the age of fifty-six. This seemed a strange thing to the Duke, and also
+to Pordenone's friends; and there were not wanting men who for many
+months believed that he had died of poison. The body of Giovanni Antonio
+was buried with honour, and his death was a grief to many, particularly
+in Venice, for the reason that he was ready of speech and the friend and
+companion of many, and delighted in music; and his readiness and grace
+of speech came from his having given attention to the study of Latin. He
+always made his figures grand, and was very rich in invention, and so
+versatile that he could imitate everything very well; but he was, above
+all, resolute and most facile in works in fresco.
+
+A disciple of Pordenone was Pomponio Amalteo of San Vito, who won by his
+good qualities the honour of becoming the son-in-law of his master. This
+Pomponio, always following that master in matters of art, has acquitted
+himself very well in all his works, as may be seen at Udine from the
+doors of the new organ, painted in oils, on the outer side of which is
+Christ driving the traders from the Temple, and on the inner side the
+story of the Pool of Bethesda and the Resurrection of Lazarus. In the
+Church of S. Francesco, in the same city, there is a panel-picture in
+oils by the hand of the same man, of S. Francis receiving the Stigmata,
+with some very beautiful landscapes, and with a sunrise from which, in
+the midst of some rays of the greatest splendour, there radiates the
+celestial light, which pierces the hands, feet, and side of S. Francis,
+who, kneeling devoutly and full of love, receives it, while his
+companion lies on the ground, in foreshortening, all overcome with
+amazement. Pomponio also painted in fresco for the Friars of La Vigna,
+at the end of their refectory, Jesus Christ between the two disciples at
+Emmaus. In the township of San Vito, his native place, twenty miles
+distant from Udine, he painted in fresco the Chapel of the Madonna in
+the Church of S. Maria, in so beautiful a manner, and so much to the
+satisfaction of all, that he has won from the most reverend Cardinal
+Maria Grimani, Patriarch of Aquileia and Lord of San Vito, the honour of
+being enrolled among the nobles of that place.
+
+I have thought it right in this Life of Pordenone to make mention of
+these excellent craftsmen of Friuli, both because it appears to me that
+their talents deserve it, and to the end that it may be recognized in
+the account to be given later how much more excellent are those who,
+after such a beginning, have lived since that day, as will be related in
+the Life of Giovanni Ricamatori of Udine, to whom our age owes a very
+great obligation for his works in stucco and his grotesques.
+
+But returning to Pordenone; after the works mentioned above as having
+been executed by him at Venice in the time of the most illustrious
+Gritti, he died, as has been related, in the year 1540. And because he
+was one of the most able men that our age has possessed, and for the
+reason, above all, that his figures seem to be in the round and detached
+from their walls, and almost in relief, he can be numbered among those
+who have rendered assistance to art and benefit to the world.
+
+FOOTNOTE:
+
+[11] _I.e._, singular or rare.
+
+
+
+
+GIOVANNI ANTONIO SOGLIANI
+
+
+
+
+LIFE OF GIOVANNI ANTONIO SOGLIANI
+
+PAINTER OF FLORENCE
+
+
+Very often do we see in the sciences of learning and in the more liberal
+of the manual arts, that those men who are melancholy are the most
+assiduous in their studies and show the greatest patience in supporting
+the burden of their labours; so that there are few of that disposition
+who do not become excellent in such professions. Even so did Giovanni
+Antonio Sogliani, a painter of Florence, whose cast of countenance was
+so cold and woeful that he looked like the image of melancholy; and such
+was the power of this humour over him that he gave little thought to
+anything but matters of art, with the exception of his household cares,
+through which he endured most grievous anxieties, although he had enough
+to live in comfort. He worked at the art of painting under Lorenzo di
+Credi for four-and-twenty years, living with him, honouring him always,
+and rendering him every sort of service. Having become during that time
+a very good painter, he showed afterwards in all his works that he was a
+most faithful disciple of his master and a close imitator of his manner.
+This was seen from his first paintings, in the Church of the Osservanza
+on the hill of San Miniato without Florence, for which he painted a
+panel-picture copied from the one that Lorenzo had executed for the Nuns
+of S. Chiara, containing the Nativity of Christ, and no less excellent
+than the one of Lorenzo.
+
+Afterwards, having left his master, he painted for the Church of S.
+Michele in Orto, at the commission of the Guild of Vintners, a S. Martin
+in oils, robed as a Bishop, which gave him the name of a very good
+master. And since Giovanni Antonio had a vast veneration for the works
+and the manner of Fra Bartolommeo di San Marco, and made great efforts
+to approach that manner in his colouring, it may be seen from a panel
+which he began but did not finish, not being satisfied with it, how
+much he imitated that painter. This panel remained in his house during
+his lifetime as worthless: but after his death it was sold as a piece of
+old rubbish to Sinibaldo Gaddi, and he had it finished by Santi Titi dal
+Borgo, then a mere boy, and placed it in a chapel of his own in S.
+Domenico da Fiesole. In this work are the Magi adoring Jesus Christ, who
+is in the lap of His Mother, and in one corner is his own portrait from
+life, which is a passing good likeness.
+
+He then painted for Madonna Alfonsina, the wife of Piero de' Medici, a
+panel-picture that was placed as a votive offering over the altar of the
+Chapel of the Martyrs in the Camaldolite Church at Florence: in which
+picture he painted the Crucifixion of S. Arcadio and other martyrs with
+their crosses in their arms, and two figures, half covered with
+draperies and half naked, kneeling with their crosses on the ground,
+while in the sky are some little angels with palms in their hands. This
+work, which was painted with much diligence, and executed with good
+judgment in the colouring and in the heads, which are very lifelike, was
+placed in the above-mentioned Camaldolite Church; but that monastery was
+taken on account of the siege of Florence from those Eremite Fathers,
+who used devoutly to celebrate the Divine offices in the church, and was
+afterwards given to the Nuns of S. Giovannino, of the Order of the
+Knights of Jerusalem, and finally destroyed; and the picture, being one
+which may be numbered among the best works that Sogliani painted, was
+placed by order of the Lord Duke Cosimo in one of the chapels of the
+Medici family in S. Lorenzo.
+
+The same master executed for the Nuns of the Crocetta a Last Supper
+coloured in oils, which was much extolled at that time. And in a shrine
+in the Via de' Ginori, he painted in fresco for Taddeo Taddei a Crucifix
+with Our Lady and S. John at the foot, and in the sky some angels
+lamenting Christ, very lifelike--a picture truly worthy of praise, and a
+well-executed example of work in fresco. By the hand of Sogliani, also,
+is a Crucifix in the Refectory of the Abbey of the Black Friars in
+Florence, with angels flying about and weeping with much grace; and at
+the foot the Madonna, S. John, S. Benedict, S. Scholastica, and other
+figures. For the Nuns of the Spirito Santo, on the hill of San Giorgio,
+he painted two pictures that are in their church, one of S. Francis, and
+the other of S. Elizabeth, Queen of Hungary and a sister of that Order.
+For the Company of the Ceppo he painted the banner for carrying in
+processions, which is very beautiful, representing on the front of it
+the Visitation of Our Lady, and on the other side S. Niccolò the Bishop,
+with two children dressed as Flagellants, one of whom holds his book and
+the other the three balls of gold. On a panel in S. Jacopo sopra Arno he
+painted the Trinity, with an endless number of little boys, S. Mary
+Magdalene kneeling, S. Catherine, S. James, and two figures in fresco
+standing at the sides, S. Jerome in Penitence and S. John; and in the
+predella he made his assistant, Sandrino del Calzolaio, execute three
+scenes, which won no little praise.
+
+On the end wall of the Oratory of a Company in the township of Anghiari,
+he executed on panel a Last Supper in oils, with figures of the size of
+life; and on one of the two adjoining walls (namely, the sides) he
+painted Christ washing the feet of the Apostles, and on the other a
+servant bringing two vessels of water. The work is held in great
+veneration in that place, for it is indeed a rare thing, and one that
+brought him both honour and profit. A picture that he executed of a
+Judith who had cut off the head of Holofernes, being a very beautiful
+work, was sent to Hungary. And likewise another, in which was the
+Beheading of S. John the Baptist, with a building in perspective for
+which he had copied the exterior of the Chapter-house of the Pazzi,
+which is in the first cloister of S. Croce, was sent as a most beautiful
+work to Naples by Paolo da Terrarossa, who had given the commission for
+it. For one of the Bernardi, also, Sogliani executed two other pictures,
+which were placed in a chapel in the Church of the Osservanza at San
+Miniato, containing two lifesize figures in oils--S. John the Baptist
+and S. Anthony of Padua. But as for the panel that was to stand between
+them, Giovanni Antonio, being dilatory by nature and leisurely over his
+work, lingered over it so long that he who had given the commission
+died: wherefore that panel, which was to contain a Christ lying dead in
+the lap of His Mother, remained unfinished.
+
+[Illustration: THE LEGEND OF S. DOMINIC
+
+(_After the fresco by =Giovanni Antonio Sogliani=. Florence: S. Marco_)
+
+_Anderson_]
+
+After these things, when Perino del Vaga, having departed from Genoa on
+account of his resentment against Prince Doria, was working at Pisa,
+where the sculptor Stagio da Pietrasanta had begun the execution of the
+new chapels in marble at the end of the nave of the Duomo, together with
+that space behind the high-altar, which serves as a sacristy, it was
+ordained that the said Perino, as will be related in his Life, with
+other masters, should begin to fill up those adornments of marble with
+pictures. But Perino being recalled to Genoa, Giovanni Antonio was
+commissioned to set his hand to the pictures that were to adorn the
+aforesaid recess behind the high-altar, and to deal in his works with
+the sacrifices of the Old Testament, as symbols of the Sacrifice of the
+Most Holy Sacrament, which was there over the centre of the high-altar.
+Sogliani, then, painted in the first picture the sacrifice that Noah and
+his sons offered when they had gone forth from the Ark, and afterwards
+those of Cain and of Abel; which were all highly extolled, but above all
+that of Noah, because some of the heads and parts of the figures in it
+were very beautiful. The picture of Abel is charming for its landscapes,
+which are very well executed, and the head of Abel himself, which is the
+very presentment of goodness; but quite the opposite is that of Cain,
+which has the mien of a truly sorry villain. And if Sogliani had pursued
+the work with energy instead of being dilatory, he would have been
+charged by the Warden, who had given him his commission and was much
+pleased with his manner and character, to execute all the work in that
+Duomo, whereas at that time, in addition to the pictures already
+mentioned, he painted no more than one panel, which was destined for the
+chapel wherein Perino had begun to work; and this he finished in
+Florence, but in such wise that it pleased the Pisans well enough and
+was held to be very beautiful. In it are the Madonna, S. John the
+Baptist, S. George, S. Mary Magdalene, S. Margaret, and other saints.
+His picture, then, having given satisfaction, Sogliani received from the
+Warden a commission for three other panels, to which he set his hand,
+but did not finish them in the lifetime of that Warden, in whose place
+Bastiano della Seta was elected; and he, perceiving that the business
+was moving but slowly, allotted four pictures for the aforesaid sacristy
+behind the high-altar to Domenico Beccafumi of Siena, an excellent
+painter, who dispatched them very quickly, as will be told in the proper
+place, and also painted a panel there, and other painters executed the
+rest. Giovanni Antonio, then, working at his leisure, finished two other
+panels with much diligence, painting in each a Madonna surrounded by
+many saints. And finally, having made his way to Pisa, he there painted
+the fourth and last, in which he acquitted himself worse than in any
+other, either through old age, or because he was competing with
+Beccafumi, or for some other reason.
+
+But the Warden Bastiano, perceiving the slowness of the man, and wishing
+to bring the work to an end, allotted the three other panels to Giorgio
+Vasari of Arezzo, who finished two of them, those that are beside the
+door of the façade. In the one nearer the Campo Santo is Our Lady with
+the Child in her arms, with S. Martha caressing Him. There, also, on
+their knees, are S. Cecilia, S. Augustine, S. Joseph, and S. Guido the
+Hermit, and in the foreground a nude S. Jerome, with S. Luke the
+Evangelist, and some little boys uplifting a piece of drapery, and
+others holding flowers. In the other, by the wish of the Warden, he
+painted another Madonna with her Son in her arms, S. James the Martyr,
+S. Matthew, S. Sylvester the Pope, and S. Turpè the Chevalier. Having to
+paint the Madonna, and not wishing to repeat the same composition
+(although he had varied it much in other respects), he made her with
+Christ dead in her arms, and those saints as it were round a Deposition
+from the Cross; and on the crosses, planted on high and made of
+tree-trunks, are fixed two naked Thieves, surrounded by horses and
+ministers of the crucifixion, with Joseph, Nicodemus, and the Maries;
+all for the satisfaction of the Warden, who wished that in those new
+pictures there should be included all the saints that there had been in
+the past in the various dismantled chapels, in order to renew their
+memory in the new works. One picture was still wanting to complete the
+whole, and this was executed by Bronzino, who painted a nude Christ and
+eight saints. And in this manner were those chapels brought to
+completion, all of which Giovanni Antonio could have done with his own
+hand if he had not been so slow.
+
+And since Sogliani had won much favour with the Pisans, after the death
+of Andrea del Sarto he was commissioned to finish a panel for the
+Company of S. Francesco, which the said Andrea left only sketched; which
+panel is now in the building of that Company on the Piazza di S.
+Francesco at Pisa. The same master executed some rows of cloth-hangings
+for the Wardens of Works of the aforesaid Duomo, and many others in
+Florence, because he took pleasure in doing that sort of work, and above
+all in company with his friend Tommaso di Stefano, a painter of
+Florence.
+
+Being summoned by the Friars of S. Marco in Florence to paint a work in
+fresco at the head of their refectory, at the expense of one of their
+number, a lay-brother of the Molletti family, who had possessed a rich
+patrimony when in the world, Giovanni Antonio wished to paint there the
+scene of Jesus Christ feeding five thousand persons with five loaves and
+two fishes, in order to make the most of his powers; and he had already
+made the design for it, with many women and children and a great
+multitude of other people, when the friars refused to have that story,
+saying that they wanted something definite, simple, and familiar.
+Whereupon, to please them, he painted the scene when S. Dominic, being
+in the refectory with his friars and having no bread, made a prayer to
+God, when the table was miraculously covered with bread, brought by two
+angels in human form. In this work he made portraits of many friars who
+were then in the convent, which have the appearance of life, and
+particularly that of the lay-brother of the Molletti family, who is
+serving at table. Then, in the lunette above the table, he painted S.
+Dominic at the foot of a Crucifix, with Our Lady and S. John the
+Evangelist, who are weeping, and at the sides S. Catherine of Siena and
+S. Antonino, Archbishop of Florence, a brother of their Order. All this,
+for a work in fresco, was executed with much diligence and a high
+finish; but Sogliani would have been much more successful if he had
+executed what he had designed, because painters express the conceptions
+of their own minds better than those of others. On the other hand, it is
+only right that he who pays the piper should call the tune. The design
+for the Miracle of the Loaves and Fishes is in the hands of Bartolommeo
+Gondi, who, in addition to a large picture that he has by the hand of
+Sogliani, also possesses many drawings and heads painted from life on
+tinted paper, which he received from the wife of the painter, who had
+been very much his friend, after his death. And we, also, have in our
+book some drawings by the same hand, which are beautiful to a marvel.
+
+Sogliani began for Giovanni Serristori a large panel-picture which was
+to be placed in S. Francesco dell' Osservanza, without the Porta a S.
+Miniato, with a vast number of figures, among which are some marvellous
+heads, the best that he ever made; but it was left unfinished at the
+death of the said Giovanni Serristori. Nevertheless, since Giovanni
+Antonio had received full payment, he finished it afterwards little by
+little, and gave it to Messer Alamanno di Jacopo Salviati, the
+son-in-law and heir of Giovanni Serristori; and he presented it, frame
+and all, to the Nuns of S. Luca, who have it over their high-altar in
+the Via di S. Gallo.
+
+Giovanni Antonio executed many other works in Florence, some of which
+are in the houses of citizens, and some were sent to various countries;
+but of these there is no need to make mention, for we have spoken of the
+most important. Sogliani was an upright person, very religious, always
+occupied with his own business, and never interfering with his
+fellow-craftsmen.
+
+One of his disciples was Sandrino del Calzolaio, who painted the shrine
+that is on the Canto delle Murate, and, in the Hospital of the Temple, a
+S. John the Baptist who is assigning shelter to the poor; and he would
+have done more work, and good work, if he had not died as young as he
+did. Another of his disciples was Michele, who afterwards went to work
+with Ridolfo Ghirlandajo, whose name he took; and likewise Benedetto,
+who went with Antonio Mini, a disciple of Michelagnolo Buonarroti, to
+France, where he has executed many beautiful works. And another,
+finally, was Zanobi di Poggino, who has painted many works throughout
+the city.
+
+In the end, being weary and broken in health after having been long
+tormented by the stone, Giovanni Antonio rendered up his soul to God at
+the age of fifty-two. His death was much lamented, for he had been an
+excellent man, and his manner had been much in favour, since he gave an
+air of piety to his figures, in such a fashion as pleases those who,
+delighting little in the highest and most difficult flights of art, love
+things that are seemly, simple, gracious, and sweet. His body was opened
+after his death, and in it were found three stones, each as big as an
+egg; but as long as he lived he would never consent to have them
+extracted, or to hear a word about them.
+
+
+
+
+GIROLAMO DA TREVISO
+
+
+
+
+LIFE OF GIROLAMO DA TREVISO
+
+PAINTER
+
+
+Rarely does it happen that those who persist in working in the country
+in which they were born, are exalted by Fortune to that height of
+prosperity which their talents deserve; whereas, if a man tries many, he
+must in the end find one wherein sooner or later he succeeds in being
+recognized. And it often comes to pass that one who attains to the
+reward of his labours late in life, is prevented by the venom of death
+from enjoying it for long, even as we shall see in the case of Girolamo
+da Treviso.
+
+This painter was held to be a very good master; and although he was no
+great draughtsman, he was a pleasing colourist both in oils and in
+fresco, and a close imitator of the methods of Raffaello da Urbino. He
+worked much in his native city of Treviso; and he also executed many
+works in Venice, such as, in particular, the façade of the house of
+Andrea Udoni, which he painted in fresco, with some friezes of children
+in the courtyard, and one of the upper apartments: all of which he
+executed in colour, and not in chiaroscuro, because the Venetians like
+colour better than anything else. In a large scene in the middle of this
+façade is a Juno, seen from the thighs upwards, flying on some clouds
+with the moon on her head, over which are raised her arms, one holding a
+vase and the other a bowl. He also painted there a Bacchus, fat and
+ruddy, with a vessel that he is upsetting, and holding with one arm a
+Ceres who has many ears of corn in her hands. There, too, are the
+Graces, with five little boys who are flying below and welcoming them,
+in order, so they signify, to make the house of the Udoni abound with
+their gifts; and to show that the same house was a friendly haven for
+men of talent, he painted Apollo on one side and Pallas on the other.
+This work was executed with great freshness, so that Girolamo gained
+from it both honour and profit.
+
+The same master painted a picture for the Chapel of the Madonna in S.
+Petronio, in competition with certain painters of Bologna, as will be
+related in the proper place. And continuing to live in Bologna, he
+executed many pictures there; and in S. Petronio, in the Chapel of S.
+Antonio da Padova, he depicted in oils, in imitation of marble, all the
+stories of the life of the latter Saint, in which, without a doubt,
+there may be perceived grace, judgment, excellence, and a great delicacy
+of finish. He painted a panel-picture for S. Salvatore, of the Madonna
+ascending the steps of the Temple, with some saints; and another of the
+Madonna in the sky, with some children, and S. Jerome and S. Catherine
+beneath, which is certainly the weakest work by his hand that is to be
+seen in Bologna. Over a great portal, also, in Bologna, he painted in
+fresco a Crucifix with Our Lady and S. John, all worthy of the highest
+praise. For S. Domenico, at Bologna, he executed a panel-picture in oils
+of Our Lady with some saints, which is the best of his works; it is near
+the choir, as one ascends to the tomb of S. Dominic, and in it is the
+portrait of the patron who had it painted. In like manner, he painted a
+picture for Count Giovanni Battista Bentivogli, who had the cartoon by
+the hand of Baldassarre of Siena, representing the story of the Magi: a
+work which he carried to a very fine completion, although it contained
+more than a hundred figures. There are also many other works by the hand
+of Girolamo in Bologna, both in private houses and in the churches. In
+Galiera he painted in chiaroscuro the façade of the Palace of the
+Teofamini, with another façade behind the house of the Dolfi, which is
+considered in the judgment of many craftsmen to be the best work that he
+ever executed in that city.
+
+He went to Trento, and, in company with other painters, painted the
+palace of the old Cardinal, from which he gained very great fame. Then,
+returning to Bologna, he gave his attention to the works that he had
+begun. Now it happened that there was much talk throughout Bologna about
+having a panel-picture painted for the Della Morte Hospital, for which
+various designs were made by way of competition, some in drawing and
+some in colour. And since many thought that they had the first claim,
+some through interest and others because they held themselves to be most
+worthy of such a commission, Girolamo was left in the lurch; and
+considering that he had been wronged, not long afterwards he departed
+from Bologna. And thus the envy of others raised him to such a height of
+prosperity as he had never thought of; since, if he had been chosen for
+the work, it would have impeded the blessings that his good fortune had
+prepared for him. For, having made his way to England, he was
+recommended by some friends, who favoured him, to King Henry; and
+presenting himself before him, he entered into his service, although not
+as painter, but as engineer. Then, making trial of his skill in various
+edifices, copied from some in Tuscany and other parts of Italy, that
+King pronounced them marvellous, rewarded him with a succession of
+presents, and decreed him a provision of four hundred crowns a year; and
+he was given the means to build an honourable abode for himself at the
+expense of the King. Thereupon Girolamo, raised from one extreme of
+distress to the other extreme of grandeur, lived a most happy and
+contented life, thanking God and Fortune for having turned his steps to
+a country where men were so favourable to his talents. But this unwonted
+happiness was not destined to last long, for the war between the French
+and the English being continued, and Girolamo being charged with
+superintending all the work of the bastions and fortifications, the
+artillery, and the defences of the camp, it happened one day, when the
+city of Boulogne in Picardy was being bombarded, that a ball from a
+demi-cannon came with horrid violence and cut him in half on his horse's
+back. And thus, Girolamo being at the age of thirty-six, his life, his
+earthly honours, and all his greatness were extinguished at one and the
+same moment, in the year 1544.
+
+
+
+
+POLIDORO DA CARAVAGGIO AND MATURINO
+
+
+
+
+LIVES OF POLIDORO DA CARAVAGGIO AND THE FLORENTINE MATURINO
+
+PAINTERS
+
+
+In the last age of gold, as the happy age of Leo X might have been
+called for all noble craftsmen and men of talent, an honoured place was
+held among the most exalted spirits by Polidoro da Caravaggio, a
+Lombard, who had not become a painter after long study, but had been
+created and produced as such by Nature. This master, having come to Rome
+at the time when the Loggie of the Papal Palace were being built for Leo
+under the direction of Raffaello da Urbino, carried the pail, or we
+should rather say the hod, full of lime, for the masons who were doing
+the work, until he had reached the age of eighteen. But, when Giovanni
+da Udine had begun to paint there, the building and the painting
+proceeding together, Polidoro, whose will and inclination were much
+drawn to painting, could not rest content until he had become intimate
+with all the most able of the young men, in order to study their methods
+and manners of art, and to set himself to draw. And out of their number
+he chose as his companion the Florentine Maturino, who was then working
+in the Papal Chapel, and was held to be an excellent draughtsman of
+antiquities. Associating with him, Polidoro became so enamoured of that
+art, that in a few months, having made trial of his powers, he executed
+works that astonished every person who had known him in his former
+condition. On which account, the work of the Loggie proceeding, he
+exercised his hand to such purpose in company with those young painters,
+who were well-practised and experienced in painting, and learned the art
+so divinely well, that he did not leave that work without carrying away
+the true glory of being considered the most noble and most beautiful
+intellect that was to be found among all their number. Thereupon the
+love of Maturino for Polidoro, and of Polidoro for Maturino, so
+increased, that they determined like brothers and true companions to
+live and die together; and, uniting their ambitions, their purses, and
+their labours, they set themselves to work together in the closest
+harmony and concord. But since there were in Rome many who had great
+fame and reputation, well justified by their works, for making their
+paintings more lively and vivacious in colour and more worthy of praise
+and favour, there began to enter into their minds the idea of imitating
+the methods of Baldassarre of Siena, who had executed several façades of
+houses in chiaroscuro, and of giving their attention thenceforward to
+that sort of work, which by that time had come into fashion.
+
+They began one, therefore, on Montecavallo, opposite to S. Silvestro, in
+company with Pellegrino da Modena, which encouraged them to make further
+efforts to see whether this should be their profession; and they went on
+to execute another opposite to the side-door of S. Salvatore del Lauro,
+and likewise painted a scene by the side-door of the Minerva, with
+another, which is a frieze of marine monsters, above S. Rocco a Ripetta.
+And during this first period they painted a vast number of them
+throughout all Rome, but not so good as the others; and there is no need
+to mention them here, since they afterwards did better work of that
+sort. Gaining courage, therefore, from this, they began to study the
+antiquities of Rome, counterfeiting the ancient works of marble in their
+works in chiaroscuro, so that there remained no vase, statue,
+sarcophagus, scene, or any single thing, whether broken or entire, which
+they did not draw and make use of. And with such constancy and
+resolution did they give their minds to this pursuit, that they both
+acquired the ancient manner, the work of the one being so like that of
+the other, that, even as their minds were guided by one and the same
+will, so their hands expressed one and the same knowledge. And although
+Maturino was not as well assisted by Nature as Polidoro, so potent was
+the faithful imitation of one style by the two in company, that,
+wherever either of them placed his hand, the work of both one and the
+other, whether in composition, expression, or manner, appeared to be the
+same.
+
+In the Piazza di Capranica, on the way to the Piazza Colonna, they
+painted a façade with the Theological Virtues, and a frieze of very
+beautiful invention beneath the windows, including a draped figure of
+Rome representing the Faith, and holding the Chalice and the Host in her
+hands, who has taken captive all the nations of the earth; and all
+mankind is flocking up to bring her tribute, while the Turks, overcome
+at the last, are shooting arrows at the tomb of Mahomet; all ending in
+the words of Scripture, "There shall be one fold and one Shepherd." And,
+indeed, they had no equals in invention; of which we have witness in all
+their works, abounding in personal ornaments, vestments, foot-wear, and
+things bizarre and strange, and executed with an incredible beauty. And
+another proof is that their works are continually being drawn by all the
+foreign painters; wherefore they conferred greater benefits on the art
+of painting with the beautiful manner that they displayed and with their
+marvellous facility, than have all the others together who have lived
+from Cimabue downwards. It has been seen continually, therefore, in
+Rome, and is still seen, that all the draughtsmen are inclined more to
+the works of Polidoro and Maturino than to all the rest of our modern
+pictures.
+
+In the Borgo Nuovo they executed a façade in sgraffito, and on the Canto
+della Pace another likewise in sgraffito; with a façade of the house of
+the Spinoli, not far from that last-mentioned, on the way to the
+Parione, containing athletic contests according to the custom of the
+ancients, and their sacrifices, and the death of Tarpeia. Near the Torre
+di Nona, on the side towards the Ponte S. Angelo, may be seen a little
+façade with the Triumph of Camillus and an ancient sacrifice. In the
+road that leads to the Imagine di Ponte, there is a most beautiful
+façade with the story of Perillus, showing him being placed in the
+bronze bull that he had made; wherein great effort may be seen in those
+who are thrusting him into that bull, and terror in those who are
+waiting to behold a death so unexampled, besides which there is the
+seated figure of Phalaris (so I believe), ordaining with an imperious
+air of great beauty the punishment of the inhuman spirit that had
+invented a device so novel and so cruel in order to put men to death
+with greater suffering. In this work, also, may be perceived a very
+beautiful frieze of children, painted to look like bronze, and other
+figures. Higher up than this they painted the façade of the house where
+there is the image which is called the Imagine di Ponte, wherein are
+seen several stories illustrated by them, with the Senatorial Order
+dressed in the garb of ancient Rome. And in the Piazza della Dogana,
+beside S. Eustachio, there is a façade of battle-pieces; and within that
+church, on the right as one enters, may be perceived a little chapel
+with figures painted by Polidoro.
+
+They also executed another above the Farnese Palace for the Cepperelli,
+and a façade behind the Minerva in the street that leads to the
+Maddaleni; and in the latter, which contains scenes from Roman history,
+may be seen, among other beautiful things, a frieze of children in
+triumph, painted to look like bronze, and executed with supreme grace
+and extraordinary beauty. On the façade of the Buoni Auguri, near the
+Minerva, are some very beautiful stories of Romulus, showing him when he
+is marking out the site of his city with the plough, and when the
+vultures are flying over him; wherein the vestments, features, and
+persons of the ancients are so well imitated, that it truly appears as
+if these were the very men themselves. Certain it is that in that field
+of art no man ever had such power of design, such practised mastery, a
+more beautiful manner, or greater facility. And every craftsman is so
+struck with wonder every time that he sees these works, that he cannot
+but be amazed at the manner in which Nature has been able in this age to
+present her marvels to us by means of these men.
+
+Below the Corte Savella, also, on the house bought by Signora Costanza,
+they painted the Rape of the Sabines, a scene which reveals the raging
+desire of the captors no less clearly than the terror and panic of the
+wretched women thus carried off by various soldiers, some on horseback
+and others in other ways. And not only in this one scene are there such
+conceptions, but also (and even more) in the stories of Mucius and
+Horatius, and in the Flight of Porsena, King of Tuscany. In the garden
+of M. Stefano dal Bufalo, near the Fountain of Trevi, they executed some
+most beautiful scenes of the Fount of Parnassus, in which they made
+grotesques and little figures, painted very well in colour. On the
+house of Baldassini, also, near S. Agostino, they executed scenes and
+sgraffiti, with some heads of Emperors over the windows in the court. On
+Montecavallo, near S. Agata, they painted a façade with a vast number of
+different stories, such as the Vestal Tuccia bringing water from the
+Tiber to the Temple in a sieve, and Claudia drawing the ship with her
+girdle; and also the rout effected by Camillus while Brennus is weighing
+the gold. On another wall, round the corner, are Romulus and his brother
+being suckled by the wolf, and the terrible combat of Horatius, who is
+defending the head of the bridge, alone against a thousand swords, while
+behind him are many very beautiful figures in various attitudes, working
+with might and main to hew away the bridge with pickaxes. There, also,
+is Mucius Scævola, who, before the eyes of Porsena, is burning his own
+hand, which had erred in slaying the King's minister in place of the
+King; and in the King's face may be seen disdain and a desire for
+vengeance. And within that house they executed a number of landscapes.
+
+They decorated the façade of S. Pietro in Vincula, painting therein
+stories of S. Peter, with some large figures of Prophets. And so
+widespread was the fame of these masters by reason of the abundance of
+their work, that the pictures painted by them with such beauty in public
+places enabled them to win extraordinary praise in their lifetime, with
+glory infinite and eternal through the number of their imitators after
+death. On a façade, also, in the square where stands the Palace of the
+Medici, behind the Piazza Navona, they painted the Triumphs of Paulus
+Emilius, with a vast number of other Roman stories. And at S. Silvestro
+di Montecavallo they executed some little things for Fra Mariano, both
+in the house and in the garden; and in the church they painted his
+chapel, with two scenes in colour from the life of S. Mary Magdalene, in
+which the disposition of the landscapes is executed with supreme grace
+and judgment. For Polidoro, in truth, executed landscapes and groups of
+trees and rocks better than any other painter, and it is to him that art
+owes that facility which our modern craftsmen show in their works.
+
+They also painted many apartments and friezes in various houses at Rome,
+executing them with colours in fresco and in distemper; but these works
+were attempted by them as trials, because they were never able to
+achieve with colours that beauty which they always displayed in their
+works in chiaroscuro, in their imitations of bronze, or in terretta.
+This may still be seen in the house of Torre Sanguigna, which once
+belonged to the Cardinal of Volterra, on the façade of which they
+painted a most beautiful decoration in chiaroscuro, and in the interior
+some figures in colour, the painting of which is so badly executed, that
+in it they diverted from its true excellence the good design which they
+always had. And this appeared all the more strange because of there
+being beside them an escutcheon of Pope Leo, with nude figures, by the
+hand of Giovan Francesco Vetraio, who would have done extraordinary
+things if death had not taken him from our midst. However, not cured by
+this of their insane confidence, they also painted some children in
+colour for the altar of the Martelli in S. Agostino at Rome, a work
+which Jacopo Sansovino completed by making a Madonna of marble; and
+these children appear to be by the hands, not of illustrious masters,
+but of simpletons just beginning to learn. Whereas, on the side where
+the altar-cloth covers the altar, Polidoro painted a little scene of a
+Dead Christ with the Maries, which is a most beautiful work, showing
+that in truth that sort of work was more their profession than the use
+of colours.
+
+Returning, therefore, to their usual work, they painted two very
+beautiful façades in the Campo Marzio; one with the stories of Ancus
+Martius, and the other with the Festivals of the Saturnalia, formerly
+celebrated in that place, with all the two-horse and four-horse chariots
+circling round the obelisks, which are held to be most beautiful,
+because they are so well executed both in design and in nobility of
+manner, that they reproduce most vividly those very spectacles as
+representations of which they were painted. On the Canto della Chiavica,
+on the way to the Corte Savella, they painted a façade which is a divine
+thing, and is held to be the most beautiful of all the beautiful works
+that they executed; for, in addition to the story of the maidens passing
+over the Tiber, there is at the foot, near the door, a Sacrifice painted
+with marvellous industry and art, wherein may be seen duly represented
+all the instruments and all those ancient customs that used to have a
+place in sacrifices of that kind. Near the Piazza del Popolo, below S.
+Jacopo degli Incurabili, they painted a façade with stories of Alexander
+the Great, which is held to be very fine; and there they depicted the
+ancient statues of the Nile and the Tiber from the Belvedere. Near S.
+Simeone they painted the façade of the Gaddi Palace, which is truly a
+cause of marvel and amazement, when one observes the lovely vestments in
+it, so many and so various, and the vast number of ancient helmets,
+girdles, buskins, and barques, adorned with all the delicacy and
+abundance of detail that an inventive imagination could conceive. There,
+with a multitude of beautiful things which overload the memory, are
+represented all the ways of the ancients, the statues of sages, and most
+lovely women: and there are all the sorts of ancient sacrifices with
+their ritual, and an army in the various stages between embarking and
+fighting with an extraordinary variety of arms and implements, all
+executed with such grace and finished with such masterly skill, that the
+eye is dazzled by the vast abundance of beautiful inventions. Opposite
+to this is a smaller façade, which could not be improved in beauty and
+variety; and there, in the frieze, is the story of Niobe causing herself
+to be worshipped, with the people bringing tribute, vases, and various
+kinds of gifts; which story was depicted by them with such novelty,
+grace, art, force of relief and genius in every part, that it would
+certainly take too long to describe the whole. Next, there follows the
+wrath of Latona, and her terrible vengeance on the children of the
+over-proud Niobe, whose seven sons are slain by Phoebus and the seven
+daughters by Diana; with an endless number of figures in imitation of
+bronze, which appear to be not painted but truly of metal. Above these
+are executed other scenes, with some vases in imitation of gold,
+innumerable things of fancy so strange that mortal eye could not picture
+anything more novel or more beautiful, and certain Etruscan helmets; but
+one is left confused by the variety and abundance of the conceptions, so
+beautiful and so fanciful, which issued from their minds. These works
+have been imitated by a vast number of those who labour at that branch
+of art. They also painted the courtyard of that house, and likewise the
+loggia, which they decorated with little grotesques in colour that are
+held to be divine. In short, all that they touched they brought to
+perfection with infinite grace and beauty; and if I were to name all
+their works, I should fill a whole book with the performances of these
+two masters alone, since there is no apartment, palace, garden, or villa
+in Rome that does not contain some work by Polidoro and Maturino.
+
+Now, while Rome was rejoicing and clothing herself in beauty with their
+labours, and they were awaiting the reward of all their toil, the envy
+of Fortune, in the year 1527, sent Bourbon to Rome; and he gave that
+city over to sack. Whereupon was divided the companionship not only of
+Polidoro and Maturino, but of all the thousands of friends and relatives
+who had broken bread together for so many years in Rome. Maturino took
+to flight, and no long time passed before he died, so it is believed in
+Rome, of plague, in consequence of the hardships that he had suffered in
+the sack, and was buried in S. Eustachio. Polidoro turned his steps to
+Naples; but on his arrival, the noblemen of that city taking but little
+interest in fine works of painting, he was like to die of hunger.
+Working, therefore, at the commission of certain painters, he executed a
+S. Peter in the principal chapel of S. Maria della Grazia; and in this
+way he assisted those painters in many things, more to save his life
+than for any other reason. However, the fame of his talents having
+spread abroad, he executed for Count ... a vault painted in distemper,
+together with some walls, all of which is held to be very beautiful
+work. In like manner, he executed a courtyard in chiaroscuro for Signor
+..., with some loggie, which are very beautiful, rich in ornaments, and
+well painted. He also painted for S. Angelo, beside the Pescheria at
+Naples, a little panel in oils, containing a Madonna and some naked
+figures of souls in torment, which is held to be most beautiful, but
+more for the drawing than for the colouring; and likewise some pictures
+for the Chapel of the High-Altar, each with a single full-length figure,
+and all executed in the same manner.
+
+It came to pass that Polidoro, living in Naples and seeing his talents
+held in little esteem, determined to take his leave of men who thought
+more of a horse that could jump than of a master whose hands could give
+to painted figures the appearance of life. Going on board ship,
+therefore, he made his way to Messina, where, finding more consideration
+and more honour, he set himself to work; and thus, working continually,
+he acquired good skill and mastery in the use of colour. Thereupon he
+executed many works, which are dispersed in various places; and turning
+his attention to architecture, he gave proof of his worth in many
+buildings that he erected. After a time, Charles V passing through
+Messina on his return from victory in Tunis, Polidoro made in his honour
+most beautiful triumphal arches, from which he gained vast credit and
+rewards. And then this master, who was always burning with desire to
+revisit Rome, which afflicts with an unceasing yearning those who have
+lived there many years, when making trial of other countries, painted as
+his last work in Messina a panel-picture of Christ bearing the Cross,
+executed in oils with much excellence and very pleasing colour. In it he
+made a number of figures accompanying Christ to His Death--soldiers,
+pharisees, horses, women, children, and the Thieves in front; and he
+kept firmly before his mind the consideration of how such an execution
+must have been marshalled, insomuch that his nature seemed to have
+striven to show its highest powers in this work, which is indeed most
+excellent. After this he sought many times to shake himself free of that
+country, although he was looked upon with favour there; but he had a
+reason for delay in a woman, beloved by him for many years, who detained
+him with her sweet words and cajoleries. However, so mightily did his
+desire to revisit Rome and his friends work in him, that he took from
+his bank a good sum of money that he possessed, and, wholly determined,
+prepared to depart.
+
+Polidoro had employed as his assistant for a long time a lad of the
+country, who bore greater love to his master's money than to his master;
+but, the money being kept, as has been said, in the bank, he was never
+able to lay his hands upon it and carry it off. Wherefore, an evil and
+cruel thought entering his head, he resolved to put his master to death
+with the help of some accomplices, on the following night, while he was
+sleeping, and then to divide the money with them. And so, assisted by
+his friends, he set upon Polidoro in his first sleep, while he was
+slumbering deeply, and strangled him with a cloth. Then, giving him
+several wounds, they made sure of his death; and in order to prove that
+it was not they who had done it, they carried him to the door of the
+woman whom he had loved, making it appear that her relatives or other
+persons of the house had killed him. The assistant gave a good part of
+the money to the villains who had committed so hideous an outrage, and
+bade them be off. In the morning he went in tears to the house of a
+certain Count, a friend of his dead master, and related the event to
+him; but for all the diligence that was used for many days in seeking
+for the perpetrator of the crime, nothing came to light. By the will of
+God, however, nature and virtue, in disdain at being wounded by the hand
+of fortune, so worked in one who had no interest in the matter, that he
+declared it to be impossible that any other but the assistant himself
+could have committed the murder. Whereupon the Count had him seized and
+put to the torture, and without the application of any further torment
+he confessed the crime and was condemned by the law to the gallows; but
+first he was torn with red-hot pincers on the way to execution, and
+finally quartered.
+
+For all this, however, life was not restored to Polidoro, nor was there
+given back to the art of painting a genius so resolute and so
+extraordinary, such as had not been seen in the world for many an age.
+If, indeed, at the time when he died, invention, grace, and boldness in
+the painting of figures could have laid down their lives, they would
+have died with him. Happy was the union of nature and art which embodied
+a spirit so noble in human form; and cruel was the envy and hatred of
+his fate and fortune, which robbed him of life with so strange a death,
+but shall never through all the ages rob him of his name. His obsequies
+were performed with full solemnity, and he was given burial in the
+Cathedral Church, lamented bitterly by all Messina, in the year 1543.
+
+Great, indeed, is the obligation owed by craftsmen to Polidoro, in that
+he enriched art with a great abundance of vestments, all different and
+most strange, and of varied ornaments, and gave grace and adornment to
+all his works, and likewise made figures of every sort, animals,
+buildings, grotesques, and landscapes, all so beautiful, that since his
+day whosoever has aimed at catholicity has imitated him. It is a
+marvellous thing and a fearsome to see from the example of this master
+the instability of Fortune and what she can bring to pass, causing men
+to become excellent in some profession from whom something quite
+different might have been expected, to the no small vexation of those
+who have laboured in vain for many years at the same art. It is a
+marvellous thing, I repeat, to see those same men, after much travailing
+and striving, brought by that same Fortune to a miserable and most
+unhappy end at the very moment when they were hoping to enjoy the fruits
+of their labours; and that with calamities so monstrous and terrible,
+that pity herself takes to flight, art is outraged, and benefits are
+repaid with an extraordinary and incredible ingratitude. Wherefore, even
+as painting may rejoice in the fruitful life of Polidoro, so could he
+complain of Fortune, which at one time showed herself friendly to him,
+only to bring him afterwards, when it was least expected, to a dreadful
+death.
+
+
+
+
+IL ROSSO
+
+
+
+
+LIFE OF IL ROSSO
+
+PAINTER OF FLORENCE
+
+
+Men of account who apply themselves to the arts and pursue them with all
+their powers are sometimes exalted and honoured beyond measure, at a
+moment when it was least expected, before the eyes of all the world, as
+may be seen clearly from the labours that Il Rosso, a painter of
+Florence, devoted to the art of painting; for if these were not
+acknowledged in Rome and Florence by those who could reward them, yet in
+France he found one to recompense him for them, and that in such sort,
+that his glory might have sufficed to quench the thirst of the most
+overweening ambition that could possess the heart of any craftsman, be
+he who he may. Nor could he have obtained in this life greater
+dignities, honour, or rank, seeing that he was regarded with favour and
+much esteemed beyond any other man of his profession by a King so great
+as is the King of France. And, indeed, his merits were such, that, if
+Fortune had secured less for him, she would have done him a very great
+wrong, for the reason that Rosso, in addition to his painting, was
+endowed with a most beautiful presence; his manner of speech was
+gracious and grave; he was an excellent musician, and had a fine
+knowledge of philosophy; and what was of greater import than all his
+other splendid qualities was this, that he always showed the invention
+of a poet in the grouping of his figures, besides being bold and
+well-grounded in draughtsmanship, graceful in manner, sublime in the
+highest flights of imagination, and a master of beautiful composition of
+scenes. In architecture he showed an extraordinary excellence; and he
+was always, however poor in circumstances, rich in the grandeur of his
+spirit. For this reason, whosoever shall follow in the labours of
+painting the walk pursued by Rosso, must be celebrated without ceasing,
+as are that master's works, which have no equals in boldness and are
+executed without effort and strain, since he kept them free of that dry
+and painful elaboration to which so many subject themselves in order to
+veil the worthlessness of their works with the cloak of importance.
+
+In his youth, Rosso drew from the cartoon of Michelagnolo, and would
+study art with but few masters, having a certain opinion of his own that
+conflicted with their manners; as may be seen from a shrine executed in
+fresco for Piero Bartoli at Marignolle, without the Porta a S. Piero
+Gattolini in Florence, containing a Dead Christ, wherein he began to
+show how great was his desire for a manner bold and grand, graceful and
+marvellous beyond that of all others. While still a beardless boy, at
+the time when Lorenzo Pucci was made a Cardinal by Pope Leo, he executed
+over the door of S. Sebastiano de' Servi the arms of the Pucci, with two
+figures, which made the craftsmen of that day marvel, for no one
+expected for him such a result as he achieved. Wherefore he so grew in
+courage, that, after having painted a picture with a half-length figure
+of Our Lady and a head of S. John the Evangelist for Maestro Jacopo, a
+Servite friar, who was something of a poet, at his persuasion he painted
+the Assumption of the Madonna in the cloister of the Servites, beside
+the scene of the Visitation, which was executed by Jacopo da Pontormo.
+In this he made a Heaven full of angels, all in the form of little naked
+children dancing in a circle round the Madonna, foreshortened with a
+most beautiful flow of outlines and with great grace of manner, as they
+wheel through the sky: insomuch that, if the colouring had been executed
+by him with that mature mastery of art which he afterwards came to
+achieve, he would have surpassed the other scenes by a great measure,
+even as he actually did equal them in grandeur and excellence of design.
+He made the Apostles much burdened with draperies, and, indeed,
+overloaded with their abundance; but the attitudes and some of the heads
+are more than beautiful.
+
+[Illustration: MADONNA AND CHILD, WITH SAINTS
+
+(_After the panel by =Il Rosso=. Florence: Uffizi, 47_)
+
+_Alinari_]
+
+The Director of the Hospital of S. Maria Nuova commissioned him to paint
+a panel: but when he saw it sketched, having little knowledge of that
+art, the Saints appeared to him like devils; for it was Rosso's custom
+in his oil-sketches to give a sort of savage and desperate air to the
+faces, after which, in finishing them, he would sweeten the expressions
+and bring them to a proper form. At this the patron fled from his house
+and would not have the picture, saying that the painter had cheated him.
+
+In like manner, over another door that leads into the cloister of the
+Convent of the Servites, Rosso painted the escutcheon of Pope Leo, with
+two children; but it is now ruined. And in the houses of citizens may be
+seen several of his pictures and many portraits. For the visit of Pope
+Leo to Florence he executed a very beautiful arch on the Canto de'
+Bischeri. Afterwards he painted a most beautiful picture of the Dead
+Christ for Signor di Piombino, and also decorated a little chapel for
+him. At Volterra, likewise, he painted a most lovely Deposition from the
+Cross.
+
+Having therefore grown in credit and fame, he executed for S. Spirito,
+in Florence, the panel-picture of the Dei family, which they had
+formerly entrusted to Raffaello da Urbino, who abandoned it because of
+the cares of the work that he had undertaken in Rome. This picture Rosso
+painted with marvellous grace, draughtsmanship, and vivacity of
+colouring. Let no one imagine that any work can display greater force or
+show more beautifully from a distance than this one, which, on account
+of the boldness of the figures and the extravagance of the attitudes, no
+longer employed by any of the other painters, was held to be an
+extraordinary work. And although it did not bring him much credit at
+that time, the world has since come little by little to recognize its
+excellence and has given it abundant praise; for with regard to the
+blending of colour it would be impossible to excel it, seeing that the
+lights which are in the brightest parts unite with the lower lights
+little by little as they merge into the darks, with such sweetness and
+harmony, and with such masterly skill in the projection of the shadows,
+that the figures stand out from one another and bring each other into
+relief by means of the lights and shades. Such vigour, indeed, has this
+work, that it may be said to have been conceived and executed with more
+judgment and mastery than any that has ever been painted by any other
+master, however superior his judgment.
+
+For S. Lorenzo, at the commission of Carlo Ginori, he painted a
+panel-picture of the Marriage of Our Lady, which is held to be a most
+beautiful work. And, in truth, with regard to his facility of method,
+there has never been anyone who has been able to surpass him in masterly
+skill and dexterity, or even to approach within any distance of him; and
+he was so sweet in colouring, and varied his draperies with such grace,
+and took such delight in his art, that he was always held to be
+marvellous and worthy of the highest praise. Whosoever shall observe
+this work must recognize that all that I have written is most true,
+above all as he studies the nudes, which are very well conceived, with
+all the requirements of anatomy. His women are full of grace, and the
+draperies that adorn them fanciful and bizarre. He showed, also, the
+sense of fitness that is necessary in the heads of the old, with their
+harshness of features, and in those of women and children, with
+expressions sweet and pleasing. He was so rich in invention, that he
+never had any space left over in his pictures, and he executed all his
+work with such facility and grace, that it was a marvel.
+
+For Giovanni Bandini, also, he painted a picture with some very
+beautiful nudes, representing the scene of Moses slaying the Egyptian,
+wherein were things worthy of the highest praise; and this was sent, I
+believe, into France. And for Giovanni Cavalcanti, likewise, he executed
+another, which went to England, of Jacob receiving water from the women
+at the well; this was held to be a divine work, seeing that it contained
+nudes and women wrought with supreme grace. For women, indeed, he always
+delighted to paint transparent pieces of drapery, head-dresses with
+intertwined tresses, and ornaments for their persons.
+
+While Rosso was engaged on this work, he was living in the Borgo de'
+Tintori, the rooms of which look out on the gardens of the Friars of S.
+Croce; and he took much pleasure in a great ape, which had the
+intelligence rather of a man than of a beast. For this reason he held it
+very dear, and loved it like his own self; and since it had a marvellous
+understanding, he made use of it for many kinds of service. It happened
+that this beast took a fancy to one of his assistants, by name
+Battistino, who was a young man of great beauty; and from the signs that
+his Battistino made to him he understood all that he wished to say. Now
+against the wall of the rooms at the back, which looked out upon the
+garden of the friars, was a pergola belonging to the Guardian, loaded
+with great Sancolombane grapes; and the young men used to let the ape
+down with a rope to the pergola, which was some distance from their
+window, and pull the beast up again with his hands full of grapes. The
+Guardian, finding his pergola stripped, but not knowing the culprit,
+suspected that it must be mice, and lay in hiding; and seeing Rosso's
+ape descending, he flew into a rage, seized a long pole, and rushed at
+him with hands uplifted in order to beat him. The ape, seeing that
+whether he went up or stayed where he was, the Guardian could reach him,
+began to spring about and destroy the pergola, and then, making as
+though to throw himself on the friar's back, seized with both his hands
+the outermost crossbeams which enclosed the pergola. Meanwhile the friar
+made play with his pole, and the ape, in his terror, shook the pergola
+to such purpose, and with such force, that he tore the stakes and rods
+out of their places, so that both pergola and ape fell headlong on the
+back of the friar, who shrieked for mercy. The rope was pulled up by
+Battistino and the others, who brought the ape back into the room safe
+and sound. Thereupon the Guardian, drawing off and planting himself on a
+terrace that he had there, said things not to be found in the Mass; and
+full of anger and resentment he went to the Council of Eight, a tribunal
+much feared in Florence. There he laid his complaint; and, Rosso having
+been summoned, the ape was condemned in jest to carry a weight fastened
+to his tail, to prevent him from jumping on pergole, as he did before.
+And so Rosso made a wooden cylinder swinging on a chain, and kept it on
+the ape, in such a way that he could go about the house but no longer
+jump about over other people's property. The ape, seeing himself
+condemned to such a punishment, seemed to guess that the friar was
+responsible. Every day, therefore, he exercised himself in hopping step
+by step with his legs, holding the weight with his hands; and thus,
+resting often, he succeeded in his design. For, being one day loose
+about the house, he hopped step by step from roof to roof, during the
+hour when the Guardian was away chanting Vespers, and came to the roof
+over his chamber. There, letting go the weight, he kept up for half an
+hour such a lovely dance, that not a single tile of any kind remained
+unbroken. Then he went back home; and within three days, when rain came,
+were heard the Guardian's lamentations.
+
+Rosso, having finished his works, took the road to Rome with Battistino
+and the ape; in which city his works were sought for with extraordinary
+eagerness, great expectations having been awakened about them by the
+sight of some drawings executed by him, which were held to be
+marvellous, for Rosso drew divinely well and with the highest finish.
+There, in the Pace, over the pictures of Raffaello, he executed a work
+which is the worst that he ever painted in all his days. Nor can I
+imagine how this came to pass, save from a reason which has been seen
+not only in his case, but also in that of many others, and which appears
+to be an extraordinary thing, and one of the secrets of nature; and it
+is this, that he who changes his country or place of habitation seems to
+change his nature, talents, character, and personal habits, insomuch
+that sometimes he seems to be not the same man but another, and all
+dazed and stupefied. This may have happened to Rosso in the air of Rome,
+and on account of the stupendous works of architecture and sculpture
+that he saw there, and the paintings and statues of Michelagnolo, which
+may have thrown him off his balance; which works also drove Fra
+Bartolommeo di San Marco and Andrea del Sarto to flight, and prevented
+them from executing anything in Rome. Certain it is, be the cause what
+it may, that Rosso never did worse; and, what is more, this work has to
+bear comparison with those of Raffaello da Urbino.
+
+At this time he painted for Bishop Tornabuoni, who was his friend, a
+picture of a Dead Christ supported by two angels, which was a most
+beautiful piece of work, and is now in the possession of the heirs of
+Monsignor della Casa. For Baviera he made drawings of all the Gods, for
+copper-plates, which were afterwards engraved by Jacopo Caraglio; one of
+them being Saturn changing himself into a horse, and the most noteworthy
+that of Pluto carrying off Proserpine. He executed a sketch for the
+Beheading of S. John the Baptist, which is now in a little church on the
+Piazza de' Salviati in Rome.
+
+Meanwhile the sack of the city took place, and poor Rosso was taken
+prisoner by the Germans and used very ill, for, besides stripping him of
+his clothes, they made him carry weights on his back barefooted and with
+nothing on his head, and remove almost the whole stock from a
+cheesemonger's shop. Thus ill-treated by them, he escaped with
+difficulty to Perugia, where he was warmly welcomed and reclothed by the
+painter Domenico di Paris, for whom he drew the cartoon for a
+panel-picture of the Magi, a very beautiful work, which is to be seen in
+the house of Domenico. But he did not stay long in that place, for,
+hearing that Bishop Tornabuoni, who was very much his friend, and had
+also fled from the sack, had gone to Borgo a San Sepolcro, he made his
+way thither.
+
+There was living at that time in Borgo a San Sepolcro a pupil of Giulio
+Romano, the painter Raffaello dal Colle; and this master, having
+undertaken for a small price to paint a panel for S. Croce, the seat of
+a Company of Flagellants, in his native city, lovingly resigned the
+commission and gave it to Rosso, to the end that he might leave some
+example of his handiwork in that place. At this the Company showed
+resentment, but the Bishop gave him every facility; and when the
+picture, which brought him credit, was finished, it was set up in S.
+Croce. The Deposition from the Cross that it contains is something very
+rare and beautiful, because he rendered in the colours a certain effect
+of darkness to signify the eclipse that took place at Christ's death,
+and because it was executed with very great diligence.
+
+Afterwards, at Città di Castello, he received the commission for a
+panel-picture, on which he was about to set to work, when, as it was
+being primed with gesso, a roof fell upon it and broke it to pieces;
+while upon him there came a fever so violent, that he was like to die of
+it, on which account he had himself carried from Castello to Borgo a San
+Sepolcro. This malady being followed by a quartan fever, he then went on
+to the Pieve a San Stefano for a change of air, and finally to Arezzo,
+where he was entertained in the house of Benedetto Spadari, who so went
+to work with the help of Giovanni Antonio Lappoli of Arezzo and the many
+friends and relatives that they had, that Rosso was commissioned to
+paint in fresco a vault previously allotted to the painter Niccolò
+Soggi, in the Madonna delle Lagrime. And so eager were they that he
+should leave such a memorial of himself in that city, that he was given
+a payment of three hundred crowns of gold. Whereupon Rosso began his
+cartoons in a room that they had allotted to him in a place called
+Murello; and there he finished four of them. In one he depicted our
+First Parents, bound to the Tree of the Fall, with Our Lady drawing from
+their mouths the Sin in the form of the Apple, and beneath her feet the
+Serpent; and in the air--wishing to signify that she was clothed with
+the sun and moon--he made nude figures of Phoebus and Diana. In the
+second is Moses bearing the Ark of the Covenant, represented by Our Lady
+surrounded by five Virtues. In another is the Throne of Solomon, also
+represented by the Madonna, to whom votive offerings are being brought,
+to signify those who have recourse to her for benefits: together with
+other bizarre fancies, which were conceived by the fruitful brain of M.
+Giovanni Pollastra, the friend of Rosso and a Canon of Arezzo, in
+compliment to whom Rosso made a most beautiful model of the whole work,
+which is now in my house at Arezzo. He also drew for that work a study
+of nude figures, which is a very choice thing; and it is a pity that it
+was never finished, for, if he had put it into execution and painted it
+in oils, instead of having to do it in fresco, it would indeed have been
+a miracle. But he was ever averse to working in fresco, and therefore
+went on delaying the execution of the cartoons, meaning to have the work
+carried out by Raffaello dal Borgo and others, so that in the end it was
+never done.
+
+At that same time, being a courteous person, he made many designs for
+pictures and buildings in Arezzo and its neighbourhood; among others,
+one for the Rectors of the Fraternity, of the chapel which is at the
+foot of the Piazza, wherein there is now the Volto Santo. For the same
+patrons he drew the design for a panel-picture to be painted by his
+hand, containing a Madonna with a multitude under her cloak, which was
+to be set up in the same place; and this design, which was not put into
+execution, is in our book, together with many other most beautiful
+drawings by the hand of the same master.
+
+But to return to the work that he was to execute in the Madonna delle
+Lagrime: there came forward as his security for this work Giovanni
+Antonio Lappoli of Arezzo, his most faithful friend, who gave him proofs
+of loving kindness with every sort of service. But in the year 1530,
+when Florence was being besieged, the Aretines, having been restored to
+liberty by the small judgment of Papo Altoviti, attacked the citadel and
+razed it to the ground. And because that people looked with little
+favour on Florentines, Rosso would not trust himself to them, and went
+off to Borgo a San Sepolcro, leaving the cartoons and designs for his
+work hidden away in the citadel.
+
+Now those who had given him the commission for the panel at Castello,
+wished him to finish it; but he, on account of the illness that he had
+suffered at Castello, would not return to that city. He finished their
+panel, therefore, at Borgo a San Sepolcro; nor would he ever give them
+the pleasure of a glance at it. In it he depicted a multitude, with
+Christ in the sky being adored by four figures, and he painted Moors,
+Gypsies, and the strangest things in the world; but, with the exception
+of the figures, which are perfect in their excellence, the composition
+is concerned with anything rather than the wishes of those who ordered
+the picture of him. At the same time that he was engaged on that work,
+he disinterred dead bodies in the Vescovado, where he was living, and
+made a most beautiful anatomical model. Rosso was, in truth, an ardent
+student of all things relating to art, and few days passed without his
+drawing some nude from life.
+
+He had always had the idea of finishing his life in France, and of thus
+delivering himself from that misery and poverty which are the lot of men
+who work in Tuscany, or in the country where they were born; and he
+resolved to depart. And with a view to appearing more competent in all
+matters, and to being ignorant of none, he had just learned the Latin
+tongue; when there came upon him a reason for further hastening his
+departure. For one Holy Thursday, on which day matins are chanted in the
+evening, one of his disciples, a young Aretine, being in church, made a
+blaze of sparks and flames with a lighted candle-end and some resin, at
+the moment when the "darkness," as they call it, was in progress; and
+the boy was reproved by some priests, and even struck. Seeing this,
+Rosso, who had the boy seated at his side, sprang up full of anger
+against the priests. Thereupon an uproar began, without anyone knowing
+what it was all about, and swords were drawn against poor Rosso, who was
+busy with the priests. Taking to flight, therefore, he contrived to
+regain his own rooms without having been struck or overtaken by anyone.
+But he held himself to have been affronted; and having finished the
+panel for Castello, without troubling about his work at Arezzo or the
+wrong that he was doing to Giovanni Antonio, his security (for he had
+received more than a hundred and fifty crowns), he set off by night.
+Taking the road by Pesaro, he made his way to Venice, where, being
+entertained by Messer Pietro Aretino, he made for him a drawing, which
+was afterwards engraved, of Mars sleeping with Venus, with the Loves and
+Graces despoiling him and carrying off his cuirass. Departing from
+Venice, he found his way into France, where he was received by the
+Florentine colony with much affection. There he painted some pictures,
+which were afterwards placed in the Gallery at Fontainebleau; and these
+he then presented to King Francis, who took infinite pleasure in them,
+but much more in the presence, speech, and manner of Rosso, who was
+imposing in person, with red hair in accordance with his name, and
+serious, deliberate, and most judicious in his every action. The King,
+then, after straightway granting him an allowance of four hundred
+crowns, and giving him a house in Paris, which he occupied but seldom,
+because he lived most of the time at Fontainebleau, where he had rooms
+and lived like a nobleman, appointed him superintendent over all the
+buildings, pictures, and other ornaments of that place.
+
+[Illustration: THE TRANSFIGURATION
+
+(_After the panel by =Il Rosso=. Città da Castello: Duomo_)
+
+_Alinari_]
+
+There, in the first place, Rosso made a beginning with a gallery over
+the lower court, which he completed not with a vault, but with a
+ceiling, or rather, soffit, of woodwork, partitioned most beautifully
+into compartments. The side-walls he decorated all over with
+stucco-work, fantastic and bizarre in its distribution, and with carved
+cornices of many kinds; and on the piers were lifesize figures.
+Everything below the cornices, between one pier and another, he
+adorned with festoons of stucco, vastly rich, and others painted, and
+all composed of most beautiful fruits and every sort of foliage. And
+then, in a large space, he caused to be painted after his own designs,
+if what I have heard is true, about twenty-four scenes in fresco,
+representing, I believe, the deeds of Alexander the Great; for which, as
+I have said, he made all the designs, executing them in chiaroscuro with
+water-colours. At the two ends of this gallery are two panel-pictures in
+oils by his hand, designed and painted with such perfection, that there
+is little better to be seen in the art of painting. In one of these are
+a Bacchus and a Venus, executed with marvellous art and judgment. The
+Bacchus is a naked boy, so tender, soft, and delicate, that he seems to
+be truly of flesh, yielding to the touch, and rather alive than painted;
+and about him are some vases painted in imitation of gold, silver,
+crystal, and various precious stones, so fantastic, and surrounded by
+devices so many and so bizarre, that whoever beholds this work, with its
+vast variety of invention, stands in amazement before it. Among other
+details, also, is a Satyr raising part of a pavilion, whose head, in its
+strange, goatlike aspect, is a marvel of beauty, and all the more
+because he seems to be smiling and full of joy at the sight of so
+beautiful a boy. There is also a little boy riding on a wonderful bear,
+with many other ornaments full of grace and beauty. In the other picture
+are Cupid and Venus, with other lovely figures; but the figure to which
+Rosso gave the greatest attention was the Cupid, whom he represented as
+a boy of twelve, although well grown, riper in features than is expected
+at that age, and most beautiful in every part.
+
+The King, seeing these works, and liking them vastly, conceived an
+extraordinary affection for Rosso; wherefore no long time passed before
+he gave him a Canonicate in the Sainte Chapelle of the Madonna at Paris,
+with so many other revenues and benefits, that Rosso lived like a
+nobleman, with a goodly number of servants and horses, giving banquets
+and showing all manner of courtesies to all his friends and
+acquaintances, especially to the Italian strangers who arrived in those
+parts.
+
+After this, he executed another hall, which is called the Pavilion,
+because it is in the form of a Pavilion, being above the rooms on the
+first floor, and thus situated above any of the others. This apartment
+he decorated from the level of the floor to the roof with a great
+variety of beautiful ornaments in stucco, figures in the round
+distributed at equal intervals, and children, festoons, and various
+kinds of animals. In the compartments on the walls are seated figures in
+fresco, one in each; and such is their number, that there may be seen
+among them images of all the Heathen Gods and Goddesses of the ancients.
+Last of all, above the windows, is a frieze all adorned with stucco, and
+very rich, but without pictures.
+
+He then executed a vast number of works in many chambers, bathrooms, and
+other apartments, both in stucco and in painting, of some of which
+drawings may be seen, executed in engraving and published abroad, which
+are full of grace and beauty; as are also the numberless designs that
+Rosso made for salt-cellars, vases, bowls, and other things of fancy,
+all of which the King afterwards caused to be executed in silver; but
+these were so numerous that it would take too long to mention them all.
+Let it be enough to say that he made designs for all the vessels of a
+sideboard for the King, and for all the details of the trappings of
+horses, triumphal masquerades, and everything else that it is possible
+to imagine, showing in these such fantastic and bizarre conceptions,
+that no one could do better.
+
+In the year 1540, when the Emperor Charles V went to France under the
+safeguard of King Francis, and visited Fontainebleau, having with him
+not more than twelve men, Rosso executed one half of the decorations
+that the King ordained in order to honour that great Emperor, and the
+other half was executed by Francesco Primaticcio of Bologna. The works
+that Rosso made, such as arches, colossal figures, and other things of
+that kind, were, so it was said at the time, the most astounding that
+had ever been made by any man up to that age. But a great part of the
+rooms finished by Rosso at the aforesaid Palace of Fontainebleau were
+destroyed after his death by the same Francesco Primaticcio, who has
+made a new and larger structure in the same place.
+
+Among those who worked with Rosso on the aforesaid decorations in stucco
+and relief, and beloved by him beyond all the others, were the
+Florentine Lorenzo Naldino, Maestro Francesco of Orleans, Maestro Simone
+of Paris, Maestro Claudio, likewise a Parisian, Maestro Lorenzo of
+Picardy, and many others. But the best of them all was Domenico del
+Barbieri, who is an excellent painter and master of stucco, and a
+marvellous draughtsman, as is proved by his engraved works, which may be
+numbered among the best in common circulation. The painters, likewise,
+whom he employed in those works at Fontainebleau, were Luca Penni,
+brother of Giovan Francesco Penni, called Il Fattore, who was a disciple
+of Raffaello da Urbino; the Fleming Leonardo, a very able painter, who
+executed the designs of Rosso to perfection in colours; Bartolommeo
+Miniati, a Florentine; with Francesco Caccianimici, and Giovan Battista
+da Bagnacavallo. These last entered his service when Francesco
+Primaticcio went by order of the King to Rome, to make moulds of the
+Laocoon, the Apollo, and many other choice antiquities, for the purpose
+of casting them afterwards in bronze. I say nothing of the carvers, the
+master-joiners, and innumerable others of whom Rosso availed himself in
+those works, because there is no need to speak of them all, although
+many of them executed works worthy of much praise.
+
+In addition to the things mentioned above, Rosso executed with his own
+hand a S. Michael, which is a rare work. For the Constable he painted a
+panel-picture of the Dead Christ, a choice thing, which is at a seat of
+that noble, called Ecouen; and he also executed some exquisite
+miniatures for the King. He then drew a book of anatomical studies,
+intending to have it printed in France; of which there are some sheets
+by his own hand in our book of drawings. Among his possessions, also,
+after he was dead, were found two very beautiful cartoons, in one of
+which is a Leda of singular beauty, and in the other the Tiburtine Sibyl
+showing to the Emperor Octavian the Glorious Virgin with the Infant
+Christ in her arms. In the latter he drew the King, the Queen, their
+Guard, and the people, with such a number of figures, and all so well
+drawn, that it may be said with truth that this was one of the most
+beautiful things that Rosso ever did.
+
+By reason of these works and many others, of which nothing is known, he
+became so dear to the King, that a little before his death he found
+himself in possession of more than a thousand crowns of income, without
+counting the allowances for his work, which were enormous; insomuch
+that, living no longer as a painter, but rather as a prince, he kept a
+number of servants and horses to ride, and had his house filled with
+tapestries, silver, and other valuable articles of furniture. But
+Fortune, who never, or very seldom, maintains for long in high estate
+one who puts his trust too much in her, brought him headlong down in the
+strangest manner ever known. For while Francesco di Pellegrino, a
+Florentine, who delighted in painting and was very much his friend, was
+associating with him in the closest intimacy, Rosso was robbed of some
+hundreds of ducats; whereupon the latter, suspecting that no one but the
+same Francesco could have done this, had him arrested by the hands of
+justice, rigorously examined, and grievously tortured. But he, knowing
+himself innocent, and declaring nothing but the truth, was finally
+released; and, moved by just anger, he was forced to show his resentment
+against Rosso for the shameful charge that he had falsely laid upon him.
+Having therefore issued a writ for libel against him, he pressed him so
+closely, that Rosso, not being able to clear himself or make any
+defence, felt himself to be in a sorry plight, perceiving that he had
+not only accused his friend falsely, but had also stained his own
+honour; and to eat his words, or to adopt any other shameful method,
+would likewise proclaim him a false and worthless man. Resolving,
+therefore, to kill himself by his own hand rather than be punished by
+others, he took the following course. One day that the King happened to
+be at Fontainebleau, he sent a peasant to Paris for a certain most
+poisonous essence, pretending that he wished to use it for making
+colours or varnishes, but intending to poison himself, as he did. The
+peasant, then, returned with it; and such was the malignity of the
+poison, that, merely through holding his thumb over the mouth of the
+phial, carefully stopped as it was with wax, he came very near losing
+that member, which was consumed and almost eaten away by the deadly
+potency of the poison. And shortly afterwards it slew Rosso, although he
+was in perfect health, he having drunk it to the end that it might take
+his life, as it did in a few hours.
+
+This news, being brought to the King, grieved him beyond measure, since
+it seemed to him that by the death of Rosso he had lost the most
+excellent craftsman of his day. However, to the end that the work might
+not suffer, he had it carried on by Francesco Primaticcio of Bologna,
+who, as has been related, had already done much work for him; giving him
+a good Abbey, even as he had presented a Canonicate to Rosso.
+
+Rosso died in the year 1541, leaving great regrets behind him among his
+friends and brother-craftsmen, who have learned by his example what
+benefits may accrue from a prince to one who is eminent in every field
+of art, and well-mannered and gentle in all his actions, as was that
+master, who for many reasons deserved, and still deserves, to be admired
+as one truly most excellent.
+
+
+
+
+BARTOLOMMEO DA BAGNACAVALLO AND OTHERS
+
+
+
+
+LIVES OF BARTOLOMMEO DA BAGNACAVALLO, AND OTHER PAINTERS OF ROMAGNA
+
+
+It is certain that the result of emulation in the arts, caused by a
+desire for glory, proves for the most part to be one worthy of praise;
+but when it happens that the aspirant, through presumption and
+arrogance, comes to hold an inflated opinion of himself, in course of
+time the name for excellence that he seeks may be seen to dissolve into
+mist and smoke, for the reason that there is no advance to perfection
+possible for him who knows not his own failings and has no fear of the
+work of others. More readily does hope mount towards proficience for
+those modest and studious spirits who, leading an upright life, honour
+the works of rare masters and imitate them with all diligence, than for
+those who have their heads full of smoky pride, as had Bartolommeo da
+Bagnacavallo, Amico of Bologna, Girolamo da Cotignola, and Innocenzio da
+Imola, painters all, who, living in Bologna at one and the same time,
+felt the greatest jealousy of one another that could possibly be
+imagined. And, what is more, their pride and vainglory, not being based
+on the foundation of ability, led them astray from the true path, which
+brings to immortality those who strive more from love of good work than
+from rivalry. This circumstance, then, was the reason that they did not
+crown the good beginnings that they had made with that final excellence
+which they expected; for their presuming to the name of masters turned
+them too far aside from the good way.
+
+Bartolommeo da Bagnacavallo had come to Rome in the time of Raffaello,
+in order to attain with his works to that perfection which he believed
+himself to be already grasping with his intellect. And being a young man
+who had some fame at Bologna and had awakened expectations, he was set
+to execute a work in the Church of the Pace at Rome, in the first chapel
+on the right hand as one enters the church, above the chapel of
+Baldassarre Peruzzi of Siena. But, thinking that he had not achieved the
+success that he had promised himself, he returned to Bologna. There he
+and the others mentioned above, in competition one with another,
+executed each a scene from the Lives of Christ and His Mother in the
+Chapel of the Madonna in S. Petronio, near the door of the façade, on
+the right hand as one enters the church; among which little difference
+in merit is to be seen between one and another. But Bartolommeo acquired
+from this work the reputation of having a manner both softer and
+stronger than the others; and although there is a vast number of strange
+things in the scene of Maestro Amico, in which he depicted the
+Resurrection of Christ with armed men in crouching and distorted
+attitudes, and many soldiers crushed flat by the stone of the Sepulchre,
+which has fallen upon them, nevertheless that of Bartolommeo, as having
+more unity of design and colouring, was more extolled by other
+craftsmen. On account of this Bartolommeo associated himself with Biagio
+Bolognese, a person with much more practice than excellence in art; and
+they executed in company at S. Salvatore, for the Frati Scopetini, a
+refectory which they painted partly in fresco and partly "a secco,"
+containing the scene of Christ satisfying five thousand people with five
+loaves and two fishes. They painted, also, on a wall of the library, the
+Disputation of S. Augustine, wherein they made a passing good view in
+perspective. These masters, thanks to having seen the works of Raffaello
+and associated with him, had a certain quality which, upon the whole,
+gave promise of excellence, but in truth they did not attend as they
+should have done to the more subtle refinements of art. Yet, since there
+were no painters in Bologna at that time who knew more than they did,
+they were held by those who then governed the city, as well as by all
+the people, to be the best masters in Italy.
+
+[Illustration: THE HOLY FAMILY WITH SAINTS
+
+(_After the panel by =Bartolommeo da Bagnacavallo=. Bologna: Accademia,
+133_)
+
+_Anderson_]
+
+By the hand of Bartolommeo are some round pictures in fresco under the
+vaulting of the Palace of the Podestà, and a scene of the Visitation of
+S. Elizabeth in S. Vitale, opposite to the Palace of the Fantucci. In
+the Convent of the Servites at Bologna, round a panel-picture of the
+Annunciation painted in oils, are some saints executed in fresco by
+Innocenzio da Imola. In S. Michele in Bosco Bartolommeo painted in
+fresco the Chapel of Ramazzotto, a faction-leader in Romagna. In a
+chapel in S. Stefano the same master painted two saints in fresco, with
+some little angels of considerable beauty in the sky; and in S. Jacopo,
+for Messer Annibale del Corello, a chapel in which he represented the
+Circumcision of Our Lord, with a number of figures, above which, in a
+lunette, he painted Abraham sacrificing his son to God. This work, in
+truth, was executed in a good and able manner. For the Misericordia,
+without Bologna, he painted a little panel-picture in distemper of Our
+Lady and some saints; with many pictures and other works, which are in
+the hands of various persons in that city.
+
+This master, in truth, was above mediocrity both in the uprightness of
+his life and in his works, and he was superior to the others in drawing
+and invention, as may be seen from a drawing in our book, wherein is
+Jesus Christ, as a boy, disputing with the Doctors in the Temple, with a
+building executed with good mastery and judgment. In the end, he
+finished his life at the age of fifty-eight.
+
+He had always been much envied by Amico of Bologna, an eccentric man of
+extravagant brain, whose figures, executed by him throughout all Italy,
+but particularly in Bologna, where he spent most of his time, are
+equally eccentric and even mad, if one may say so. If, indeed, the vast
+labour which Amico devoted to drawing had been pursued with a settled
+object, and not by caprice, he might perchance have surpassed many whom
+we regard as rare and able men. And even so, such is the value of
+persistent labour, that it is not possible that out of a mass of work
+there should not be found some that is good and worthy of praise; and
+such, among the vast number of works that this master executed, is a
+façade in chiaroscuro on the Piazza de' Marsigli, wherein are many
+historical pictures, with a frieze of animals fighting together, very
+spirited and well executed, which is almost the best work that he ever
+painted. He painted another façade at the Porta di S. Mammolo, and a
+frieze round the principal chapel of S. Salvatore, so extravagant and so
+full of absurdities that it would provoke laughter in one who was on the
+verge of tears. In a word, there is no church or street in Bologna
+which has not some daub by the hand of this master.
+
+In Rome, also, he painted not a little; and in S. Friano, at Lucca, he
+filled a chapel with inventions fantastic and bizarre, among which are
+some things worthy of praise, such as the stories of the Cross and some
+of S. Augustine. In these are innumerable portraits of distinguished
+persons of that city; and, to tell the truth, this was one of the best
+works that Maestro Amico ever executed with colours in fresco.
+
+In S. Jacopo, at Bologna, he painted at the altar of S. Niccola some
+stories of the latter Saint, and below these a frieze with views in
+perspective, which deserve to be extolled. When the Emperor Charles V
+visited Bologna, Amico made a triumphal arch, for which Alfonso Lombardi
+executed statues in relief, at the gate of the Palace. And it is no
+marvel that the work of Amico revealed skill of hand rather than any
+other quality, for it is said that, like the eccentric and extraordinary
+person that he was, he went through all Italy drawing and copying every
+work of painting or relief, whether good or bad, on which account he
+became something of an adept in invention; and when he found anything
+likely to be useful to him, he laid his hands upon it eagerly, and then
+destroyed it, so that no one else might make use of it. The result of
+all this striving was that he acquired the strange, mad manner that we
+know.
+
+Finally, having reached the age of seventy, what with his art and the
+eccentricity of his life, he became raving mad, at which Messer
+Francesco Guicciardini, a noble Florentine, and a most trustworthy
+writer of the history of his own times, who was then Governor of
+Bologna, found no small amusement, as did the whole city. Some people,
+however, believe that there was some method mixed with this madness of
+his, because, having sold some property for a small price while he was
+mad and in very great straits, he asked for it back again when he
+regained his sanity, and recovered it under certain conditions, since he
+had sold it, so he said, when he was mad. I do not swear, indeed, that
+this is true, for it may have been otherwise; but I do say that I have
+often heard the story told.
+
+[Illustration: THE ADORATION
+
+(_After the panel by =Amico of Bologna [Amico Aspertini]=. Bologna:
+Pinacoteca, 297_)
+
+_Alinari_]
+
+Amico also gave his attention to sculpture, and executed to the best
+of his ability, in marble, a Dead Christ with Nicodemus supporting
+Him. This work, which he treated in the manner seen in his pictures, is
+on the right within the entrance of the Church of S. Petronio. He used
+to paint with both hands at the same time, holding in one the brush with
+the bright colour, and in the other that with the dark. But the best
+joke of all was that he had his leather belt hung all round with little
+pots full of tempered colours, so that he looked like the Devil of S.
+Macario with all those flasks of his; and when he worked with his
+spectacles on his nose, he would have made the very stones laugh, and
+particularly when he began to chatter, for then he babbled enough for
+twenty, saying the strangest things in the world, and his whole
+demeanour was a comedy. Certain it is that he never used to speak well
+of any person, however able or good, and however well dowered he saw him
+to be by Nature or Fortune. And, as has been said, he so loved to
+chatter and tell stories, that one evening, at the hour of the Ave
+Maria, when a painter of Bologna, after buying cabbages in the Piazza,
+came upon Amico, the latter kept him under the Loggia del Podestà with
+his talk and his amusing stories, without the poor man being able to
+break away from him, almost till daylight, when Amico said: "Now go and
+boil your cabbages, for the time is getting on."
+
+He was the author of a vast number of other jokes and follies, of which
+I shall not make mention, because it is now time to say something of
+Girolamo da Cotignola. This master painted many pictures and portraits
+from life in Bologna, and among them are two in the house of the
+Vinacci, which are very beautiful. He made a portrait after death of
+Monsignore de Foix, who died in the rout of Ravenna, and not long after
+he executed a portrait of Massimiliano Sforza. For S. Giuseppe he
+painted a panel-picture which brought him much praise, and, for S.
+Michele in Bosco, the panel-picture in oils which is in the Chapel of S.
+Benedetto. The latter work led to his executing, in company with Biagio
+Bolognese, all the scenes which are round that church, laid on in fresco
+and executed "a secco," wherein are seen proofs of no little mastery, as
+has been said in speaking of the manner of Biagio. The same Girolamo
+painted a large altar-piece for S. Colomba at Rimini, in competition
+with Benedetto da Ferrara and Lattanzio, in which work he made a S.
+Lucia rather wanton than beautiful. And in the great tribune of that
+church he executed a Coronation of Our Lady, with the twelve Apostles
+and the four Evangelists, with heads so gross and hideous that they are
+an outrage to the eye.
+
+He then returned to Bologna, but had not been there long when he went to
+Rome, where he made portraits from life of many men of rank, and in
+particular that of Pope Paul III. But, perceiving that it was no place
+for him, and that he was not likely to acquire honour, profit, or fame
+among so many noble craftsmen, he went off to Naples, where he found
+some friends who showed him favour, and above all M. Tommaso Cambi, a
+Florentine merchant, and a devoted lover of pictures and antiquities in
+marble, by whom he was supplied with everything of which he was in need.
+Thereupon, setting to work, he executed a panel-picture of the Magi, in
+oils, for the chapel of one M. Antonello, Bishop of I know not what
+place, in Monte Oliveto, and another panel-picture in oils for S.
+Aniello, containing the Madonna, S. Paul, and S. John the Baptist, with
+portraits from life for many noblemen.
+
+Being now well advanced in years, he lived like a miser, and was always
+trying to save money; and after no long time, having little more to do
+in Naples, he returned to Rome. There some friends of his, having heard
+that he had saved a few crowns, persuaded him that he ought to get
+married and live a properly-regulated life. And so, thinking that he was
+doing well for himself, he let those friends deceive him so completely
+that they imposed upon him for a wife, to suit their own convenience, a
+prostitute whom they had been keeping. Then, after he had married her
+and come to a knowledge of her, the truth was revealed, at which the
+poor old man was so grieved that he died in a few weeks at the age of
+sixty-nine.
+
+And now to say something of Innocenzio da Imola. This master was for
+many years in Florence with Mariotto Albertinelli; and then, having
+returned to Imola, he executed many works in that place. But finally, at
+the persuasion of Count Giovan Battista Bentivogli, he went to live in
+Bologna, where one of his first works was a copy of a picture formerly
+executed by Raffaello da Urbino for Signor Leonello da Carpi. And for
+the Monks of S. Michele in Bosco he painted in fresco, in their
+chapter-house, the Death of Our Lady and the Resurrection of Christ,
+works which were executed with truly supreme diligence and finish. For
+the church of the same monks, also, he painted the panel of the
+high-altar, the upper part of which is done in a good manner. For the
+Servites of Bologna he executed an Annunciation on panel, and for S.
+Salvatore a Crucifixion, with many pictures of various kinds throughout
+the whole city. At the Viola, for the Cardinal of Ivrea, he painted
+three loggie in fresco, each containing two scenes, executed in colour
+from designs by other painters, and yet finished with much diligence. He
+painted in fresco a chapel in S. Jacopo, and for Madonna Benozza a
+panel-picture in oils, which was not otherwise than passing good. He
+made a portrait, also, besides many others, of Cardinal Francesco
+Alidosio, which I have seen at Imola, together with the portrait of
+Cardinal Bernardino Carvajal, and both are works of no little beauty.
+
+Innocenzio was a very good and modest person, and therefore always
+avoided any dealings or intercourse with the painters of Bologna, who
+were quite the opposite in nature, and he was always exerting himself
+beyond the limits of his strength; wherefore, when he fell sick of a
+putrid fever at the age of fifty-six, it found him so weak and exhausted
+that it killed him in a few days. He left unfinished, or rather,
+scarcely begun, a work that he had undertaken without Bologna, and this
+was completed to perfection, according to the arrangement made by
+Innocenzio before his death, by Prospero Fontana, a painter of Bologna.
+
+The works of all the above-named painters date from 1506 to 1542, and
+there are drawings by the hands of them all in our book.
+
+[Illustration: THE MARRIAGE OF S. CATHARINE
+
+(_After the painting by =Innocenzio da Imola=. Bologna: S. Giacomo
+Maggiore_)
+
+_Alinari_]
+
+
+
+
+FRANCIABIGIO
+
+
+
+
+LIFE OF FRANCIABIGIO
+
+[_FRANCIA_]
+
+PAINTER OF FLORENCE
+
+
+The fatigues that a man endures in this life in order to raise himself
+from the ground and protect himself from poverty, succouring not only
+himself but also his nearest and dearest, have such virtue, that the
+sweat and the hardships become full of sweetness, and bring comfort and
+nourishment to the minds of others, insomuch that Heaven, in its bounty,
+perceiving one drawn to a good life and to upright conduct, and also
+filled with zeal and inclination for the studies of the sciences, is
+forced to be benign and favourably disposed towards him beyond its wont;
+as it was, in truth, towards the Florentine painter Francia. This
+master, having applied himself to the art of painting for a just and
+excellent reason, laboured therein not so much out of a desire for fame
+as from a wish to bring assistance to his needy relatives; and having
+been born in a family of humble artisans, people of low degree, he
+sought to raise himself from that position. In this effort he was much
+spurred by his rivalry with Andrea del Sarto, then his companion, with
+whom for a long time he shared both work-room and the painter's life; on
+account of which life they made great proficience, one through the
+other, in the art of painting.
+
+Francia learned the first principles of art in his youth by living for
+some months with Mariotto Albertinelli. And being much inclined to the
+study of perspective, at which he was always working out of pure
+delight, while still quite young he gained a reputation for great
+ability in Florence. The first works painted by him were a S. Bernard
+executed in fresco in S. Pancrazio, a church opposite to his own house,
+and a S. Catharine of Siena, executed likewise in fresco, on a pilaster
+in the Chapel of the Rucellai; whereby, exerting himself in that art,
+he gave proofs of his fine qualities. Much more, even, was he
+established in repute by a picture which is in a little chapel in S.
+Pietro Maggiore, containing Our Lady with the Child in her arms, and a
+little S. John caressing Jesus Christ. He also gave proof of his
+excellence in a shrine executed in fresco, in which he painted the
+Visitation of Our Lady, on a corner of the Church of S. Giobbe, behind
+the Servite Convent in Florence. In the figure of that Madonna may be
+seen a goodness truly appropriate, with profound reverence in that of
+the older woman; and the S. Job he painted poor and leprous, and also
+rich and restored to health. This work so revealed his powers that he
+came into credit and fame; whereupon the men who were the rulers of that
+church and brotherhood gave him the commission for the panel-picture of
+their high-altar, in which Francia acquitted himself even better; and in
+that work he painted a Madonna, and S. Job in poverty, and made a
+portrait of himself in the face of S. John the Baptist.
+
+There was built at that time, in S. Spirito at Florence, the Chapel of
+S. Niccola, in which was placed a figure of that Saint in the round,
+carved in wood from the model by Jacopo Sansovino; and Francia painted
+two little angels in two square pictures in oils, one on either side of
+that figure, which were much extolled, and also depicted the
+Annunciation in two round pictures; and the predella he adorned with
+little figures representing the miracles of S. Nicholas, executed with
+such diligence that he deserves much praise for them. In S. Pietro
+Maggiore, by the door, and on the right hand as one enters the church,
+is an Annunciation by his hand, wherein he made the Angel still flying
+through the sky, and the Madonna receiving the Salutation on her knees,
+in a most graceful attitude; and he drew there a building in
+perspective, which was a masterly thing, and was much extolled. And, in
+truth, although Francia had a somewhat dainty manner, because he was
+very laborious and constrained in his work, nevertheless he showed great
+care and diligence in giving the true proportions of art to his figures.
+
+[Illustration: THE MARRIAGE OF THE VIRGIN
+
+(_After the fresco by =Franciabigio [Francia]=. Florence: SS.
+Annunziata_)
+
+_Anderson_]
+
+He was commissioned to execute a scene in the cloister in front of the
+Church of the Servites, in competition with Andrea del Sarto; and there
+he painted the Marriage of Our Lady, wherein may be clearly recognized
+the supreme faith of Joseph, who shows in his face as much awe as joy
+at his marriage with her. Besides this, Francia painted there one who is
+giving him some blows, as is the custom in our own day, in memory of the
+wedding; and in a nude figure he expressed very happily the rage and
+disappointment that drive him to break his rod, which had not blossomed,
+the drawing of which, with many others, is in our book. In the company
+of Our Lady, also, he painted some women with most beautiful expressions
+and head-dresses, things in which he always delighted. And in all this
+scene he did not paint a single thing that was not very well considered;
+as is, for example, a woman with a child in her arms, who, turning to go
+home, has cuffed another child, who has sat down in tears and refuses to
+go, pressing one hand against his face in a very graceful manner.
+Certain it is that he executed every detail in this scene, whether large
+or small, with much diligence and love, on account of the burning desire
+that he had to show therein to craftsmen and to all other good judges
+how great was his respect for the difficulties of art, and how
+successfully he could solve them by faithful imitation.
+
+Not long after this, on the occasion of a festival, the friars wished
+that the scenes of Andrea, and likewise that of Francia, should be
+uncovered; and the night after Francia had finished his with the
+exception of the base, they were so rash and presumptuous as to uncover
+them, not thinking, in their ignorance of art, that Francia would want
+to retouch or otherwise change his figures. In the morning, both the
+painting of Francia and those of Andrea were open to view, and the news
+was brought to Francia that Andrea's works and his own had been
+uncovered; at which he felt such resentment, that he was like to die of
+it. Seized with anger against the friars on account of their presumption
+and the little respect that they had shown to him, he set off at his
+best speed and came up to the work; and then, climbing on to the
+staging, which had not yet been taken to pieces, although the painting
+had been uncovered, and seizing a mason's hammer that was there, he beat
+some of the women's heads to fragments, and destroyed that of the
+Madonna, and also tore almost completely away from the wall, plaster and
+all, a nude figure that is breaking a rod. Hearing the noise, the friars
+ran up, and, with the help of some laymen, seized his hands, to prevent
+him from destroying it completely. But, although in time they offered to
+give him double payment, he, on account of the hatred that he had
+conceived for them, would never restore it. By reason of the reverence
+felt by other painters both for him and for the work, they have refused
+to finish it; and so it remains, even in our own day, as a memorial of
+that event. This fresco is executed with such diligence and so much
+love, and it is so beautiful in its freshness, that Francia may be said
+to have worked better in fresco than any man of his time, and to have
+blended and harmonized his paintings in fresco better than any other,
+without needing to retouch the colours; wherefore he deserves to be much
+extolled both for this and for his other works.
+
+At Rovezzano, without the Porta alla Croce, near Florence, he painted a
+shrine with a Christ on the Cross and some saints; and in S. Giovannino,
+at the Porta a S. Piero Gattolini, he executed a Last Supper of the
+Apostles in fresco.
+
+No long time after, on the departure for France of the painter Andrea
+del Sarto, who had begun to paint the stories of S. John the Baptist in
+chiaroscuro in a cloister of the Company of the Scalzo at Florence, the
+men of that Company, desiring to have that work finished, engaged
+Francia, to the end that he, being an imitator of the manner of Andrea,
+might complete the paintings begun by the other. Thereupon Francia
+executed the decorations right round one part of that cloister, and
+finished two of the scenes, which he painted with great diligence. These
+are, first S. John the Baptist obtaining leave from his father Zacharias
+to go into the desert, and then the meeting of Christ and S. John on the
+way, with Joseph and Mary standing there and beholding them embrace one
+another. But more than this he did not do, on account of the return of
+Andrea, who then went on to finish the rest of the work.
+
+With Ridolfo Ghirlandajo he prepared a most beautiful festival for the
+marriage of Duke Lorenzo, with two sets of scenery for the dramas that
+were performed, executing them with much method, masterly judgment, and
+grace; on account of which he acquired credit and favour with that
+Prince. This service was the reason that he received the commission for
+gilding the ceiling of the Hall of Poggio a Caiano, in company with
+Andrea di Cosimo. And afterwards, in competition with Andrea del Sarto
+and Jacopo da Pontormo, he began, on a wall in that hall, the scene of
+Cicero being carried in triumph by the citizens of Rome. This work had
+been undertaken by the liberality of Pope Leo, in memory of his father
+Lorenzo, who had caused the edifice to be built, and had ordained that
+it should be painted with scenes from ancient history and other
+ornaments according to his pleasure. And these had been entrusted by the
+learned historian, M. Paolo Giovio, Bishop of Nocera, who was then chief
+in authority near the person of Cardinal Giulio de' Medici, to Andrea
+del Sarto, Jacopo da Pontormo, and Franciabigio, that they might
+demonstrate the power and perfection of their art in the work, each
+receiving thirty crowns every month from the magnificent Ottaviano de'
+Medici. Thereupon Francia executed on his part, to say nothing of the
+beauty of the scene, some buildings in perspective, very well
+proportioned. But the work remained unfinished on account of the death
+of Leo; and afterwards, in the year 1532, it was begun again by Jacopo
+da Pontormo at the commission of Duke Alessandro de' Medici, but he
+lingered over it so long, that the Duke died and it was once more left
+unfinished.
+
+But to return to Francia; so ardent was his love for the matters of art,
+that there was no summer day on which he did not draw some study of a
+nude figure from the life in his work-room, and to that end he always
+kept men in his pay. For S. Maria Nuova, at the request of Maestro
+Andrea Pasquali, an excellent physician of Florence, he executed an
+anatomical figure, in consequence of which he made a great advance in
+the art of painting, and pursued it ever afterwards with more zeal. He
+then painted in the Convent of S. Maria Novella, in the lunette over the
+door of the library, a S. Thomas confuting the heretics with his
+learning, a work which is executed with diligence and a good manner.
+There, among other details, are two children who serve to uphold an
+escutcheon in the ornamental border; and these are very fine, full of
+the greatest beauty and grace, and painted in a most lovely manner.
+
+He also executed a picture with little figures for Giovanni Maria
+Benintendi, in competition with Jacopo da Pontormo, who painted another
+of the same size for that patron, containing the story of the Magi; and
+two others were painted by Francesco d' Albertino.[12] In his work
+Francia represented the scene of David seeing Bathsheba in her bath; and
+there he painted some women in a manner too smooth and dainty, and drew
+a building in perspective, wherein is David giving letters to the
+messengers, who are to carry them to the camp to the end that Uriah the
+Hittite may meet his death; and under a loggia he painted a royal
+banquet of great beauty. This work contributed greatly to the fame and
+honour of Francia, who, if he had much ability for large figures, had
+much more for little figures.
+
+Francia also made many most beautiful portraits from life; one, in
+particular, for Matteo Sofferroni, who was very much his friend, and
+another for a countryman, the steward of Pier Francesco de' Medici at
+the Palace of S. Girolamo da Fiesole, which seems absolutely alive, with
+many others. And since he undertook any kind of work without being
+ashamed, so long as he was pursuing his art, he set his hand to whatever
+commission was given to him; wherefore, in addition to many works of the
+meanest kind, he painted a most beautiful "Noli me tangere" for the
+cloth-weaver Arcangelo, at the top of a tower that serves as a terrace,
+in Porta Rossa; with an endless number of other trivial works, executed
+by Francia because he was a person of sweet and kindly nature and very
+obliging, of which there is no need to say more.
+
+[Illustration: FRANCIABIGIO: PORTRAIT OF A MAN
+
+(_Vienna: Collection of Prince Liechtenstein._ _Canvas_)]
+
+This master loved to live in peace, and for that reason would never take
+a wife; and he was always repeating the trite proverb, "The fruits of a
+wife are cares and strife." He would never leave Florence, because,
+having seen some works by Raffaello da Urbino, and feeling that he was
+not equal to that great man and to many others of supreme renown, he did
+not wish to compete with craftsmen of such rare excellence. In truth,
+the greatest wisdom and prudence that a man can possess is to know
+himself, and to refrain from exalting himself beyond his true worth.
+And, finally, having acquired much by constant work, for one who was not
+endowed by nature with much boldness of invention or with any powers
+but those that he had gained by long study, he died in the year 1524 at
+the age of forty-two.
+
+One of Francia's disciples was his brother Agnolo, who died after having
+painted a frieze that is in the cloister of S. Pancrazio, and a few
+other works. The same Agnolo painted for the perfumer Ciano, an
+eccentric man, but respected after his kind, a sign for his shop,
+containing a gipsy woman telling the fortune of a lady in a very
+graceful manner, which was the idea of Ciano, and not without mystic
+meaning. Another who learnt to paint from the same master was Antonio di
+Donnino Mazzieri, who was a bold draughtsman, and showed much invention
+in making horses and landscapes. He painted in chiaroscuro the cloister
+of S. Agostino at Monte Sansovino, executing therein scenes from the Old
+Testament, which were much extolled. In the Vescovado of Arezzo he
+painted the Chapel of S. Matteo, with a scene, among other things,
+showing that Saint baptizing a King, in which he made a portrait of a
+German, so good that it seems to be alive. For Francesco del Giocondo he
+executed the story of the Martyrs in a chapel behind the choir of the
+Servite Church in Florence; but in this he acquitted himself so badly,
+that he lost all his credit and was reduced to undertaking any sort of
+work.
+
+Francia taught his art also to a young man named Visino, who, to judge
+from what we see of him, would have become an excellent painter, if he
+had not died young, as he did; and to many others, of whom I shall make
+no further mention. He was buried by the Company of S. Giobbe in S.
+Pancrazio, opposite to his own house, in the year 1525; and his death
+was truly a great grief to all good craftsmen, seeing that he had been a
+talented and skilful master, and very modest in his every action.
+
+FOOTNOTE:
+
+[12] Francesco Ubertini, called Il Bacchiacca.
+
+
+
+
+MORTO DA FELTRO AND ANDREA DI COSIMO FELTRINI
+
+
+
+
+LIVES OF MORTO DA FELTRO AND OF ANDREA DI COSIMO FELTRINI
+
+PAINTERS
+
+
+The painter Morto da Feltro, who was as original in his life as he was
+in his brain and in the new fashion of grotesques that he made, which
+caused him to be held in great estimation, found his way as a young man
+to Rome at the time when Pinturicchio was painting the Papal apartments
+for Alexander VI, with the loggie and lower rooms in the Great Tower of
+the Castello di S. Angelo, and some of the upper apartments. He was a
+melancholy person, and was constantly studying the antiquities; and
+seeing among them sections of vaults and ranges of walls adorned with
+grotesques, he liked these so much that he never ceased from examining
+them. And so well did he grasp the methods of drawing foliage in the
+ancient manner, that he was second to no man of his time in that
+profession. He was never tired, indeed, of examining all that he could
+find below the ground in Rome in the way of ancient grottoes, with
+vaults innumerable. He spent many months in Hadrian's Villa at Tivoli,
+drawing all the pavements and grottoes that are there, both above ground
+and below. And hearing that at Pozzuolo, in the Kingdom of Naples, ten
+miles from the city, there were many walls covered with ancient
+grotesques, both executed in relief with stucco and painted, and said to
+be very beautiful, he devoted several months to studying them on the
+spot. Nor was he content until he had drawn every least thing in the
+Campana, an ancient road in that place, full of antique sepulchres; and
+he also drew many of the temples and grottoes, both above and below the
+ground, at Trullo, near the seashore. He went to Baia and Mercato di
+Sabbato, both places full of ruined buildings covered with scenes,
+searching out everything in such a manner that by means of his long and
+loving labour he grew vastly in power and knowledge of his art.
+
+Having then returned to Rome, he worked there many months, giving his
+attention to figures, since he considered that in that part of his
+profession he was not the master that he was held to be in the execution
+of grotesques. And after he had conceived this desire, hearing the
+renown that Leonardo and Michelagnolo had in that art on account of the
+cartoons executed by them in Florence, he set out straightway to go to
+that city. But, after he had seen those works, he did not think himself
+able to make the same improvement that he had made in his first
+profession, and he went back, therefore, to work at his grotesques.
+
+There was then living in Florence one Andrea di Cosimo Feltrini, a
+painter of that city, and a young man of much diligence, who received
+Morto into his house and entertained him with most affectionate
+attentions. Finding pleasure in the nature of Morto's art, Andrea also
+gave his mind to that vocation, and became an able master, being in time
+even more excellent than Morto, and much esteemed in Florence, as will
+be told later. And it was through Andrea that Morto came to paint for
+Piero Soderini, who was then Gonfalonier, decorations of grotesques in
+an apartment of the Palace, which were held to be very beautiful; but in
+our own day these have been destroyed in rearranging the apartments of
+Duke Cosimo, and repainted. For Maestro Valerio, a Servite friar, Morto
+decorated the empty space on a chair-back, which was a most beautiful
+work; and for Agnolo Doni, likewise, in a chamber, he executed many
+pictures with a variety of bizarre grotesques. And since he also
+delighted in figures, he painted Our Lady in some round pictures, in
+order to see whether he could become as famous for them as he was (for
+his grotesques).
+
+Then, having grown weary of staying in Florence, he betook himself to
+Venice; and attaching himself to Giorgione da Castelfranco, who was then
+painting the Fondaco de' Tedeschi, he set himself to assist him and
+executed the ornamentation of that work. And in this way he remained
+many months in that city, attracted by the sensuous pleasures and
+delights that he found there.
+
+He then went to execute works in Friuli, but he had not been there long
+when, finding that the rulers of Venice were enlisting soldiers, he
+entered their service; and before he had had much experience of that
+calling he was made Captain of two hundred men. The army of the
+Venetians had advanced by that time to Zara in Sclavonia; and one day,
+when a brisk skirmish took place, Morto, desiring to win a greater name
+in that profession than he had gained in the art of painting, went
+bravely forward, and, after fighting in the mêlée, was left dead on the
+field, even as he had always been in name,[13] at the age of forty-five.
+But in fame he will never be dead, because those who exercise their
+hands in the arts and produce everlasting works, leaving memorials of
+themselves after death, are destined never to suffer the death of their
+labours, for writers, in their gratitude, bear witness to their talents.
+Eagerly, therefore, should our craftsmen spur themselves on with
+incessant study to such a goal as will ensure them an undying name both
+through their own works and through the writings of others, since, by so
+doing, they will gain eternal life both for themselves and for the works
+that they leave behind them after death.
+
+Morto restored the painting of grotesques in a manner more like the
+ancient than was achieved by any other painter, and for this he deserves
+infinite praise, in that it is after his example that they have been
+brought in our own day, by the hands of Giovanni da Udine and other
+craftsmen, to the great beauty and excellence that we see. For, although
+the said Giovanni and others have carried them to absolute perfection,
+it is none the less true that the chief praise is due to Morto, who was
+the first to bring them to light and to devote his whole attention to
+paintings of that kind, which are called grotesques because they were
+found for the most part in the grottoes of the ruins of Rome; besides
+which, every man knows that it is easy to make additions to anything
+once it has been discovered.
+
+The painting of grotesques was continued in Florence by Andrea Feltrini,
+called Di Cosimo, because he was a disciple of Cosimo Rosselli in the
+study of figures (which he executed passing well), as he was afterwards
+of Morto in that of grotesques, of which we have spoken. In this kind
+of painting Andrea had from nature such power of invention and such
+grace that he was the first to make ornaments of greater grandeur,
+abundance, and richness than the ancient, and quite different in manner;
+and he gave them better order and cohesion, and enriched them with
+figures, such as are not seen in Rome or in any other place but
+Florence, where he executed a great number. In this respect there has
+never been any man who has surpassed him in excellence, as may be seen
+from the ornament and the predella painted with little grotesques in
+colour round the Pietà that Pietro Perugino executed for the altar of
+the Serristori in S. Croce at Florence. These are heightened with
+various colours on a ground of red and black mixed together, and are
+wrought with much facility and with extraordinary boldness and grace.
+
+Andrea introduced the practice of covering the façades of houses and
+palaces with an intonaco of lime mixed with the black of ground
+charcoal, or rather, burnt straw, on which intonaco, when still fresh,
+he spread a layer of white plaster. Then, having drawn the grotesques,
+with such divisions as he desired, on some cartoons, he dusted them over
+the intonaco, and proceeded to scratch it with an iron tool, in such a
+way that his designs were traced over the whole façade by that tool;
+after which, scraping away the white from the grounds of the grotesques,
+he went on to shade them or to hatch a good design upon them with the
+same iron tool. Finally, he went over the whole work, shading it with a
+liquid water-colour like water tinted with black. All this produces a
+very pleasing, rich, and beautiful effect; and there was an account of
+the method in the twenty-sixth chapter, dealing with sgraffiti, in the
+Treatise on Technique.
+
+The first façades that Andrea executed in this manner were that of the
+Gondi, which is full of delicacy and grace, in Borg' Ognissanti, and
+that of Lanfredino Lanfredini, which is very ornate and rich in the
+variety of its compartments, on the Lungarno between the Ponte S.
+Trinita and the Ponte della Carraja, near S. Spirito. He also decorated
+in sgraffito the house of Andrea and Tommaso Sertini, near S. Michele in
+Piazza Padella, making it more varied and grander in manner than the
+two others. He painted in chiaroscuro the façade of the Church of the
+Servite Friars, for which work he caused the painter Tommaso di Stefano
+to paint in two niches the Angel bringing the Annunciation to the
+Virgin; and in the court, where there are the stories of S. Filippo and
+of Our Lady painted by Andrea del Sarto, he executed between the two
+doors a very beautiful escutcheon of Pope Leo X. And on the occasion of
+the visit of that Pontiff to Florence he executed many beautiful
+ornaments in the form of grotesques on the façade of S. Maria del Fiore,
+for Jacopo Sansovino, who gave him his sister for wife. He executed the
+baldachin under which the Pope walked, covering the upper part with most
+beautiful grotesques, and the hangings round it with the arms of that
+Pope and other devices of the Church; and this baldachin was afterwards
+presented to the Church of S. Lorenzo in Florence, where it is still to
+be seen. He also decorated many standards and banners for the visit of
+Leo, and in honour of many who were made Chevaliers by that Pontiff and
+by other Princes, of which there are some hung up in various churches in
+that city.
+
+Andrea, working constantly in the service of the house of Medici,
+assisted at the preparations for the wedding of Duke Giuliano and that
+of Duke Lorenzo, executing an abundance of various ornaments in the form
+of grotesques; and so, also, in the obsequies of those Princes. In all
+this he was largely employed by Franciabigio, Andrea del Sarto,
+Pontormo, and Ridolfo Ghirlandajo, and by Granaccio for triumphal
+processions and other festivals, since nothing good could be done
+without him. He was the best man that ever touched a brush, and, being
+timid by nature, he would never undertake any work on his own account,
+because he was afraid of exacting the money for his labours. He
+delighted to work the whole day long, and disliked annoyances of any
+kind; for which reason he associated himself with the gilder Mariotto di
+Francesco, one of the most able and skilful men at his work that ever
+existed in the world of art, very adroit in obtaining commissions, and
+most dexterous in exacting payments and doing business. This Mariotto
+also brought the gilder Raffaello di Biagio into the partnership, and
+the three worked together, sharing equally all the earnings of the
+commissions that they executed; and this association lasted until death
+parted them, Mariotto being the last to die.
+
+To return to the works of Andrea; he decorated for Giovanni Maria
+Benintendi all the ceilings of his house, and executed the ornamentation
+of the ante-chambers, wherein are the scenes painted by Franciabigio and
+Jacopo da Pontormo. He went with Franciabigio to Poggio, and executed in
+terretta the ornaments for all the scenes there in such a way that there
+is nothing better to be seen. For the Chevalier Guidotti he decorated in
+sgraffito the façade of his house in the Via Larga, and he also executed
+another of great beauty for Bartolommeo Panciatichi, on the house (now
+belonging to Ruberto de' Ricci) which he built on the Piazza degli Agli.
+Nor am I able to describe all the friezes, coffers, and strong-boxes, or
+the vast quantity of ceilings, which Andrea decorated with his own hand,
+for the whole city is full of these, and I must refrain from speaking of
+them. But I must mention the round escutcheons of various kinds that he
+made, for they were such that no wedding could take place without his
+having his workshop besieged by one citizen or another; nor could any
+kind of brocade, linen, or cloth of gold, with flowered patterns, ever
+be woven, without his making the designs for them, and that with so much
+variety, grace, and beauty, that he breathed spirit and life into all
+such things. If Andrea, indeed, had known his own value, he would have
+made a vast fortune; but it sufficed him to live in love with his art.
+
+I must not omit to tell that in my youth, while in the service of Duke
+Alessandro de' Medici, I was commissioned, when Charles V came to
+Florence, to make the banners for the Castle, or rather, as it is called
+at the present day, the Citadel; and among these was a standard of
+crimson cloth, eighteen braccia wide at the staff and forty in length,
+and surrounded by borders of gold containing the devices of the Emperor
+Charles V and of the house of Medici, with the arms of his Majesty in
+the centre. For this work, in which were used forty-five thousand leaves
+of gold, I summoned to my assistance Andrea for the borders and Mariotto
+for the gilding; and many things did I learn from that good Andrea, so
+full of love and kindness for those who were studying art. And so great
+did the skill of Andrea then prove to be, that, besides availing myself
+of him for many details of the arches that were erected for the entry of
+his Majesty, I chose him as my companion, together with Tribolo, when
+Madama Margherita, daughter of Charles V, came to be married to Duke
+Alessandro, in making the festive preparations that I executed in the
+house of the Magnificent Ottaviano de' Medici on the Piazza di S. Marco,
+which was adorned with grotesques by his hand, with statues by the hand
+of Tribolo, and with figures and scenes by my hand. At the last he was
+much employed for the obsequies of Duke Alessandro, and even more for
+the marriage of Duke Cosimo, when all the devices in the courtyard,
+described by M. Francesco Giambullari, who wrote an account of the
+festivities of that wedding, were painted by Andrea with ornaments of
+great variety. And then Andrea--who, by reason of a melancholy humour
+which often oppressed him, was on many occasions on the point of taking
+his own life, but was observed so closely and guarded so well by his
+companion Mariotto that he lived to be an old man--finished the course
+of his life at the age of sixty-four, leaving behind him the name of a
+good and even rarely excellent master of grotesque-painting in our own
+times, wherein every succeeding craftsman has always imitated his
+manner, not only in Florence, but also in other places.
+
+FOOTNOTE:
+
+[13] From the word "Morto," which means "dead."
+
+
+
+
+MARCO CALAVRESE
+
+
+
+
+LIFE OF MARCO CALAVRESE
+
+PAINTER
+
+
+When the world possesses some great light in any science, every least
+part is illuminated by its rays, some with greater brightness and some
+with less; and the miracles that result are also greater or less
+according to differences of air and place. Constantly, in truth, do we
+see a particular country producing a particular kind of intellect fitted
+for a particular kind of work, for which others are not fitted, nor can
+they ever attain, whatever labours they may endure, to the goal of
+supreme excellence. And if we marvel when we see growing in some
+province a fruit that has not been wont to grow there, much more can we
+rejoice in a man of fine intellect when we find him in a country where
+men of the same bent are not usually born. Thus it was with the painter
+Marco Calavrese, who, leaving his own country, chose for his habitation
+the sweet and pleasant city of Naples. He had been minded, indeed, on
+setting out, to make his way to Rome, and there to achieve the end that
+rewards the student of painting; but the song of the Siren was so sweet
+to him, and all the more because he delighted to play on the lute, and
+the soft waters of Sebeto so melted his heart, that he remained a
+prisoner in body of that land until he rendered up his spirit to Heaven
+and his mortal flesh to earth.
+
+Marco executed innumerable works in oils and in fresco, and he proved
+himself more able than any other man who was practising the same art in
+that country in his day. Of this we have proof in the work that he
+executed at Aversa, ten miles distant from Naples; and, above all, in a
+panel-picture in oils on the high-altar of the Church of S. Agostino,
+with a large ornamental frame, and various pictures painted with scenes
+and figures, in which he represented S. Augustine disputing with the
+heretics, with stories of Christ and Saints in various attitudes both
+above and at the sides. In this work, which shows a manner full of
+harmony and drawing towards the good manner of our modern works, may
+also be seen great beauty and facility of colouring; and it was one of
+the many labours that he executed in that city and for various places in
+the kingdom.
+
+Marco always lived a gay life, enjoying every minute to the full, for
+the reason that, having no rivalry to contend with in painting from
+other craftsmen, he was always adored by the Neapolitan nobles, and
+contrived to have himself rewarded for his works by ample payments. And
+so, having come to the age of fifty-six, he ended his life after an
+ordinary illness.
+
+He left a disciple in Giovan Filippo Crescione, a painter of Naples, who
+executed many pictures in company with his brother-in-law, Leonardo
+Castellani, as he still does; but of these men, since they are alive and
+in constant practice of their art, there is no need to make mention.
+
+The pictures of Maestro Marco were executed by him between 1508 and
+1542. He had a companion in another Calabrian (whose name I do not
+know), who worked for a long time in Rome with Giovanni da Udine and
+executed many works by himself in that city, particularly façades in
+chiaroscuro. The same Calabrian also painted in fresco the Chapel of the
+Conception in the Church of the Trinità, with much skill and diligence.
+
+At this same time lived Niccola, commonly called by everyone Maestro
+Cola dalla Matrice, who executed many works in Calabria, at Ascoli, and
+at Norcia, which are very well known, and which gained for him the name
+of a rare master--the best, indeed, that there had ever been in these
+parts. And since he also gave his attention to architecture, all the
+buildings that were erected in his day at Ascoli and throughout all that
+province had him as architect. Cola, without caring to see Rome or to
+change his country, remained always at Ascoli, living happily for some
+time with his wife, a woman of good and honourable family, and endowed
+with extraordinary nobility of spirit, as was proved when the strife of
+parties arose at Ascoli, in the time of Pope Paul III. For then, while
+she was flying with her husband, with many soldiers in pursuit, more on
+her account (for she was a very beautiful young woman) than for any
+other reason, she resolved, not seeing any other way in which she could
+save her own honour and the life of her husband, to throw herself from a
+high cliff to the depth below. At which all the soldiers believed that
+she was not only mortally injured, but dashed to pieces, as indeed she
+was; wherefore they left the husband without doing him any harm, and
+returned to Ascoli. After the death of this extraordinary woman, worthy
+of eternal praise, Maestro Cola passed the rest of his life with little
+happiness. A short time afterwards, Signor Alessandro Vitelli, who had
+become Lord of Matrice,[14] took Maestro Cola, now an old man, to Città
+di Castello, where he caused him to paint in his palace many works in
+fresco and many other pictures; which works finished, Maestro Cola
+returned to finish his life at Matrice.
+
+This master would have acquitted himself not otherwise than passing
+well, if he had practised his art in places where rivalry and emulation
+might have made him attend with more study to painting, and exercise the
+beautiful intellect with which it is evident that he was endowed by
+nature.
+
+FOOTNOTE:
+
+[14] Amatrice.
+
+
+
+
+FRANCESCO MAZZUOLI
+
+
+
+
+LIFE OF FRANCESCO MAZZUOLI
+
+[_PARMIGIANO_]
+
+PAINTER OF PARMA
+
+
+Among the many natives of Lombardy who have been endowed with the
+gracious gift of design, with a lively spirit of invention, and with a
+particular manner of making beautiful landscapes in their pictures, we
+should rate as second to none, and even place before all the rest,
+Francesco Mazzuoli of Parma, who was bountifully endowed by Heaven with
+all those parts that are necessary to make a supreme painter, insomuch
+that he gave to his figures, in addition to what has been said of many
+others, a certain nobility, sweetness, and grace in the attitudes which
+belonged to him alone. To his heads, likewise, it is evident that he
+gave all the consideration that is needful; and his manner has therefore
+been studied and imitated by innumerable painters, because he shed on
+art a light of grace so pleasing, that his works will always be held in
+great price, and himself honoured by all students of design. Would to
+God that he had always pursued the studies of painting, and had not
+sought to pry into the secrets of congealing mercury in order to become
+richer than Nature and Heaven had made him; for then he would have been
+without an equal, and truly unique in the art of painting, whereas, by
+searching for that which he could never find, he wasted his time,
+wronged his art, and did harm to his own life and fame.
+
+Francesco was born at Parma in the year 1504, and because he lost his
+father when he was still a child of tender age, he was left to the care
+of two uncles, brothers of his father, and both painters, who brought
+him up with the greatest lovingness, teaching him all those praiseworthy
+ways that befit a Christian man and a good citizen. Then, having made
+some little growth, he had no sooner taken pen in hand in order to learn
+to write, than he began, spurred by Nature, who had consecrated him at
+his birth to design, to draw most marvellous things; and the master who
+was teaching him to write, noticing this and perceiving to what heights
+the genius of the boy might in time attain, persuaded his uncles to let
+him give his attention to design and painting. Whereupon, being men of
+good judgment in matters of art, although they were old and painters of
+no great fame, and recognizing that God and Nature had been the boy's
+first masters, they did not fail to take the greatest pains to make him
+learn to draw under the discipline of the best masters, to the end that
+he might acquire a good manner. And coming by degrees to believe that he
+had been born, so to speak, with brushes in his fingers, on the one hand
+they urged him on, and on the other, fearing lest overmuch study might
+perchance spoil his health, they would sometimes hold him back. Finally,
+having come to the age of sixteen, and having already done miracles of
+drawing, he painted a S. John baptizing Christ, of his own invention, on
+a panel, which he executed in such a manner that even now whoever sees
+it stands marvelling that such a work should have been painted so well
+by a boy. This picture was placed in the Nunziata, the seat of the Frati
+de' Zoccoli at Parma. Not content with this, however, Francesco resolved
+to try his hand at working in fresco, and therefore painted a chapel in
+S. Giovanni Evangelista, a house of Black Friars of S. Benedict; and
+since he succeeded in that kind of work, he painted as many as seven.
+
+But about that time Pope Leo X sent Signor Prospero Colonna with an army
+to Parma, and the uncles of Francesco, fearing that he might perchance
+lose time or be distracted, sent him in company with his cousin,
+Girolamo Mazzuoli, another boy-painter, to Viadana, a place belonging to
+the Duke of Mantua, where they lived all the time that the war lasted;
+and there Francesco painted two panels in distemper. One of these, in
+which are S. Francis receiving the Stigmata, and S. Chiara, was placed
+in the Church of the Frati de' Zoccoli; and the other, which contains a
+Marriage of S. Catharine, with many figures, was placed in S. Piero. And
+let no one believe that these are works of a young beginner, for they
+seem to be rather by the hand of a full-grown master.
+
+The war finished, Francesco, having returned with his cousin to Parma,
+first completed some pictures that he had left unfinished at his
+departure, which are in the hands of various people. After this he
+painted a panel-picture in oils of Our Lady with the Child in her arms,
+with S. Jerome on one side and the Blessed Bernardino da Feltro on the
+other, and in the head of one of these figures he made a portrait of the
+patron of the picture, which is so wonderful that it lacks nothing save
+the breath of life. All these works he executed before he had reached
+the age of nineteen.
+
+Then, having conceived a desire to see Rome, like one who was on the
+path of progress and heard much praise given to the works of good
+masters, and particularly to those of Raffaello and Michelagnolo, he
+spoke out his mind and desire to his old uncles, who, thinking that such
+a wish was not otherwise than worthy of praise, said that they were
+content that he should go, but that it would be well for him to take
+with him some work by his own hand, which might serve to introduce him
+to the noblemen of that city and to the craftsmen of his profession.
+This advice was not displeasing to Francesco, and he painted three
+pictures, two small and one of some size, representing in the last the
+Child in the arms of the Madonna, taking some fruits from the lap of an
+Angel, and an old man with his arms covered with hair, executed with art
+and judgment, and pleasing in colour. Besides this, in order to
+investigate the subtleties of art, he set himself one day to make his
+own portrait, looking at himself in a convex barber's mirror. And in
+doing this, perceiving the bizarre effects produced by the roundness of
+the mirror, which twists the beams of a ceiling into strange curves, and
+makes the doors and other parts of buildings recede in an extraordinary
+manner, the idea came to him to amuse himself by counterfeiting
+everything. Thereupon he had a ball of wood made by a turner, and,
+dividing it in half so as to make it the same in size and shape as the
+mirror, set to work to counterfeit on it with supreme art all that he
+saw in the glass, and particularly his own self, which he did with such
+lifelike reality as could not be imagined or believed. Now everything
+that is near the mirror is magnified, and all that is at a distance is
+diminished, and thus he made the hand engaged in drawing somewhat
+large, as the mirror showed it, and so marvellous that it seemed to be
+his very own. And since Francesco had an air of great beauty, with a
+face and aspect full of grace, in the likeness rather of an angel than
+of a man, his image on that ball had the appearance of a thing divine.
+So happily, indeed, did he succeed in the whole of this work, that the
+painting was no less real than the reality, and in it were seen the
+lustre of the glass, the reflection of every detail, and the lights and
+shadows, all so true and natural, that nothing more could have been
+looked for from the brain of man.
+
+[Illustration: THE MARRIAGE OF S. CATHARINE
+
+(_After the painting by =Francesco Mazzuoli [Parmigiano]=. Parma:
+Gallery, 192_)
+
+_Anderson_]
+
+Having finished these works, which were held by his old uncles to be out
+of the ordinary, and even considered by many other good judges of art to
+be miracles of beauty, and having packed up both pictures and portrait,
+he made his way to Rome, accompanied by one of the uncles. There, after
+the Datary had seen the pictures and appraised them at their true worth,
+the young man and his uncle were straightway introduced to Pope Clement,
+who, seeing the works and the youthfulness of Francesco, was struck with
+astonishment, and with him all his Court. And afterwards his Holiness,
+having first shown him much favour, said that he wished to commission
+him to paint the Hall of the Popes, in which Giovanni da Udine had
+already decorated all the ceiling with stucco-work and painting. And so,
+after presenting his pictures to the Pope, and receiving various gifts
+and marks of favour in addition to his promises, Francesco, spurred by
+the praise and glory that he heard bestowed upon him, and by the hope of
+the profit that he might expect from so great a Pontiff, painted a most
+beautiful picture of the Circumcision, which was held to be
+extraordinary in invention on account of three most fanciful lights that
+shone in the work; for the first figures were illuminated by the
+radiance of the countenance of Christ, the second received their light
+from others who were walking up some steps with burning torches in their
+hands, bringing offerings for the sacrifice, and the last were revealed
+and illuminated by the light of the dawn, which played upon a most
+lovely landscape with a vast number of buildings. This picture finished,
+he presented it to the Pope, who did not do with it what he had done
+with the others; for he had given the picture of Our Lady to Cardinal
+Ippolito de' Medici, his nephew, and the mirror-portrait to Messer
+Pietro Aretino, the poet, who was in his service, but the picture of the
+Circumcision he kept for himself; and it is believed that it came in
+time into the possession of the Emperor. The mirror-portrait I remember
+to have seen, when quite a young man, in the house of the same Messer
+Pietro Aretino at Arezzo, where it was sought out as a choice work by
+the strangers passing through that city. Afterwards it fell, I know not
+how, into the hands of Valerio Vicentino, the crystal-engraver, and it
+is now in the possession of Alessandro Vittoria, a sculptor in Venice,
+the disciple of Jacopo Sansovino.
+
+But to return to Francesco; while studying in Rome, he set himself to
+examine all the ancient and modern works, both of sculpture and of
+painting, that were in that city, but held those of Michelagnolo
+Buonarroti and Raffaello da Urbino in supreme veneration beyond all the
+others; and it was said afterwards that the spirit of that Raffaello had
+passed into the body of Francesco, when men saw how excellent the young
+man was in art, and how gentle and gracious in his ways, as was
+Raffaello, and above all when it became known how much Francesco strove
+to imitate him in everything, and particularly in painting. Nor was this
+study in vain, for many little pictures that he painted in Rome, the
+greater part of which afterwards came into the hands of Cardinal
+Ippolito de' Medici, were truly marvellous; and even such is a round
+picture with a very beautiful Annunciation, executed by him for Messer
+Agnolo Cesis, which is now treasured as a rare work in the house of that
+family. He painted a picture, likewise, of the Madonna with Christ, some
+Angels, and a S. Joseph, which are beautiful to a marvel on account of
+the expressions of the heads, the colouring, and the grace and diligence
+with which they are seen to have been executed. This work was formerly
+in the possession of Luigi Gaddi, and it must now be in the hands of his
+heirs.
+
+Hearing the fame of this master, Signor Lorenzo Cibo, Captain of the
+Papal Guard, and a very handsome man, had a portrait of himself painted
+by Francesco, who may be said to have made, not a portrait, but a living
+figure of flesh and blood. Having then been commissioned to paint for
+Madonna Maria Bufolini of Città di Castello a panel-picture which was
+to be placed in S. Salvatore del Lauro, in a chapel near the door,
+Francesco painted in it a Madonna in the sky, who is reading and has the
+Child between her knees, and on the earth he made a figure of S. John,
+kneeling on one knee in an attitude of extraordinary beauty, turning his
+body, and pointing to the Infant Christ; and lying asleep on the ground,
+in foreshortening, is a S. Jerome in Penitence.
+
+But he was prevented from bringing this work to completion by the ruin
+and sack of Rome in 1527, which was the reason not only that the arts
+were banished for a time, but also that many craftsmen lost their lives.
+And Francesco, also, came within a hair's breadth of losing his, seeing
+that at the beginning of the sack he was so intent on his work, that,
+when the soldiers were entering the houses, and some Germans were
+already in his, he did not move from his painting for all the uproar
+that they were making; but when they came upon him and saw him working,
+they were so struck with astonishment at the work, that, like the
+gentlemen that they must have been, they let him go on. And thus, while
+the impious cruelty of those barbarous hordes was ruining the unhappy
+city and all its treasures, both sacred and profane, without showing
+respect to either God or man, Francesco was provided for and greatly
+honoured by those Germans, and protected from all injury. All the
+hardship that he suffered at that time was this, that he was forced, one
+of them being a great lover of painting, to make a vast number of
+drawings in water-colours and with the pen, which formed the payment of
+his ransom. But afterwards, when these soldiers changed their quarters,
+Francesco nearly came to an evil end, because, going to look for some
+friends, he was made prisoner by other soldiers and compelled to pay as
+ransom some few crowns that he possessed. Wherefore his uncle, grieved
+by that and by the fact that this disaster had robbed Francesco of his
+hopes of acquiring knowledge, honour, and profit, and seeing Rome almost
+wholly in ruins and the Pope the prisoner of the Spaniards, determined
+to take him back to Parma. And so he set Francesco on his way to his
+native city, but himself remained for some days in Rome, where he
+deposited the panel-picture painted for Madonna Maria Bufolini with the
+Friars of the Pace, in whose refectory it remained for many years,
+until finally it was taken by Messer Giulio Bufolini to the church of
+his family in Città di Castello.
+
+Having arrived in Bologna, and finding entertainment with many friends,
+and particularly in the house of his most intimate friend, a saddler of
+Parma, Francesco stayed some months in that city, where the life pleased
+him, during which time he had some works engraved and printed in
+chiaroscuro, among others the Beheading of S. Peter and S. Paul, and a
+large figure of Diogenes. He also prepared many others, in order to have
+them engraved on copper and printed, having with him for this purpose
+one Maestro Antonio da Trento; but he did not carry this intention into
+effect at the time, because he was forced to set his hand to executing
+many pictures and other works for gentlemen of Bologna. The first
+picture by his hand that was seen at Bologna was a S. Rocco of great
+size in the Chapel of the Monsignori in S. Petronio; to which Saint he
+gave a marvellous aspect, making him very beautiful in every part, and
+conceiving him as somewhat relieved from the pain that the plague-sore
+in the thigh gave him, which he shows by looking with uplifted head
+towards Heaven in the act of thanking God, as good men do in spite of
+the adversities that fall upon them. This work he executed for one
+Fabrizio da Milano, of whom he painted a portrait from the waist upwards
+in the picture, with the hands clasped, which seems to be alive; and
+equally real, also, seems a dog that is there, with some landscapes
+which are very beautiful, Francesco being particularly excellent in this
+respect.
+
+He then painted for Albio, a physician of Parma, a Conversion of S.
+Paul, with many figures and a landscape, which was a very choice work.
+And for his friend the saddler he executed another picture of
+extraordinary beauty, containing a Madonna turned to one side in a
+lovely attitude, and several other figures. He also painted a picture
+for Count Giorgio Manzuoli, and two canvases in gouache, with some
+little figures, all graceful and well executed, for Maestro Luca dai
+Leuti.
+
+One morning about this time, while Francesco was still in bed, the
+aforesaid Antonio da Trento, who was living with him as his engraver,
+opened a strong-box and robbed him of all the copper-plate engravings,
+woodcuts, and drawings that he possessed; and he must have gone off to
+the Devil, for all the news that was ever heard of him. The engravings
+and woodcuts, indeed, Francesco recovered, for Antonio had left them
+with a friend in Bologna, perchance with the intention of reclaiming
+them at his convenience; but the drawings he was never able to get back.
+Driven almost out of his mind by this, he returned to his painting, and
+made a portrait, for the sake of money, of I know not what Count of
+Bologna. After that he painted a picture of Our Lady, with a Christ who
+is holding a globe of the world. The Madonna has a most beautiful
+expression, and the Child is also very natural; for he always gave to
+the faces of children a vivacious and truly childlike air, which yet
+reveals that subtle and mischievous spirit that children often have. And
+he attired the Madonna in a very unusual fashion, clothing her in a
+garment that had sleeves of yellowish gauze, striped, as it were, with
+gold, which gave a truly beautiful and graceful effect, revealing the
+flesh in a natural and delicate manner; besides which, the hair is
+painted so well that there is none better to be seen. This picture was
+painted for Messer Pietro Aretino, but Francesco gave it to Pope
+Clement, who came to Bologna at that time; then, in some way of which I
+know nothing, it fell into the hands of Messer Dionigi Gianni, and it
+now belongs to his son, Messer Bartolommeo, who has been so
+accommodating with it that it has been copied fifty times, so much is it
+prized.
+
+[Illustration: MADONNA AND CHILD WITH SAINTS
+
+(_After the panel by =Francesco Mazzuoli [Parmigiano]=. Bologna:
+Accademia, 116_)
+
+_Brogi_]
+
+The same master painted for the Nuns of S. Margherita, in Bologna, a
+panel-picture containing a Madonna, S. Margaret, S. Petronio, S. Jerome,
+and S. Michael, which is held in vast veneration, as it deserves, since
+in the expressions of the heads and in every other part it is as fine as
+all the other works of this painter. He made many drawings, likewise,
+and in particular some for Girolamo del Lino, and some for Girolamo
+Fagiuoli, a goldsmith and engraver, who desired them for engraving on
+copper; and these drawings are held to be full of grace. For Bonifazio
+Gozzadino he painted his portrait from life, with one of his wife, which
+remained unfinished. He also began a picture of Our Lady, which was
+afterwards sold in Bologna to Giorgio Vasari of Arezzo, who has it in
+the new house built by himself at Arezzo, together with many other
+noble pictures, works of sculpture, and ancient marbles.
+
+When the Emperor Charles V was at Bologna to be crowned by Clement VII,
+Francesco, who went several times to see him at table, but without
+drawing his portrait, made a likeness of that Emperor in a very large
+picture in oils, wherein he painted Fame crowning him with laurel, and a
+boy in the form of a little Hercules offering him a globe of the world,
+giving him, as it were, the dominion over it. This work, when finished,
+he showed to Pope Clement, who was so pleased with it that he sent it
+and Francesco together, accompanied by the Bishop of Vasona, then
+Datary, to the Emperor; at which his Majesty, to whom it gave much
+satisfaction, hinted that it should be left with him. But Francesco,
+being ill advised by an insincere or injudicious friend, refused to
+leave it, saying that it was not finished; and so his Majesty did not
+have it, and Francesco was not rewarded for it, as he certainly would
+have been. This picture, having afterwards fallen into the hands of
+Cardinal Ippolito de' Medici, was presented by him to the Cardinal of
+Mantua; and it is now in the guardaroba of the Duke of that city, with
+many other most noble and beautiful pictures.
+
+After having been so many years out of his native place, as we have
+related, during which he had gained much experience in art, without
+accumulating any store of riches, but only of friends, Francesco, in
+order to satisfy his many friends and relatives, finally returned to
+Parma. Arriving there, he was straightway commissioned to paint in
+fresco a vault of some size in the Church of S. Maria della Steccata;
+but since in front of that vault there was a flat arch which followed
+the curve of the vaulting, making a sort of façade, he set to work first
+on the arch, as being the easier, and painted therein six very beautiful
+figures, two in colour and four in chiaroscuro. Between one figure and
+another he made some most beautiful ornaments, surrounding certain
+rosettes in relief, which he took it into his head to execute by himself
+in copper, taking extraordinary pains over them.
+
+At this same time he painted for the Chevalier Baiardo, a gentleman of
+Parma and his intimate friend, a picture of a Cupid, who is fashioning
+a bow with his own hand, and at his feet are seated two little boys,
+one of whom catches the other by the arm and laughingly urges him to
+touch Cupid with his finger, but he will not touch him, and shows by his
+tears that he is afraid of burning himself at the fire of Love. This
+picture, which is charming in colour, ingenious in invention, and
+executed in that graceful manner of Francesco's that has been much
+studied and imitated, as it still is, by craftsmen and by all who
+delight in art, is now in the study of Signor Marc' Antonio Cavalca,
+heir to the Chevalier Baiardo, together with many drawings of every kind
+by the hand of the same master, all most beautiful and highly finished,
+which he has collected. Even such are the many drawings, also by the
+hand of Francesco, that are in our book; and particularly that of the
+Beheading of S. Peter and S. Paul, of which, as has been related, he
+published copper-plate engravings and woodcuts, while living in Bologna.
+For the Church of S. Maria de' Servi he painted a panel-picture of Our
+Lady with the Child asleep in her arms, and on one side some Angels, one
+of whom has in his arms an urn of crystal, wherein there glitters a
+Cross, at which the Madonna gazes in contemplation. This work remained
+unfinished, because he was not well contented with it; and yet it is
+much extolled, and a good example of his manner, so full of grace and
+beauty.
+
+Meanwhile Francesco began to abandon the work of the Steccata, or at
+least to carry it on so slowly that it was evident that he was not in
+earnest. And this happened because he had begun to study the problems of
+alchemy, and had quite deserted his profession of painting, thinking
+that he would become rich quicker by congealing mercury. Wherefore,
+wearing out his brain, but not in imagining beautiful inventions and
+executing them with brushes and colour-mixtures, he wasted his whole
+time in handling charcoal, wood, glass vessels, and other suchlike
+trumperies, which made him spend more in one day than he earned by a
+week's work at the Chapel of the Steccata. Having no other means of
+livelihood, and being yet compelled to live, he was wasting himself away
+little by little with those furnaces; and what was worse, the men of the
+Company of the Steccata, perceiving that he had completely abandoned
+the work, and having perchance paid him more than his due, as is often
+done, brought a suit against him. Thereupon, thinking it better to
+withdraw, he fled by night with some friends to Casal Maggiore. And
+there, having dispersed a little of the alchemy out of his head, he
+painted a panel-picture for the Church of S. Stefano, of Our Lady in the
+sky, with S. John the Baptist and S. Stephen below. Afterwards he
+executed a picture, the last that he ever painted, of the Roman
+Lucretia, which was a thing divine and one of the best that were ever
+seen by his hand; but it has disappeared, however that may have
+happened, so that no one knows where it is.
+
+By his hand, also, is a picture of some nymphs, which is now in the
+house of Messer Niccolò Bufolini at Città di Castello, and a child's
+cradle, which was painted for Signora Angiola de' Rossi of Parma, wife
+of Signor Alessandro Vitelli, and is likewise at Città di Castello.
+
+In the end, having his mind still set on his alchemy, like every other
+man who has once grown crazed over it, and changing from a dainty and
+gentle person into an almost savage man with long and unkempt beard and
+locks, a creature quite different from his other self, Francesco went
+from bad to worse, became melancholy and eccentric, and was assailed by
+a grievous fever and a cruel flux, which in a few days caused him to
+pass to a better life. And in this way he found an end to the troubles
+of this world, which was never known to him save as a place full of
+annoyances and cares. He wished to be laid to rest in the Church of the
+Servite Friars, called La Fontana, one mile distant from Casal Maggiore;
+and he was buried naked, as he had directed, with a cross of cypress
+upright on his breast. He finished the course of his life on the 24th of
+August, in the year 1540, to the great loss of art on account of the
+singular grace that his hands gave to the pictures that he painted.
+
+Francesco delighted to play on the lute, and had a hand and a genius so
+well suited to it that he was no less excellent in this than in
+painting. It is certain that if he had not worked by caprice, and had
+laid aside the follies of the alchemists, he would have been without a
+doubt one of the rarest and most excellent painters of our age. I do not
+deny that working at moments of fever-heat, and when one feels
+inclined, may be the best plan. But I do blame a man for working little
+or not at all, and for wasting all his time over cogitations, seeing
+that the wish to arrive by trickery at a goal to which one cannot
+attain, often brings it about that one loses what one knows in seeking
+after that which it is not given to us to know. If Francesco, who had
+from nature a spirit of great vivacity, with a beautiful and graceful
+manner, had persisted in working every day, little by little he would
+have made such proficience in art, that, even as he gave a beautiful,
+gracious, and most charming expression to his heads, so he would have
+surpassed his own self and the others in the solidity and perfect
+excellence of his drawing.
+
+He left behind him his cousin Girolamo Mazzuoli, who, with great credit
+to himself, always imitated his manner, as is proved by the works by his
+hand that are in Parma. At Viadana, also, whither he fled with Francesco
+on account of the war, he painted, young as he was, a very beautiful
+Annunciation on a little panel for S. Francesco, a seat of the Frati de'
+Zoccoli; and he painted another for S. Maria ne' Borghi. For the
+Conventual Friars of S. Francis at Parma he executed the panel-picture
+of their high-altar, containing Joachim being driven from the Temple,
+with many figures. And for S. Alessandro, a convent of nuns in that
+city, he painted a panel with the Madonna in Heaven, the Infant Christ
+presenting a palm to S. Giustina, and some Angels drawing back a piece
+of drapery, with S. Alexander the Pope and S. Benedict. For the Church
+of the Carmelite Friars he painted the panel-picture of their
+high-altar, which is very beautiful, and for S. Sepolcro another
+panel-picture of some size. In S. Giovanni Evangelista, a church of nuns
+in the same city, are two panel-pictures by the hand of Girolamo, of no
+little beauty, but not equal to the doors of the organ or to the picture
+of the high-altar, in which is a most beautiful Transfiguration,
+executed with much diligence. The same master has painted a
+perspective-view in fresco in the refectory of those nuns, with a
+picture in oils of the Last Supper of Christ with the Apostles, and
+fresco-paintings in the Chapel of the High-Altar in the Duomo. And for
+Madama Margherita of Austria, Duchess of Parma, he has made a portrait
+of the Prince Don Alessandro, her son, in full armour, with his sword
+over a globe of the world, and an armed figure of Parma kneeling before
+him.
+
+In a chapel of the Steccata, at Parma, he has painted in fresco the
+Apostles receiving the Holy Spirit, and on an arch similar to that which
+his cousin Francesco painted he has executed six Sibyls, two in colour
+and four in chiaroscuro; while in a niche opposite to that arch he has
+painted the Nativity of Christ, with the Shepherds adoring Him, which is
+a very beautiful picture, although it was left not quite finished. For
+the high-altar of the Certosa, without Parma, he has painted a
+panel-picture with the three Magi; a panel for S. Piero, an abbey of
+Monks of S. Bernard, at Pavia; another for the Duomo of Mantua, at the
+commission of the Cardinal; and yet another panel for S. Giovanni in the
+same city, containing a Christ in a glory of light, surrounded by the
+Apostles, with S. John, of whom He appears to be saying, "Sic eum volo
+manere," etc.; while round this panel, in six large pictures, are the
+miracles of the same S. John the Evangelist.
+
+In the Church of the Frati Zoccolanti, on the left hand, there is a
+large panel-picture of the Conversion of S. Paul, a very beautiful work,
+by the hand of the same man. And for the high-altar of S. Benedetto in
+Pollirone, a place twelve miles distant from Mantua, he has executed a
+panel-picture of Christ in the Manger being adored by the Shepherds,
+with Angels singing. He has also painted--but I do not know exactly at
+what time--a most beautiful picture of five Loves, one of whom is
+sleeping, and the others are despoiling him, one taking away his bow,
+another his arrows, and the others his torch, which picture belongs to
+the Lord Duke Ottavio, who holds it in great account by reason of the
+excellence of Girolamo. This master has in no way fallen short of the
+standard of his cousin Francesco, being a fine painter, gentle and
+courteous beyond belief; and since he is still alive, there are seen
+issuing from his brush other works of rare beauty, which he has
+constantly in hand.
+
+A close friend of the aforesaid Francesco Mazzuoli was Messer Vincenzio
+Caccianimici, a gentleman of Bologna, who painted and strove to the best
+of his power to imitate the manner of Francesco. This Vincenzio was a
+very good colourist, so that the works which he executed for his own
+pleasure, or to present to his friends and various noblemen, are truly
+well worthy of praise; and such, in particular, is a panel-picture in
+oils, containing the Beheading of S. John the Baptist, which is in the
+chapel of his family in S. Petronio. This talented gentleman, by whose
+hand are some very beautiful drawings in our book, died in the year
+1542.
+
+
+
+
+JACOPO PALMA AND LORENZO LOTTO
+
+
+
+
+[Illustration: LORENZO LOTTO: THE TRIUMPH OF CHASTITY
+
+(_Rome: Rospigliosi Gallery. Panel_)]
+
+
+
+
+LIVES OF JACOPO PALMA
+
+[_PALMA VECCHIO_]
+
+AND LORENZO LOTTO
+
+PAINTERS OF VENICE
+
+
+So potent are mastery and excellence, even when seen in only one or two
+works executed to perfection by a man in the art that he practises,
+that, no matter how small these may be, craftsmen and judges of art are
+forced to extol them, and writers are compelled to celebrate them and to
+give praise to the craftsman who has made them; even as we are now about
+to do for the Venetian Palma. This master, although not very eminent,
+nor remarkable for perfection of painting, was nevertheless so careful
+and diligent, and subjected himself so zealously to the labours of art,
+that a certain proportion of his works, if not all, have something good
+in them, in that they are close imitations of life and of the natural
+appearance of men.
+
+[Illustration: JACOPO PALMA (PALMA VECCHIO): S. BARBARA
+
+(_Venice: S. Maria Formosa. Panel_)]
+
+Palma was much more remarkable for his patience in harmonizing and
+blending colours than for boldness of design, and he handled colour with
+extraordinary grace and finish. This may be seen in Venice from many
+pictures and portraits that he executed for various gentlemen; but of
+these I shall say nothing more, since I propose to content myself with
+making mention of some altar-pieces and of a head that I hold to be
+marvellous, or rather, divine. One of the altar-pieces he painted for S.
+Antonio, near Castello, at Venice, and another for S. Elena, near the
+Lido, where the Monks of Monte Oliveto have their monastery. In the
+latter, which is on the high-altar of that church, he painted the Magi
+presenting their offerings to Christ, with a good number of figures,
+among which are some heads truly worthy of praise, as also are the
+draperies, executed with a beautiful flow of folds, which cover the
+figures. Palma also painted a lifesize S. Barbara for the altar of the
+Bombardieri in the Church of S. Maria Formosa, with two smaller figures
+at the sides, S. Sebastian and S. Anthony; and the S. Barbara is one of
+the best figures that this painter ever executed. The same master also
+executed another altar-piece, in which is a Madonna in the sky, with S.
+John below, for the Church of S. Moisè, near the Piazza di S. Marco. In
+addition to this, Palma painted a most beautiful scene for the hall
+wherein the men of the Scuola of S. Marco assemble, on the Piazza di SS.
+Giovanni e Paolo, in emulation of those already executed by Giovanni
+Bellini, Giovanni Mansueti, and other painters. In this scene is
+depicted a ship which is bringing the body of S. Mark to Venice; and
+there may be seen counterfeited by Palma a terrible tempest on the sea,
+and some barques tossed and shaken by the fury of the winds, all
+executed with much judgment and thoughtful care. The same may be said of
+a group of figures in the air, and of the demons in various forms who
+are blowing, after the manner of winds, against the barques, which,
+driven by oars, and striving in various ways to break through the
+dangers of the towering waves, are like to sink. In short, to tell the
+truth, this work is of such a kind, and so beautiful in invention and in
+other respects, that it seems almost impossible that brushes and
+colours, employed by human hands, however excellent, should be able to
+depict anything more true to reality or more natural; for in it may be
+seen the fury of the winds, the strength and dexterity of the men, the
+movements of the waves, the lightning-flashes of the heavens, the water
+broken by the oars, and the oars bent by the waves and by the efforts of
+the rowers. Why say more? I, for my part, do not remember to have ever
+seen a more terrible painting than this, which is executed in such a
+manner, and with such care in the invention, the drawing, and the
+colouring, that the picture seems to quiver, as if all that is painted
+therein were real. For this work Jacopo Palma deserves the greatest
+praise, and the honour of being numbered among those who are masters of
+art and who are able to express with facility in their pictures their
+most sublime conceptions. For many painters, in difficult subjects of
+that kind, achieve in the first sketch of their work, as though
+guided by a sort of fire of inspiration, something of the good and a
+certain measure of boldness; but afterwards, in finishing it, the
+boldness vanishes, and nothing is left of the good that the first fire
+produced. And this happens because very often, in finishing, they
+consider the parts and not the whole of what they are executing, and
+thus, growing cold in spirit, they come to lose their vein of boldness;
+whereas Jacopo stood ever firm in the same intention and brought to
+perfection his first conception, for which he received vast praise at
+that time, as he always will.
+
+[Illustration: S. SEBASTIAN
+
+(_After the panel by =Jacopo Palma [Palma Vecchio]=. Venice: S. Maria
+Formosa_)
+
+_Anderson_]
+
+But without a doubt, although the works of this master were many, and
+all much esteemed, that one is better than all the others and truly
+extraordinary in which he made his own portrait from life by looking at
+himself in a mirror, with some camel-skins about him, and certain tufts
+of hair, and all so lifelike that nothing better could be imagined. For
+so much did the genius of Palma effect in this particular work, that he
+made it quite miraculous and beautiful beyond belief, as all men
+declare, the picture being seen almost every year at the Festival of the
+Ascension. And, in truth, it well deserves to be celebrated, in point of
+draughtsmanship, colouring, and mastery of art--in a word, on account of
+its absolute perfection--beyond any other work whatsoever that had been
+executed by any Venetian painter up to that time, since, besides other
+things, there may be seen in the eyes a roundness so perfect, that
+Leonardo da Vinci and Michelagnolo Buonarroti would not have done it in
+any other way. But it is better to say nothing of the grace, the
+dignity, and the other qualities that are to be seen in this portrait,
+because it is not possible to say as much of its perfection as would
+exhaust its merits. If Fate had decreed that Palma should die after this
+work, he would have carried off with him the glory of having surpassed
+all those whom we celebrate as our rarest and most divine intellects;
+but the duration of his life, keeping him at work, brought it about
+that, not maintaining the high beginning that he had made, he came to
+deteriorate as much as most men had thought him destined to improve.
+Finally, content that one or two supreme works should have cleared him
+of some of the censure that the others had brought upon him, he died in
+Venice at the age of forty-eight.
+
+A friend and companion of Palma was Lorenzo Lotto, a painter of Venice,
+who, after imitating for some time the manner of the Bellini, attached
+himself to that of Giorgione, as is shown by many pictures and portraits
+which are in the houses of gentlemen in Venice. In the house of Andrea
+Odoni there is a portrait of him, which is very beautiful, by the hand
+of Lorenzo. And in the house of Tommaso da Empoli, a Florentine, there
+is a picture of the Nativity of Christ, painted as an effect of night,
+which is one of great beauty, particularly because the splendour of
+Christ is seen to illuminate the picture in a marvellous manner; and
+there is the Madonna kneeling, with a portrait of Messer Marco Loredano
+in a full-length figure that is adoring Christ. For the Carmelite Friars
+the same master painted an altar-piece showing S. Nicholas in his
+episcopal robes, poised in the air, with three Angels; below him are S.
+Lucia and S. John, on high some clouds, and beneath these a most
+beautiful landscape, with many little figures and animals in various
+places. On one side is S. George on horseback, slaying the Dragon, and
+at a little distance the Maiden, with a city not far away, and an arm of
+the sea. For the Chapel of S. Antonino, Archbishop of Florence, in SS.
+Giovanni e Paolo, Lorenzo executed an altar-piece containing the
+first-named Saint seated with two priests in attendance, and many people
+below.
+
+[Illustration: THE GLORIFICATION OF S. NICHOLAS
+
+(_After the painting by =Lorenzo Lotto=. Venice: S. Maria del Carmine_)
+
+_Anderson_]
+
+While this painter was still young, imitating partly the manner of the
+Bellini and partly that of Giorgione, he painted an altar-piece, divided
+into six pictures, for the high-altar of S. Domenico at Recanati. In the
+central picture is the Madonna with the Child in her arms, giving the
+habit, by the hands of an Angel, to S. Dominic, who is kneeling before
+the Virgin; and in this picture are also two little boys, one playing on
+a lute and the other on a rebeck. In the second picture are the Popes S.
+Gregory and S. Urban; and in the third is S. Thomas Aquinas, with
+another saint, who was Bishop of Recanati. Above these are the three
+other pictures; and in the centre, above the Madonna, is a Dead Christ,
+supported by an Angel, with His Mother kissing His arm, and S.
+Magdalene. Over the picture of S. Gregory are S. Mary Magdalene and S.
+Vincent; and in the third--namely, above the S. Thomas Aquinas--are S.
+Gismondo and S. Catharine of Siena. In the predella, which is a
+rare work painted with little figures, there is in the centre the
+scene of S. Maria di Loreto being carried by the Angels from the regions
+of Sclavonia to the place where it now stands. Of the two scenes that
+are on either side of this, one shows S. Dominic preaching, the little
+figures being the most graceful in the world, and the other Pope
+Honorius confirming the Rule of S. Dominic. In the middle of this church
+is a figure of S. Vincent, the Friar, executed in fresco by the hand of
+the same master. And in the Church of S. Maria di Castelnuovo there is
+an altar-piece in oils of the Transfiguration of Christ, with three
+scenes painted with little figures in the predella--Christ leading the
+Apostles to Mount Tabor, His Prayer in the Garden, and His Ascension
+into Heaven.
+
+[Illustration: ANDREA ODONI
+
+(_After the painting by =Lorenzo Lotto=. Hampton Court Palace_)
+
+_Mansell_]
+
+After these works Lorenzo went to Ancona, at the very time when Mariano
+da Perugia had finished a panel-picture, with a large ornamental frame,
+for the high-altar of S. Agostino. This did not give much satisfaction;
+and Lorenzo was commissioned to paint a picture, which is placed in the
+middle of the same church, of Our Lady with the Child in her lap, and
+two figures of Angels in the air, in foreshortening, crowning the
+Virgin.
+
+Finally, being now old, and having almost lost his voice, Lorenzo made
+his way, after executing some other works of no great importance at
+Ancona, to the Madonna of Loreto, where he had already painted an
+altar-piece in oils, which is in a chapel at the right hand of the
+entrance into the church. There, having resolved to finish his life in
+the service of the Madonna, and to make that holy house his habitation,
+he set his hand to executing scenes with figures one braccio or less in
+height round the choir, over the seats of the priests. In one scene he
+painted the Birth of Jesus Christ, and in another the Magi adoring Him.
+Next came the Presentation to Simeon, and after that the Baptism of
+Christ by John in the Jordan. There was also the Woman taken in Adultery
+being led before Christ, and all these were executed with much grace.
+Two other scenes, likewise, did he paint there, with an abundance of
+figures; one of David causing a sacrifice to be offered, and in the
+other was the Archangel Michael in combat with Lucifer, after having
+driven him out of Heaven.
+
+These works finished, no long time had passed when, even as he had lived
+like a good citizen and a true Christian, so he died, rendering up his
+soul to God his Master. These last years of his life he found full of
+happiness and serenity of mind, and, what is more, we cannot but believe
+that they gave him the earnest of the blessings of eternal life; which
+might not have happened to him if at the end of his life he had been
+wrapped up too closely in the things of this world, which, pressing too
+heavily on those who put their whole trust in them, prevent them from
+ever raising their minds to the true riches and the supreme blessedness
+and felicity of the other life.
+
+[Illustration: RONDINELLO (NICCOLÒ RONDINELLI): MADONNA AND CHILD
+
+(_Paris: Louvre, 1159. Panel_)]
+
+There also flourished in Romagna at this time the excellent painter
+Rondinello, of whom we made some slight mention in the Life of Giovanni
+Bellini, whose disciple he was, assisting him much in his works. This
+Rondinello, after leaving Giovanni Bellini, laboured at his art to such
+purpose, that, being very diligent, he executed many works worthy of
+praise; of which we have witness in the panel-picture of the high-altar
+in the Duomo at Forlì, showing Christ giving the Communion to the
+Apostles, which he painted there with his own hand, executing it very
+well. In the lunette above this picture he painted a Dead Christ, and in
+the predella some scenes with little figures, finished with great
+diligence, representing the actions of S. Helena, the mother of the
+Emperor Constantine, in the finding of the Cross. He also painted a
+single figure of S. Sebastian, which is very beautiful, in a picture in
+the same church. For the altar of S. Maria Maddalena, in the Duomo of
+Ravenna, he painted a panel-picture in oils containing the single figure
+of that Saint; and below this, in a predella, he executed three scenes
+with very graceful little figures. In one is Christ appearing to Mary
+Magdalene in the form of a gardener, in another S. Peter leaving the
+ship and walking over the water towards Christ, and between them the
+Baptism of Jesus Christ; and all are very beautiful. For S. Giovanni
+Evangelista, in the same city, he painted two panel-pictures, one with
+that Saint consecrating the church, and in the other three martyrs, S.
+Cantius, S. Cantianus, and S. Cantianilla, figures of great beauty. In
+S. Apollinare, also in that city, are two pictures, highly extolled,
+each with a single figure, S. John the Baptist and S. Sebastian.
+And in the Church of the Spirito Santo there is a panel, likewise by his
+hand, containing the Madonna placed between the Virgin Martyr S.
+Catharine and S. Jerome. For S. Francesco, likewise, he painted two
+panel-pictures, one of S. Catharine and S. Francis, and in the other Our
+Lady with S. James the Apostle, S. Francis, and many figures. For S.
+Domenico, in like manner, he executed two other panels, one of which,
+containing the Madonna and many figures, is on the left hand of the
+high-altar, and the other, a work of no little beauty, is on a wall of
+the church. And for the Church of S. Niccolò, a convent of Friars of S.
+Augustine, he painted another panel with S. Laurence and S. Francis. So
+much was he commended for all these works, that during his lifetime he
+was held in great account, not only in Ravenna but throughout all
+Romagna. Rondinello lived to the age of sixty, and was buried in S.
+Francesco at Ravenna.
+
+[Illustration: MADONNA AND CHILD WITH SAINTS
+
+(_After the painting by =Rondinello [Niccolò Rondinelli]=. Ravenna:
+Accademia_)
+
+_Alinari_]
+
+This master left behind him Francesco da Cotignola, a painter likewise
+held in estimation in that city, who painted many works; in particular,
+for the high-altar of the Church of the Abbey of Classi in Ravenna, a
+panel-picture of some size representing the Raising of Lazarus, with
+many figures. There, opposite to that work, in the year 1548, Giorgio
+Vasari executed for Don Romualdo da Verona, Abbot of that place, another
+panel-picture containing the Deposition of Christ from the Cross, with a
+large number of figures. Francesco also painted a panel-picture of the
+Nativity of Christ, which is of great size, for S. Niccolò, and likewise
+two panels, with various figures, for S. Sebastiano. For the Hospital of
+S. Catarina he painted a panel-picture with Our Lady, S. Catharine, and
+many other figures; and for S. Agata he painted a panel with Christ
+Crucified, the Madonna at the foot of the Cross, and a good number of
+other figures, for which he won praise. And for S. Apollinare, in the
+same city, he executed three panel-pictures; one for the high-altar,
+containing the Madonna, S. John the Baptist, and S. Apollinare, with S.
+Jerome and other saints; another likewise of the Madonna, with S. Peter
+and S. Catharine; and in the third and last Jesus Christ bearing His
+Cross, but this he was not able to finish, being overtaken by death.
+
+Francesco was a very pleasing colourist, but not so good a draughtsman
+as Rondinello; yet he was held in no small estimation by the people of
+Ravenna. He chose to be buried after his death in S. Apollinare, for
+which he had painted the said figures, being content that his remains,
+when he was dead, should lie at rest in the place for which he had
+laboured when alive.
+
+[Illustration: THE ADORATION OF THE SHEPHERDS
+
+(_After the panel by =Francesco da Cotignola=. Ravenna: Accademia_)
+
+_Alinari_]
+
+
+
+
+INDEX OF NAMES
+
+OF THE CRAFTSMEN MENTIONED IN VOLUME V
+
+
+    Agnolo, Andrea d' (Andrea del Sarto), _Life_, 85-120. 164, 194,
+      217-221, 231
+
+    Agnolo, Baccio d' (Baccio Baglioni), 91, 98, 102
+
+    Agnolo Bronzino, 127, 163
+
+    Agnolo di Cristofano, 223
+
+    Agnolo di Donnino, 38
+
+    Agostino Busto (Il Bambaja), 42, 43
+
+    Agostino Viniziano, 97
+
+    Aimo, Domenico (Bologna), 28
+
+    Albertinelli, Mariotto, 86, 212, 217
+
+    Albertino, Francesco d' (Francesco Ubertini, or Il Bacchiacca), 222
+
+    Alberto, Antonio, 13
+
+    Albrecht Dürer, 96
+
+    Alessandro Allori, 127
+
+    Alessandro Vittoria, 247
+
+    Alesso Baldovinetti, 88, 92
+
+    Alfonso Lombardi, _Life_, 131-136. 210
+
+    Allori, Alessandro, 127
+
+    Amalteo, Pomponio, 154, 155
+
+    Amico Aspertini, _Life_, 209-211. 125, 207-211
+
+    Andrea Contucci (Andrea Sansovino, or Andrea dal Monte Sansovino),
+      _Life_, 21-31. 43, 88
+
+    Andrea d' Agnolo (Andrea del Sarto), _Life_, 85-120. 164, 194,
+      217-221, 231
+
+    Andrea da Fiesole (Andrea Ferrucci), _Life_, 3-8. 11
+
+    Andrea dal Castagno (Andrea degli Impiccati), 116
+
+    Andrea dal Monte Sansovino (Andrea Sansovino, or Andrea Contucci),
+      _Life_, 21-31. 43, 88
+
+    Andrea degli Impiccati (Andrea dal Castagno), 116
+
+    Andrea del Sarto (Andrea d' Agnolo), _Life_, 85-120. 164, 194,
+      217-221, 231
+
+    Andrea della Robbia, 90
+
+    Andrea di Cosimo Feltrini, _Life_, 229-233. 221, 228
+
+    Andrea Ferrucci (Andrea da Fiesole), _Life_, 3-8. 11
+
+    Andrea Sansovino (Andrea Contucci, or Andrea dal Monte Sansovino),
+      _Life_, 21-31. 43, 88
+
+    Andrea Sguazzella, 100, 118
+
+    Andrea Verrocchio, 49, 50, 55
+
+    Anguisciuola, Sofonisba, 127, 128
+
+    Antonio Alberto, 13
+
+    Antonio da Carrara, 8
+
+    Antonio da San Gallo (the elder), 97
+
+    Antonio da San Gallo (the younger), 29, 43, 58, 72
+
+    Antonio da Trento (Antonio Fantuzzi), 249, 250
+
+    Antonio del Rozzo (Antonio del Tozzo), 73
+
+    Antonio di Donnino Mazzieri, 223
+
+    Antonio di Giorgio Marchissi, 4
+
+    Antonio di Giovanni (Solosmeo), 118
+
+    Antonio Fantuzzi (Antonio da Trento), 249, 250
+
+    Antonio Floriani, 148, 149
+
+    Antonio Mini, 165
+
+    Antonio Pollaiuolo, 21
+
+    Apelles, 14
+
+    Aretusi, Pellegrino degli (Pellegrino da Modena, or Pellegrino de'
+      Munari), _Life_, 80-81. 176
+
+    Aristotele (Sebastiano) da San Gallo, 97
+
+    Aspertini, Amico, _Life_, 209-211. 125, 207-211
+
+
+    Bacchiacca, Il (Francesco Ubertini, or Francesco d' Albertino), 222
+
+    Baccio Baglioni (Baccio d' Agnolo), 91, 98, 102
+
+    Baccio Bandinelli, 5, 27, 36, 57, 96-98, 135
+
+    Baccio d' Agnolo (Baccio Baglioni), 91, 98, 102
+
+    Baccio da Montelupo, _Life_, 41-45. 97
+
+    Baccio della Porta (Fra Bartolommeo di San Marco), 159, 160, 194
+
+    Baglioni, Baccio (Baccio d' Agnolo), 91, 98, 102
+
+    Bagnacavallo, Bartolommeo da (Bartolommeo Ramenghi), _Life_, 207-209
+
+    Bagnacavallo, Giovan Battista da, 201
+
+    Baldassarre Peruzzi, _Life_, 63-74. 57, 63-74, 136, 170, 176, 208
+
+    Baldovinetti, Alesso, 88, 92
+
+    Bambaja, Il (Agostino Busto), 42, 43
+
+    Bandinelli, Baccio, 5, 27, 36, 57, 96-98, 135
+
+    Barbieri, Domenico del, 201
+
+    Barile, Gian (of Florence), 86
+
+    Bartolommeo da Bagnacavallo (Bartolommeo Ramenghi), _Life_, 207-209
+
+    Bartolommeo di San Marco, Fra (Baccio della Porta), 159, 160, 194
+
+    Bartolommeo Miniati, 201
+
+    Bartolommeo Neroni (Riccio), 73
+
+    Bartolommeo Ramenghi (Bartolommeo da Bagnacavallo), _Life_, 207-209
+
+    Bastianello Florigorio (Sebastiano Florigerio), 148
+
+    Battista, Martino di (Pellegrino da San Daniele, or Martino da
+      Udine), 145-150
+
+    Battista Dossi, _Life_, 139-141
+
+    Battistino, 193, 194
+
+    Baviera, 194
+
+    Bazzi, Giovanni Antonio (Sodoma), 73
+
+    Beccafumi, Domenico (Domenico di Pace), 74, 153, 163
+
+    Belli, Valerio de' (Valerio Vicentino), 247
+
+    Bellini family, 262
+
+    Bellini, Giovanni, 145, 146, 260, 264
+
+    Bembo, Giovan Francesco (Giovan Francesco Vetraio), 180
+
+    Benedetto, 165
+
+    Benedetto da Ferrara (Benedetto Coda), 211, 212
+
+    Benedetto da Maiano, 5
+
+    Benedetto da Rovezzano, _Life_, 35-38
+
+    Benedetto Spadari, 195, 196
+
+    Benvenuto Cellini, 135
+
+    Bernardino del Lupino (Bernardino Luini), 60
+
+    Bernardino Pinturicchio, 227
+
+    Bernardo da Vercelli, 151
+
+    Bernardo del Buda (Bernardo Rosselli), 116
+
+    Bernazzano, Cesare, 141
+
+    Biagio, Raffaello di, 231, 232
+
+    Biagio Bolognese (Biagio Pupini), 208, 211
+
+    Bicci, Lorenzo di, 5
+
+    Boccaccino, Boccaccio, _Life_, 58-60
+
+    Boccaccino, Camillo, 59, 60
+
+    Boccalino, Giovanni (Giovanni Ribaldi), 29
+
+    Bologna (Domenico Aimo), 28
+
+    Bolognese, Biagio (Biagio Pupini), 208, 211
+
+    Borgo, Raffaello dal (Raffaello dal Colle), 140, 195, 196
+
+    Borgo, Santi Titi dal, 160
+
+    Boscoli, Maso, 6
+
+    Bramante da Urbino, 26, 28, 29, 65, 68, 69
+
+    Bronzino, Agnolo, 127, 163
+
+    Buda, Bernardo del (Bernardo Rosselli), 116
+
+    Buonaccorsi, Perino (Perino del Vaga), 7, 77-79, 153, 162
+
+    Buonarroti, Michelagnolo, 5, 6, 23, 43-45, 58, 86, 111, 117, 128,
+      135, 165, 190, 194, 228, 245, 247, 261
+
+    Busto, Agostino (Il Bambaja), 42, 43
+
+
+    Caccianimici, Francesco, 201
+
+    Caccianimici, Vincenzio, 255, 256
+
+    Cadore, Tiziano da (Tiziano Vecelli), 66, 133, 134, 152, 153
+
+    Calavrese, Marco (Marco Cardisco), _Life_, 237-239
+
+    Caldara, Polidoro (Polidoro da Caravaggio), _Life_, 175-185
+
+    Calzolaio, Sandrino del, 161, 165
+
+    Camillo Boccaccino, 59, 60
+
+    Capanna (of Siena), 74
+
+    Caraglio, Giovanni Jacopo, 194
+
+    Caravaggio, Polidoro da (Polidoro Caldara), _Life_, 175-185
+
+    Cardisco, Marco (Marco Calavrese), _Life_, 237-239
+
+    Carpi, Girolamo da (Girolamo da Ferrara), 154
+
+    Carrara, Antonio da, 8
+
+    Carrara, Danese da (Danese Cattaneo), 135
+
+    Carrucci, Jacopo (Jacopo da Pontormo), 93, 98, 104, 118, 135, 190,
+      221, 222, 231, 232
+
+    Castagno, Andrea dal (Andrea degli Impiccati), 116
+
+    Castelfranco, Giorgione da, 149, 228, 262
+
+    Castellani, Leonardo, 238
+
+    Castrocaro, Gian Jacopo da, 50
+
+    Cattaneo, Danese (Danese da Carrara), 135
+
+    Cellini, Benvenuto, 135
+
+    Cesare Bernazzano, 141
+
+    Cesare da Sesto (Cesare da Milano), 65, 141
+
+    Cicilia, Il, 8
+
+    Cimabue, Giovanni, 177
+
+    Cioli, Simone, 30
+
+    Claudio of Paris, 201
+
+    Coda, Benedetto (Benedetto da Ferrara), 211, 212
+
+    Cola dalla Matrice (Niccola Filotesio), 238, 239
+
+    Colle, Raffaello dal (Raffaello dal Borgo), 140, 195, 196
+
+    Conte, Jacopo del, 119
+
+    Conti, Domenico, 115, 119
+
+    Contucci, Andrea (Andrea Sansovino, or Andrea dal Monte Sansovino),
+      _Life_, 21-31. 43, 88
+
+    Cosimo, Piero di, 86
+
+    Cosimo Rosselli, 88, 229
+
+    Cosimo, Silvio, 6-8
+
+    Cotignola, Francesco da (Francesco de' Zaganelli), _Life_, 265-266
+
+    Cotignola, Girolamo da (Girolamo Marchesi), _Life_, 211-212. 207
+
+    Credi, Lorenzo di, _Life_, 49-52. 159
+
+    Credi, Maestro, 49
+
+    Crescione, Giovan Filippo, 238
+
+    Cristofano, Agnolo di, 223
+
+    Cronaca, Il (Simone del Pollaiuolo), 22
+
+    Cuticello (Giovanni Antonio Licinio, or Pordenone), _Life_, 145-155
+
+
+    Danese da Carrara (Danese Cattaneo), 135
+
+    Della Robbia family, 22
+
+    Domenico Aimo (Bologna), 28
+
+    Domenico Beccafumi (Domenico di Pace), 74, 153, 163
+
+    Domenico Conti, 115, 119
+
+    Domenico dal Monte Sansovino, 30
+
+    Domenico del Barbieri, 201
+
+    Domenico di Pace (Domenico Beccafumi), 74, 153, 163
+
+    Domenico di Paris, 195
+
+    Domenico di Polo, 135
+
+    Domenico Puligo, 109
+
+    Donato (Donatello), 23
+
+    Donnino, Agnolo di, 38
+
+    Dossi, Battista, _Life_, 139-141
+
+    Dossi, Dosso, _Life_, 139-141
+
+    Dürer, Albrecht, 96
+
+
+    Fagiuoli, Girolamo, 250
+
+    Fantuzzi, Antonio (Antonio da Trento), 249, 250
+
+    Fattore, Il (Giovan Francesco Penni), _Life_, 77-80. 201
+
+    Feltrini, Andrea di Cosimo, _Life_, 229-233. 221, 228
+
+    Feltro, Morto da, _Life_, 227-229. 230
+
+    Ferrara, Benedetto da (Benedetto Coda), 211, 212
+
+    Ferrara, Girolamo da (Girolamo da Carpi), 154
+
+    Ferrari, Gaudenzio, 81
+
+    Ferrucci, Andrea (Andrea da Fiesole), _Life_, 3-8. 11
+
+    Ferrucci, Francesco di Simone, 3
+
+    Fiesole, Andrea da (Andrea Ferrucci), _Life_, 3-8. 11
+
+    Filippo Lippi (Filippino), 87
+
+    Filotesio, Niccola (Cola dalla Matrice), 238, 239
+
+    Floriani, Antonio, 148, 149
+
+    Floriani, Francesco, 148, 149
+
+    Florigorio, Bastianello (Sebastiano Florigerio), 148
+
+    Fontana, Prospero, 213
+
+    Fra Bartolommeo di San Marco (Baccio della Porta), 159, 160, 194
+
+    Fra Sebastiano Viniziano del Piombo, 66
+
+    Francesco, Mariotto di, 231-233
+
+    Francesco Caccianimici, 201
+
+    Francesco d' Albertino (Francesco Ubertini, or Il Bacchiacca), 222
+
+    Francesco da Cotignola (Francesco de' Zaganelli), _Life_, 265-266
+
+    Francesco da San Gallo, 27
+
+    Francesco da Siena, 71, 73
+
+    Francesco de' Rossi (Francesco Salviati), 119
+
+    Francesco de' Zaganelli (Francesco da Cotignola), _Life_, 265-266
+
+    Francesco di Girolamo dal Prato, 135
+
+    Francesco di Mirozzo (Melozzo), 140
+
+    Francesco di Simone Ferrucci, 3
+
+    Francesco Floriani, 148, 149
+
+    Francesco Granacci (Il Granaccio), 97, 98, 231
+
+    Francesco Mazzuoli (Parmigiano), _Life_, 243-256
+
+    Francesco of Orleans, 201
+
+    Francesco Primaticcio, 200, 201, 203
+
+    Francesco Salviati (Francesco de' Rossi), 119
+
+    Francesco Ubertini (Francesco d' Albertino, or Il Bacchiacca), 222
+
+    Franciabigio (Francia), _Life_, 217-223. 86-89, 91, 93, 101, 103,
+      104, 217-223, 231, 232
+
+    Francucci, Innocenzio (Innocenzio da Imola), _Life_, 212-213. 207, 209
+
+
+    Gaudenzio Ferrari, 81
+
+    Genga, Girolamo, 15, 16, 140
+
+    Gensio Liberale, 149
+
+    Ghirlandajo, Michele di Ridolfo, 165
+
+    Ghirlandajo, Ridolfo, 220, 231
+
+    Gian Barile (of Florence), 86
+
+    Gian Jacopo da Castrocaro, 50
+
+    Giannuzzi, Giulio Pippi de' (Giulio Romano), 55, 77-79, 108, 109, 195
+
+    Giorgio Vasari. See Vasari (Giorgio)
+
+    Giorgione da Castelfranco, 149, 228, 262
+
+    Giotto, 21
+
+    Giovan Battista da Bagnacavallo, 201
+
+    Giovan Battista de' Rossi (Il Rosso), _Life_, 189-203. 97
+
+    Giovan Battista Grassi, 148
+
+    Giovan Battista Peloro, 73
+
+    Giovan Filippo Crescione, 238
+
+    Giovan Francesco Bembo (Giovan Francesco Vetraio), 180
+
+    Giovan Francesco Penni (Il Fattore), _Life_, 77-80. 201
+
+    Giovan Francesco Vetraio (Giovan Francesco Bembo), 180
+
+    Giovanni, Antonio di (Solosmeo), 118
+
+    Giovanni Antonio Bazzi (Sodoma), 73
+
+    Giovanni Antonio Lappoli, 196-198
+
+    Giovanni Antonio Licinio (Cuticello, or Pordenone), _Life_, 145-155
+
+    Giovanni Antonio Sogliani, _Life_, 159-166. 51
+
+    Giovanni Bellini, 145, 146, 260, 264
+
+    Giovanni Boccalino (Giovanni Ribaldi), 29
+
+    Giovanni Cimabue, 177
+
+    Giovanni da Nola, 137-139
+
+    Giovanni da Udine (Giovanni Martini), 145-147
+
+    Giovanni da Udine (Giovanni Nanni, or Giovanni Ricamatori), 77, 155,
+      175, 229, 238, 246
+
+    Giovanni Jacopo Caraglio, 194
+
+    Giovanni Mangone, 5
+
+    Giovanni Mansueti, 260
+
+    Giovanni Martini (Giovanni da Udine), 145-147
+
+    Giovanni Nanni (Giovanni da Udine, or Giovanni Ricamatori), 77, 155,
+      175, 229, 238, 246
+
+    Giovanni Ribaldi (Giovanni Boccalino), 29
+
+    Giovanni Ricamatori (Giovanni da Udine, or Giovanni Nanni), 77, 155,
+      175, 229, 238, 246
+
+    Girolamo, 60
+
+    Girolamo da Carpi (Girolamo da Ferrara), 154
+
+    Girolamo da Cotignola (Girolamo Marchesi), _Life_, 211-212. 207
+
+    Girolamo da Ferrara (Girolamo da Carpi), 154
+
+    Girolamo da Treviso (Girolamo Trevigi), _Life_, 169-171. 68
+
+    Girolamo della Robbia, 90
+
+    Girolamo Fagiuoli, 250
+
+    Girolamo Genga, 15, 16, 140
+
+    Girolamo Lombardo, 24, 28-30
+
+    Girolamo Marchesi (Girolamo da Cotignola), _Life_, 211-212. 207
+
+    Girolamo Mazzuoli, 244, 245, 254, 255
+
+    Girolamo Santa Croce, _Life_, 137-138
+
+    Girolamo Trevigi (Girolamo da Treviso), _Life_, 169-171. 68
+
+    Giuliano da San Gallo, 97
+
+    Giuliano del Tasso, 97
+
+    Giuliano (di Niccolò Morelli), Maestro, 73
+
+    Giulio Romano (Giulio Pippi de' Giannuzzi), 55, 77-79, 108, 109, 195
+
+    Granacci, Francesco (Il Granaccio), 97, 98, 231
+
+    Grassi, Giovan Battista, 148
+
+    Guazzetto, Il (Lorenzo Naldino), 201
+
+
+    Il Bacchiacca (Francesco Ubertini, or Francesco d' Albertino), 222
+
+    Il Bambaja (Agostino Busto), 42, 43
+
+    Il Cicilia, 8
+
+    Il Cronaca (Simone del Pollaiuolo), 22
+
+    Il Fattore (Giovan Francesco Penni), _Life_, 77-80. 201
+
+    Il Granaccio (Francesco Granacci), 97, 98, 231
+
+    Il Guazzetto (Lorenzo Naldino), 201
+
+    Il Pistoia (Leonardo), 79, 80
+
+    Il Rosso (Giovan Battista de' Rossi), _Life_, 189-203. 97
+
+    Imola, Innocenzio da (Innocenzio Francucci), _Life_, 212-213. 207, 209
+
+    Impiccati, Andrea degli (Andrea dal Castagno), 116
+
+    Innocenzio da Imola (Innocenzio Francucci), _Life_, 212-213. 207, 209
+
+
+    Jacomo Melighino, 72, 73
+
+    Jacone (Jacopo), 119
+
+    Jacopo da Pontormo (Jacopo Carrucci), 93, 98, 104, 118, 135, 190,
+      221, 222, 231, 232
+
+    Jacopo del Conte, 119
+
+    Jacopo di Sandro, 97
+
+    Jacopo Palma (Palma Vecchio), _Life_, 259-261
+
+    Jacopo Sansovino, 5, 31, 35, 36, 80, 88, 92, 93, 97, 98, 180, 218,
+      231, 247
+
+
+    Lappoli, Giovanni Antonio, 196-198
+
+    Lattanzio Pagani, 212
+
+    Leonardo (Il Pistoia), 79, 80
+
+    Leonardo Castellani, 238
+
+    Leonardo da Vinci, 49, 50, 86, 228, 261
+
+    Leonardo del Tasso, 31
+
+    Leonardo the Fleming, 201
+
+    Liberale, Gensio, 149
+
+    Licinio, Giovanni Antonio (Cuticello, or Pordenone), _Life_, 145-155
+
+    Lippi, Filippo (Filippino), 87
+
+    Lombardi, Alfonso, _Life_, 131-136. 210
+
+    Lombardo, Girolamo, 24, 28-30
+
+    Lorenzetto (Lorenzo) Lotti, _Life_, 55-58
+
+    Lorenzo di Bicci, 5
+
+    Lorenzo di Credi, _Life_, 49-52. 159
+
+    Lorenzo Lotto, _Life_, 261-264
+
+    Lorenzo Naldino (Il Guazzetto), 201
+
+    Lorenzo of Picardy, 201
+
+    Lotti, Lorenzetto (Lorenzo), _Life_, 55-58
+
+    Lotto, Lorenzo, _Life_, 261-264
+
+    Luca della Robbia (the younger), 90
+
+    Luca Monverde, 147
+
+    Luca Penni, 79, 201
+
+    Lucrezia, Madonna, 127
+
+    Luini, Bernardino (Bernardino del Lupino), 60
+
+    Lunetti, Stefano (Stefano of Florence), 51
+
+    Lunetti, Tommaso di Stefano, 51, 52, 164, 231
+
+    Lupino, Bernardino del (Bernardino Luini), 60
+
+
+    Madonna Lucrezia, 127
+
+    Madonna Properzia de' Rossi, _Life_, 123-128
+
+    Maestro Credi, 49
+
+    Maestro Giuliano (di Niccolò Morelli), 73
+
+    Maiano, Benedetto da, 5
+
+    Maini (Marini), Michele, 3, 4
+
+    Mangone, Giovanni, 5
+
+    Mansueti, Giovanni, 260
+
+    Marchesi, Girolamo (Girolamo da Cotignola), _Life_, 211-212. 207
+
+    Marchissi, Antonio di Giorgio, 4
+
+    Marco Calavrese (Marco Cardisco), _Life_, 237-239
+
+    Mariano da Perugia, 263
+
+    Marini (Maini), Michele, 3, 4
+
+    Mariotto Albertinelli, 86, 212, 217
+
+    Mariotto di Francesco, 231-233
+
+    Martini, Giovanni (Giovanni da Udine), 145-147
+
+    Martino da Udine (Pellegrino da San Daniele, or Martino di
+      Battista), 145-150
+
+    Maso Boscoli, 6
+
+    Matrice, Cola dalla (Niccola Filotesio), 238, 239
+
+    Maturino, _Life_, 175-185
+
+    Mazzieri, Antonio di Donnino, 223
+
+    Mazzuoli, Francesco (Parmigiano), _Life_, 243-256
+
+    Mazzuoli, Girolamo, 244, 245, 254, 255
+
+    Melighino, Jacomo, 72, 73
+
+    Michelagnolo Buonarroti, 5, 6, 23, 43-45, 58, 86, 111, 117, 128,
+      135, 165, 190, 194, 228, 245, 247, 261
+
+    Michelagnolo da Siena, _Life_, 136-137. 69
+
+    Michele di Ridolfo Ghirlandajo, 165
+
+    Michele Maini (Marini), 3, 4
+
+    Milano, Cesare da (Cesare da Sesto), 65, 141
+
+    Mini, Antonio, 165
+
+    Miniati, Bartolommeo, 201
+
+    Mirozzo (Melozzo), Francesco di, 140
+
+    Modena, Pellegrino da (Pellegrino degli Aretusi, or Pellegrino de'
+      Munari), _Life_, 80-81. 176
+
+    Monte Sansovino, Andrea dal (Andrea Contucci, or Andrea Sansovino),
+      _Life_, 21-31. 43, 88
+
+    Monte Sansovino, Domenico dal, 30
+
+    Montelupo, Baccio da, _Life_, 41-45. 97
+
+    Montelupo, Raffaello da, _Life_, 41-45. 27, 119
+
+    Monverde, Luca, 147
+
+    Morelli, Maestro Giuliano di Niccolò, 73
+
+    Morto da Feltro, _Life_, 227-229. 230
+
+    Mosca, Simone, 44
+
+    Munari, Pellegrino de' (Pellegrino da Modena, or Pellegrino degli
+      Aretusi), _Life_, 80-81. 176
+
+
+    Naldino, Lorenzo (Il Guazzetto), 201
+
+    Nanni, Giovanni (Giovanni da Udine, or Giovanni Ricamatori), 77,
+      155, 175, 229, 238, 246
+
+    Nannoccio, 119
+
+    Neroni, Bartolommeo (Riccio), 73
+
+    Niccola Filotesio (Cola dalla Matrice), 238, 239
+
+    Niccolò (called Tribolo), 6, 28, 136, 233
+
+    Niccolò Rondinello (Rondinello da Ravenna), _Life_, 264-265. 266
+
+    Niccolò Soggi, 109, 110, 196
+
+    Nola, Giovanni da, 137-139
+
+
+    Pace, Domenico di (Domenico Beccafumi), 74, 153, 163
+
+    Pagani, Lattanzio, 212
+
+    Palma, Jacopo (Palma Vecchio), _Life_, 259-261
+
+    Paolo Romano, 57
+
+    Paris, Domenico di, 195
+
+    Parmigiano (Francesco Mazzuoli), _Life_, 243-256
+
+    Pellegrino da Modena (Pellegrino degli Aretusi, or Pellegrino de'
+      Munari), _Life_, 80-81. 176
+
+    Pellegrino da San Daniele (Martino da Udine, or Martino di
+      Battista), 145-150
+
+    Peloro, Giovan Battista, 73
+
+    Penni, Giovan Francesco (Il Fattore), _Life_, 77-80. 201
+
+    Penni, Luca, 79, 201
+
+    Perino del Vaga (Perino Buonaccorsi), 7, 77-79, 153, 162
+
+    Perugia, Mariano da, 263
+
+    Perugino, Pietro (Pietro Vannucci), 49, 50, 87, 230
+
+    Peruzzi, Baldassarre, _Life_, 63-74. 57, 63-74, 136, 170, 176, 208
+
+    Pier Francesco di Jacopo di Sandro, 118, 119
+
+    Piero da Volterra, 64
+
+    Piero di Cosimo, 86
+
+    Pietrasanta, Stagio da, 162
+
+    Pietro Perugino (Pietro Vannucci), 49, 50, 87, 230
+
+    Pinturicchio, Bernardino, 227
+
+    Piombo, Fra Sebastiano Viniziano del, 66
+
+    Pistoia, Il (Leonardo), 79, 80
+
+    Plautilla, 126
+
+    Poggini, Zanobi, 106
+
+    Poggino, Zanobi di, 165
+
+    Polidoro da Caravaggio (Polidoro Caldara), _Life_, 175-185
+
+    Pollaiuolo, Antonio, 21
+
+    Pollaiuolo, Simone del (Il Cronaca), 22
+
+    Polo, Domenico di, 135
+
+    Pomponio Amalteo, 154, 155
+
+    Pontormo, Jacopo da (Jacopo Carrucci), 93, 98, 104, 118, 135, 190,
+      221, 222, 231, 232
+
+    Pordenone (Giovanni Antonio Licinio, or Cuticello), _Life_, 145-155
+
+    Porta, Baccio della (Fra Bartolommeo di San Marco), 159, 160, 194
+
+    Prato, Francesco di Girolamo dal, 135
+
+    Primaticcio, Francesco, 200, 201, 203
+
+    Properzia de' Rossi, Madonna, _Life_, 123-128
+
+    Prospero Fontana, 213
+
+    Puligo, Domenico, 109
+
+    Pupini, Biagio (Biagio Bolognese), 208, 211
+
+
+    Raffaello da Montelupo, _Life_, 41-45. 27, 119
+
+    Raffaello da Urbino (Raffaello Sanzio), 11-15, 55, 56, 66, 72, 77-81,
+      107-109, 117, 126, 169, 175, 191, 194, 201, 207, 208, 213, 222,
+      245, 247
+
+    Raffaello dal Colle (Raffaello dal Borgo), 140, 195, 196
+
+    Raffaello di Biagio, 231, 232
+
+    Raffaello Sanzio (Raffaello da Urbino), 11-15, 55, 56, 66, 72, 77-81,
+      107-109, 117, 126, 169, 175, 191, 194, 201, 207, 208, 213, 222,
+      245, 247
+
+    Ramenghi, Bartolommeo (Bartolommeo da Bagnacavallo), _Life_, 207-209
+
+    Ravenna, Rondinello da (Niccolò Rondinello), _Life_, 264-265. 266
+
+    Ribaldi, Giovanni (Giovanni Boccalino), 29
+
+    Ricamatori, Giovanni (Giovanni Nanni, or Giovanni da Udine), 77,
+      155, 175, 229, 238, 246
+
+    Riccio (Bartolommeo Neroni), 73
+
+    Ridolfo Ghirlandajo, 220, 231
+
+    Robbia, Andrea della, 90
+
+    Robbia, Girolamo della, 90
+
+    Robbia, Luca della (the younger), 90
+
+    Romano, Giulio (Giulio Pippi de' Giannuzzi), 55, 77-79, 108, 109, 195
+
+    Romano, Paolo, 57
+
+    Romano, Virgilio, 73
+
+    Rondinello, Niccolò (Rondinello da Ravenna), _Life_, 264-265. 266
+
+    Rosselli, Bernardo (Bernardo del Buda), 116
+
+    Rosselli, Cosimo, 88, 229
+
+    Rossi, Francesco de' (Francesco Salviati), 119
+
+    Rossi, Giovan Battista de' (Il Rosso), _Life_, 189-203. 97
+
+    Rossi, Madonna Properzia de', _Life_, 123-128
+
+    Rosso, Il (Giovan Battista de' Rossi), _Life_, 189-203. 97
+
+    Rovezzano, Benedetto da, _Life_, 35-38
+
+    Rozzo, Antonio del (Antonio del Tozzo), 73
+
+
+    Salviati, Francesco (Francesco de' Rossi), 119
+
+    San Daniele, Pellegrino da (Martino da Udine, or Martino di
+      Battista), 145-150
+
+    San Gallo, Antonio da (the elder), 97
+
+    San Gallo, Antonio da (the younger), 29, 43, 58, 72
+
+    San Gallo, Francesco da, 27
+
+    San Gallo, Giuliano da, 97
+
+    San Gallo, Sebastiano (Aristotele) da, 97
+
+    San Gimignano, Vincenzio da (Vincenzio Tamagni), _Life_, 11-17
+
+    San Marco, Fra Bartolommeo di (Baccio della Porta), 159, 160, 194
+
+    Sandrino del Calzolaio, 161, 165
+
+    Sandro, Jacopo di, 97
+
+    Sandro, Pier Francesco di Jacopo di, 118, 119
+
+    Sansovino, Andrea (Andrea dal Monte Sansovino, or Andrea Contucci),
+      _Life_, 21-31. 43, 88
+
+    Sansovino, Jacopo, 5, 31, 35, 36, 80, 88, 92, 93, 97, 98, 180, 218,
+      231, 247
+
+    Santa Croce, Girolamo, _Life_, 137-138
+
+    Santi Titi dal Borgo, 160
+
+    Sanzio, Raffaello (Raffaello da Urbino), 11-15, 55, 56, 66, 72,
+      77-81, 107-109, 117, 126, 169, 175, 191, 194, 201, 207, 208,
+      213, 222, 245, 247
+
+    Sarto, Andrea del (Andrea d' Agnolo), _Life_, 85-120. 164, 194,
+      217-221, 231
+
+    Schizzone, 12
+
+    Sebastiano (Aristotele) da San Gallo, 97
+
+    Sebastiano Florigerio (Bastianello Florigorio), 148
+
+    Sebastiano Serlio, 72
+
+    Sebastiano Viniziano del Piombo, Fra, 66
+
+    Serlio, Sebastiano, 72
+
+    Sesto, Cesare da (Cesare da Milano), 65, 141
+
+    Sguazzella, Andrea, 100, 118
+
+    Siena, Francesco da, 71, 73
+
+    Siena, Michelagnolo da, _Life_, 136-137. 69
+
+    Silvio Cosini, 6-8
+
+    Simone Cioli, 30
+
+    Simone del Pollaiuolo (Il Cronaca), 22
+
+    Simone Mosca, 44
+
+    Simone of Paris, 201
+
+    Sodoma (Giovanni Antonio Bazzi), 73
+
+    Sofonisba Anguisciuola, 127, 128
+
+    Soggi, Niccolò, 109, 110, 196
+
+    Sogliani, Giovanni Antonio, _Life_, 159-166. 51
+
+    Solosmeo (Antonio di Giovanni), 118
+
+    Spadari, Benedetto, 195, 196
+
+    Stagio da Pietrasanta, 162
+
+    Stefano Lunetti (Stefano of Florence), 51
+
+
+    Tamagni, Vincenzio (Vincenzio da San Gimignano), _Life_, 11-17
+
+    Tasso, Giuliano del, 97
+
+    Tasso, Leonardo del, 31
+
+    Timoteo da Urbino (Timoteo della Vite), _Life_, 11-17
+
+    Titi dal Borgo, Santi, 160
+
+    Tiziano da Cadore (Tiziano Vecelli), 66, 133, 134, 152, 153
+
+    Tommaso di Stefano Lunetti, 51, 52, 164, 231
+
+    Tozzo, Antonio del (Antonio del Rozzo), 73
+
+    Trento, Antonio da (Antonio Fantuzzi), 249, 250
+
+    Treviso, Girolamo da (Girolamo Trevigi), _Life_, 169-171. 68
+
+    Tribolo (Niccolò), 6, 28, 136, 233
+
+
+    Ubertini, Francesco (Francesco d' Albertino, or Il Bacchiacca), 222
+
+    Udine, Giovanni da (Giovanni Martini), 145-147
+
+    Udine, Giovanni da (Giovanni Nanni, or Giovanni Ricamatori), 77, 155,
+      175, 229, 238, 246
+
+    Udine, Martino da (Pellegrino da San Daniele, or Martino di Battista),
+      145-150
+
+    Urbino, Bramante da, 26, 28, 29, 65, 68, 69
+
+    Urbino, Raffaello da (Raffaello Sanzio), 11-15, 55, 56, 66, 72, 77-81,
+      107-109, 117, 126, 169, 175, 191, 194, 201, 207, 208, 213, 222,
+      245, 247
+
+    Urbino, Timoteo da (Timoteo della Vite), _Life_, 11-17
+
+
+    Vaga, Perino del (Perino Buonaccorsi), 7, 77-79, 153, 162
+
+    Valerio Vicentino (Valerio de' Belli), 247
+
+    Vannucci, Pietro (Pietro Perugino), 49, 50, 87, 230
+
+    Vasari, Giorgio--
+      as art-collector, 17, 22, 24, 38, 45, 49, 74, 77, 79, 104, 118,
+        126, 128, 165, 196, 197, 201, 209, 213, 219, 250-252, 256
+      as author, 3-5, 7, 11, 12, 17, 22, 24, 26, 28, 30, 35, 45, 63,
+        66, 69, 73, 91, 96, 98, 108, 112, 114, 120, 126, 128, 132,
+        134, 135, 139, 145, 146, 148, 155, 177, 182, 185, 192, 194,
+        199, 201, 210-213, 223, 230, 232, 238, 247, 250, 251, 253-255,
+        259, 260, 264
+      as painter, 36, 80, 119, 135, 163, 232, 233, 265
+      as architect, 233, 250, 251
+
+    Vecchio, Palma (Jacopo Palma), _Life_, 259-261
+
+    Vecelli, Tiziano (Tiziano da Cadore), 66, 133, 134, 152, 153
+
+    Vercelli, Bernardo da, 151
+
+    Verrocchio, Andrea, 49, 50, 55
+
+    Vetraio, Giovan Francesco (Giovan Francesco Bembo), 180
+
+    Vicentino, Valerio (Valerio de' Belli), 247
+
+    Vincenzio Caccianimici, 255, 256
+
+    Vincenzio da San Gimignano (Vincenzio Tamagni), _Life_, 11-17
+
+    Vincenzio Tamagni (Vincenzio da San Gimignano), _Life_, 11-17
+
+    Vinci, Leonardo da, 49, 50, 86, 228, 261
+
+    Viniziano, Agostino, 97
+
+    Virgilio Romano, 73
+
+    Visino, 223
+
+    Vite, Timoteo della (Timoteo da Urbino), _Life_, 11-17
+
+    Vitruvius, 68, 71
+
+    Vittoria, Alessandro, 247
+
+    Volterra, Piero da, 64
+
+    Volterra, Zaccaria da, 45, 132
+
+
+    Zaccaria da Volterra, 45, 132
+
+    Zaganelli, Francesco de' (Francesco da Cotignola), _Life_, 265-266
+
+    Zanobi di Poggino, 165
+
+    Zanobi Poggini, 106
+
+
+END OF VOL. V.
+
+
+  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
+
+
+
+
+
+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 ***
+
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+<!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 &amp; Architects,
+        Volume V.  by Georgio Vasari.
+    </title>
+    <style type="text/css">
+<!--
+p {  margin-top: .75em;
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+
+
+<pre>
+
+The Project Gutenberg EBook of Lives of the Most Eminent Painters
+Sculptors and Architects, by Giorgio Vasari
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Lives of the Most Eminent Painters Sculptors and Architects
+       Vol. 05 ( of 10) Andrea da Fiesole to Lorenzo Lotto
+
+Author: Giorgio Vasari
+
+Translator: Gaston du C. De Vere
+
+Release Date: March 27, 2009 [EBook #28421]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK EMINENT PAINTERS ***
+
+
+
+
+Produced by Mark C. Orton, Christine P. Travers and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+(This file was produced from images generously made
+available by The Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+</pre>
+
+
+<hr style="width: 65%;">
+<h1>LIVES OF THE MOST EMINENT PAINTERS SCULPTORS &amp; ARCHITECTS</h1>
+<h2>BY</h2>
+<h2>GIORGIO VASARI:</h2>
+
+<h2>VOLUME V.<br> ANDREA DA FIESOLE TO LORENZO LOTTO<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_V" id="CONTENTS_OF_VOLUME_V"></a><span class="pagenum"><a id="Page_v" name="Page_v">[Pg v]</a></span> CONTENTS OF VOLUME V</h2>
+
+<div class='centered'>
+<table border="0" cellpadding="2" width="85%" cellspacing="0" summary="CONTENTS">
+<tr><td align='left'>&nbsp;</td><td align='right'>PAGE</td></tr>
+<tr><td align='left'><span class="smcap">Andrea da Fiesole [Andrea Ferrucci], and Others</span></td><td align='right'><a href='#Page_1'><b>1</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Vincenzio da San Gimignano [Vincenzio Tamagni], and Timoteo
+    da Urbino [Timoteo della Vite]</span></td><td align='right'><a href='#Page_9'><b>9</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Andrea dal Monte Sansovino [Andrea Contucci]</span></td><td align='right'><a href='#Page_19'><b>19</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Benedetto da Rovezzano</span></td><td align='right'><a href='#Page_33'><b>33</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Baccio da Montelupo, and Raffaello his son</span></td><td align='right'><a href='#Page_39'><b>39</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Lorenzo di Credi</span></td><td align='right'><a href='#Page_47'><b>47</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Lorenzetto and Boccaccino</span></td><td align='right'><a href='#Page_53'><b>53</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Baldassarre Peruzzi</span></td><td align='right'><a href='#Page_61'><b>61</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Giovan Francesco Penni [called Il Fattore], and Pellegrino
+    da Modena</span></td><td align='right'><a href='#Page_75'><b>75</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Andrea del Sarto</span></td><td align='right'><a href='#Page_83'><b>83</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Madonna Properzia de' Rossi</span></td><td align='right'><a href='#Page_121'><b>121</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Alfonso Lombardi, Michelagnolo da Siena, Girolamo Santa
+    Croce, and Dosso and Battista Dossi</span></td><td align='right'><a href='#Page_129'><b>129</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Giovanni Antonio Licinio of Pordenone, and Others</span></td><td align='right'><a href='#Page_143'><b>143</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Giovanni Antonio Sogliani</span></td><td align='right'><a href='#Page_157'><b>157</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Girolamo da Treviso</span></td><td align='right'><a href='#Page_167'><b>167</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Polidoro da Caravaggio and Maturino</span></td><td align='right'><a href='#Page_173'><b>173</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> Il Rosso</span> </td><td align='right'><a href='#Page_187'><b>187</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Bartolommeo da Bagnacavallo, and Others</span></td><td align='right'><a href='#Page_205'><b>205</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Franciabigio [Francia]</span></td><td align='right'><a href='#Page_215'><b>215</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Morto da Feltro and Andrea di Cosimo Feltrini</span></td><td align='right'><a href='#Page_225'><b>225</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Marco Calavrese</span></td><td align='right'><a href='#Page_235'><b>235</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Francesco Mazzuoli [Parmigiano]</span></td><td align='right'><a href='#Page_241'><b>241</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Jacopo Palma [Palma Vecchio] and Lorenzo Lotto</span></td><td align='right'><a href='#Page_257'><b>257</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Index of Names</span></td><td align='right'><a href='#Page_267'><b>267</b></a></td></tr>
+</table>
+</div>
+
+
+<hr style="width: 65%;">
+<h2><a name="ILLUSTRATIONS_TO_VOLUME_V" id="ILLUSTRATIONS_TO_VOLUME_V"></a><span class="pagenum"><a id="Page_vii" name="Page_vii">[Pg vii]</a></span> ILLUSTRATIONS TO VOLUME V</h2>
+
+<h3>PLATES IN COLOUR</h3>
+
+<div class='centered'>
+<table border="0" cellpadding="2" width="100%" cellspacing="0" summary="ILLUSTRATIONS TO VOLUME V">
+
+<tr>
+<td><span class="smcap">Timoteo da Urbino (Timoteo della Vite)</span></td>
+<td>A Muse</td>
+<td>Florence: Corsini Gallery</td>
+<td align="right"><a href='#img004'><b>10</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Lorenzo di Credi</span></td>
+<td>Venus</td>
+<td>Florence: Uffizi, 3452</td>
+<td align="right"><a href='#img015'><b>48</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Bernardino del Lupino (Luini)</span></td>
+<td>S. Catharine borne to her Tomb by Angels</td>
+<td>Milan: Brera, 288</td>
+<td align="right"><a href='#img019'><b>54</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Andrea del Sarto</span></td>
+<td>Madonna dell' Arpie</td>
+<td>Florence: Uffizi, 1112</td>
+<td align="right"><a href='#img032'><b>94</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Dosso Dossi</span></td>
+<td>A Nymph with a Satyr</td>
+<td>Florence: Pitti, 147</td>
+<td align="right"><a href='#img040'><b>140</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Franciabigio (Francia)</span></td>
+<td>Portrait of a Man</td>
+<td>Vienna: Prince Liechtenstein</td>
+<td align="right"><a href='#img051'><b>222</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Lorenzo Lotto</span></td>
+<td>The Triumph of Chastity</td>
+<td>Rome: Rospigliosi Gallery</td>
+<td align="right"><a href='#img054'><b>258</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Jacopo Palma (Palma Vecchio)</span></td>
+<td>S. Barbara</td>
+<td>Venice: S. Maria Formosa</td>
+<td align="right"><a href='#img055'><b>260</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Rondinello (Niccolò Rondinelli)</span></td>
+<td>Madonna and Child</td>
+<td>Paris: Louvre, 1159</td>
+<td align="right"><a href='#img059'><b>264</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 V">
+
+<tr>
+<td><span class="smcap">Andrea da Fiesole (Andrea Ferrucci)</span></td>
+<td>Font</td>
+<td>Pistoia: Duomo</td>
+<td align="right"><a href='#img002'><b>6</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Silvio Cosini (Silvio da Fiesole)</span></td>
+<td>Tomb of Raffaele Maffei</td>
+<td>Volterra: S. Lino</td>
+<td align="right"><a href='#img003'><b>8</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Vincenzio da San Gimignano (Vincenzio Tamagni)</span></td>
+<td>The Birth of the Virgin</td>
+<td>San Gimignano: S. Agostino, Cappella del S. Sacramento</td>
+<td align="right"><a href='#img005'><b>12</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Timoteo da Urbino (Timoteo della Vite)</span></td>
+<td>Madonna and Saints, with a Child Angel</td>
+<td>Milan: Brera, 508</td>
+<td align="right"><a href='#img006'><b>12</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Timoteo da Urbino (Timoteo della Vite)</span></td>
+<td>The Magdalene</td>
+<td>Bologna: Accademia, 204</td>
+<td align="right"><a href='#img007'><b>16</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Andrea dal Monte Sansovino (Andrea Contucci)</span></td>
+<td>Altar-piece</td>
+<td>Florence: S. Spirito</td>
+<td align="right"><a href='#img008'><b>22</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap"><span class="pagenum"><a id="Page_viii" name="Page_viii">[Pg viii]</a></span> Andrea dal Monte Sansovino (Andrea Contucci)</span></td>
+<td>Tomb of Cardinal Ascanio Sforza</td>
+<td>Rome: S. Maria del Popolo</td>
+<td align="right"><a href='#img009'><b>24</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Andrea dal Monte Sansovino (Andrea Contucci)</span></td>
+<td>The Madonna and Child, with S. Anne</td>
+<td>Rome: S. Agostino</td>
+<td align="right"><a href='#img010'><b>26</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Benedetto da Rovezzano</span></td>
+<td>Tomb of Piero Soderini</td>
+<td>Florence: S. Maria del Carmine</td>
+<td align="right"><a href='#img011'><b>38</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Baccio da Montelupo</span></td>
+<td>S. John the Evangelist</td>
+<td>Florence: Or San Michele</td>
+<td align="right"><a href='#img012'><b>42</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Agostino Busti (Il Bambaja)</span></td>
+<td>Detail from the Tomb: Head of Gaston de Foix</td>
+<td>Milan: Brera</td>
+<td align="right"><a href='#img013'><b>44</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Raffaello da Montelupo</span></td>
+<td>S. Damiano</td>
+<td>Florence: New Sacristy of S. Lorenzo</td>
+<td align="right"><a href='#img014'><b>44</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Lorenzo di Credi</span></td>
+<td>Andrea Verrocchio</td>
+<td>Florence: Uffizi, 1163</td>
+<td align="right"><a href='#img016'><b>50</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Lorenzo di Credi</span></td>
+<td>Madonna and Child, with Saints</td>
+<td>Paris: Louvre, 1263</td>
+<td align="right"><a href='#img017'><b>52</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Lorenzo di Credi</span></td>
+<td>The Nativity</td>
+<td>Florence: Accademia, 92</td>
+<td align="right"><a href='#img018'><b>52</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Lorenzetto</span></td>
+<td>Elijah</td>
+<td>Rome: S. Maria del Popolo, Chigi Chapel</td>
+<td align="right"><a href='#img020'><b>56</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Lorenzetto</span></td>
+<td>S. Peter</td>
+<td>Rome: Ponte S. Angelo</td>
+<td align="right"><a href='#img021'><b>56</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Boccaccino</span></td>
+<td>Madonna and Child, with Saints</td>
+<td>Rome: Doria Gallery, 125</td>
+<td align="right"><a href='#img022'><b>58</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Bernardino del Lupino (Luini)</span></td>
+<td>The Marriage of the Virgin</td>
+<td>Saronno: Santuario della Beata Vergine</td>
+<td align="right"><a href='#img023'><b>60</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Baldassarre Peruzzi</span></td>
+<td>Cupola of the Ponzetti Chapel</td>
+<td>Rome: S. Maria della Pace</td>
+<td align="right"><a href='#img024'><b>64</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Baldassarre Peruzzi</span></td>
+<td>Palazzo della Farnesina</td>
+<td>Rome</td>
+<td align="right"><a href='#img025'><b>66</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Baldassarre Peruzzi</span></td>
+<td>Courtyard of Palazzo Massimi</td>
+<td>Rome</td>
+<td align="right"><a href='#img026'><b>70</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giovanni Francesco Penni (Il Fattore)</span></td>
+<td>The Baptism of Constantine</td>
+<td>Rome: The Vatican</td>
+<td align="right"><a href='#img027'><b>78</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Gaudenzio Milanese (Gaudenzio Ferrari)</span></td>
+<td>The Last Supper</td>
+<td>Milan: S. Maria della Passione</td>
+<td align="right"><a href='#img028'><b>80</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Andrea del Sarto</span></td>
+<td>"Noli Me Tangere"</td>
+<td>Florence: Uffizi, 93</td>
+<td align="right"><a href='#img029'><b>86</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Andrea del Sarto</span></td>
+<td>The Last Supper</td>
+<td>Florence: S. Salvi</td>
+<td align="right"><a href='#img030'><b>88</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Andrea del Sarto</span></td>
+<td>The Arrival of the Magi</td>
+<td>Florence: SS. Annunziata</td>
+<td align="right"><a href='#img031'><b>90</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Andrea del Sarto</span></td>
+<td>Charity</td>
+<td>Paris: Louvre, 1514</td>
+<td align="right"><a href='#img033'><b>98</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Andrea del Sarto</span></td>
+<td>Cæsar receiving the Tribute of Egypt</td>
+<td>Florence: Poggio a Caiano</td>
+<td align="right"><a href='#img034'><b>104</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Andrea del Sarto</span></td>
+<td>Portrait of the Artist</td>
+<td>Florence: Uffizi, 280</td>
+<td align="right"><a href='#img035'><b>112</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Madonna Properzia de' Rossi</span></td>
+<td>Two Angels (with The Assumption of the Virgin, after <span class="smcap">Tribolo</span>)</td>
+<td>Bologna: S. Petronio</td>
+<td align="right"><a href='#img036'><b>126</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Alfonso Lombardi</span></td>
+<td>The Death of the Virgin</td>
+<td>Bologna: S. Maria della Vita</td>
+<td align="right"><a href='#img037'><b>134</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap"><span class="pagenum"><a id="Page_ix" name="Page_ix">[Pg ix]</a></span> Michelagnolo da Siena</span></td>
+<td>Tomb of Adrian VI</td>
+<td>Rome: S. Maria dell' Anima</td>
+<td align="right"><a href='#img038'><b>136</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Girolamo Santa Croce</span></td>
+<td>Madonna and Child, with SS. Peter and John</td>
+<td>Naples: Monte Oliveto</td>
+<td align="right"><a href='#img039'><b>138</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Dosso Dossi</span></td>
+<td>Madonna and Child, with SS. George and Michael</td>
+<td>Modena: Pinacoteca, 437</td>
+<td align="right"><a href='#img041'><b>140</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giovanni Antonio Licinio of Pordenone</span></td>
+<td>The Disputation of S. Catharine</td>
+<td>Piacenza: S. Maria di Campagna</td>
+<td align="right"><a href='#img042'><b>150</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giovanni Antonio Licinio of Pordenone</span></td>
+<td>The Adoration of the Magi</td>
+<td>Treviso: Duomo</td>
+<td align="right"><a href='#img043'><b>152</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giovanni Antonio Sogliani</span></td>
+<td>The Legend of S. Dominic</td>
+<td>Florence: S. Marco</td>
+<td align="right"><a href='#img044'><b>162</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Il Rosso</span></td>
+<td>Madonna and Child, with Saints</td>
+<td>Florence: Uffizi, 47</td>
+<td align="right"><a href='#img045'><b>190</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Il Rosso</span></td>
+<td>The Transfiguration</td>
+<td>Città di Castello: Duomo</td>
+<td align="right"><a href='#img046'><b>198</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Bartolommeo da Bagnacavallo</span></td>
+<td>The Holy Family, with Saints</td>
+<td>Bologna: Accademia, 133</td>
+<td align="right"><a href='#img047'><b>208</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Amico of Bologna (Amico Aspertini)</span></td>
+<td>The Adoration</td>
+<td>Bologna: Pinacoteca, 297</td>
+<td align="right"><a href='#img048'><b>210</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Innocenzio da Imola</span></td>
+<td>The Marriage of S. Catharine</td>
+<td>Bologna: S. Giacomo Maggiore</td>
+<td align="right"><a href='#img049'><b>214</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Franciabigio (Francia)</span></td>
+<td>The Marriage of the Virgin</td>
+<td>Florence: SS. Annunziata</td>
+<td align="right"><a href='#img050'><b>218</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Francesco Mazzuoli (Parmigiano)</span></td>
+<td>The Marriage of S. Catharine</td>
+<td>Parma: Gallery, 192</td>
+<td align="right"><a href='#img052'><b>246</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Francesco Mazzuoli (Parmigiano)</span></td>
+<td>Madonna and Child, with Saints</td>
+<td>Bologna: Accademia, 116</td>
+<td align="right"><a href='#img053'><b>250</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Jacopo Palma (Palma Vecchio)</span></td>
+<td>S. Sebastian</td>
+<td>Venice: S. Maria Formosa</td>
+<td align="right"><a href='#img056'><b>260</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Lorenzo Lotto</span></td>
+<td>The Glorification of S. Nicholas</td>
+<td>Venice: S. Maria del Carmine</td>
+<td align="right"><a href='#img057'><b>262</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Lorenzo Lotto</span></td>
+<td>Andrea Odoni</td>
+<td>Hampton Court Palace</td>
+<td align="right"><a href='#img058'><b>262</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Rondinello (Niccolò Rondinelli)</span></td>
+<td>Madonna and Child, with Saints</td>
+<td>Ravenna: Accademia</td>
+<td align="right"><a href='#img060'><b>264</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Francesco da Cotignola</span></td>
+<td>The Adoration of the Shepherds</td>
+<td>Ravenna: Accademia</td>
+<td align="right"><a href='#img061'><b>266</b></a></td>
+</tr>
+</table>
+</div>
+
+<hr style="width: 65%;">
+<h2><a name="corrigendum" id="corrigendum"></a>CORRIGENDUM</h2>
+
+<p class="center">P. 151, l. 13, <i>Vicenza</i> is an error of the Italian text for
+     Piacenza, the church referred to being in the latter town</p>
+
+
+<hr style="width: 65%;">
+<h2><a name="dafiesole" id="dafiesole"></a><span class="pagenum"><a id="Page_1" name="Page_1">[Pg 1]</a></span> ANDREA DA FIESOLE</h2>
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_dafiesole" id="life_of_dafiesole"></a><span class="pagenum"><a id="Page_3" name="Page_3">[Pg 3]</a></span> LIVES OF ANDREA DA FIESOLE</h2>
+
+<h3>[<i>ANDREA FERRUCCI</i>]</h3>
+
+<h3>SCULPTOR<br>
+
+AND OF OTHER CRAFTSMEN OF FIESOLE</h3>
+
+
+<p>Seeing that it is no less necessary for sculptors to have mastery over
+their carving-tools than it is for him who practises painting to be
+able to handle colours, it therefore happens that many who work very
+well in clay prove to be unable to carry their labours to any sort of
+perfection in marble; and some, on the contrary, work very well in
+marble, without having any more knowledge of design than a certain
+instinct for a good manner, I know not what, that they have in their
+minds, derived from the imitation of certain things which please their
+judgment, and which their imagination absorbs and proceeds to use for
+its own purposes. And it is almost a marvel to see the manner in which
+some sculptors, without in any way knowing how to draw on paper,
+nevertheless bring their works to a fine and praiseworthy completion
+with their chisels. This was seen in Andrea, a sculptor of Fiesole,
+the son of Piero di Marco Ferrucci, who learnt the rudiments of
+sculpture in his earliest boyhood from Francesco di Simone Ferrucci,
+another sculptor of Fiesole. And although at the beginning he learnt
+only to carve foliage, yet little by little he became so well
+practised in his work that it was not long before he set himself to
+making figures; insomuch that, having a swift and resolute hand, he
+executed his works in marble rather with a certain judgment and skill
+derived from nature than with any knowledge of design. Nevertheless,
+he afterwards gave a little more attention to art, when, in the flower
+of his youth, he followed Michele <span class="pagenum"><a id="Page_4" name="Page_4">[Pg 4]</a></span> Maini, likewise a sculptor
+of Fiesole; which Michele made the S. Sebastian of marble in the
+Minerva at Rome, which was so much praised in those days.</p>
+
+<p>Andrea, then, having been summoned to work at Imola, built a chapel of
+grey-stone, which was much extolled, in the Innocenti in that city.
+After that work, he went to Naples at the invitation of Antonio di
+Giorgio of Settignano, a very eminent engineer, and architect to King
+Ferrante, with whom Antonio was in such credit, that he had charge not
+only of all the buildings in that kingdom, but also of all the most
+important affairs of State. On arriving in Naples, Andrea was set to
+work, and he executed many things for that King in the Castello di San
+Martino and in other parts of that city. Now Antonio died; and after
+the King had caused him to be buried with obsequies suited rather to a
+royal person than to an architect, and with twenty pairs of mourners
+following him to the grave, Andrea, recognizing that this was no
+country for him, departed from Naples and made his way back to Rome,
+where he stayed for some time, attending to the studies of his art,
+and also to some work.</p>
+
+<p>Afterwards, having returned to Tuscany, he built the marble chapel
+containing the baptismal font in the Church of S. Jacopo at Pistoia,
+and with much diligence executed the basin of that font, with all its
+ornamentation. And on the main wall of the chapel he made two lifesize
+figures in half-relief&mdash;namely, S. John baptizing Christ, a work
+executed very well and with a beautiful manner. At the same time he
+made some other little works, of which there is no need to make
+mention. I must say, indeed, that although these things were wrought
+by Andrea rather with the skill of his hand than with art, yet there
+may be perceived in them a boldness and an excellence of taste worthy
+of great praise. And, in truth, if such craftsmen had a thorough
+knowledge of design united to their practised skill and judgment, they
+would vanquish in excellence those who, drawing perfectly, only hack
+the marble when they set themselves to work it, and toil at it
+painfully with a sorry result, through not having practice and not
+knowing how to handle the tools with the skill that is necessary.</p>
+
+<p>After these works, Andrea executed a marble panel that was placed
+<span class="pagenum"><a id="Page_5" name="Page_5">[Pg 5]</a></span> exactly between the two flights of steps that ascend to the
+upper choir in the Church of the Vescovado at Fiesole; in which panel
+he made three figures in the round and some scenes in low-relief. And
+for S. Girolamo, at Fiesole, he made the little marble panel that is
+built into the middle of the church. Having come into repute by reason
+of the fame of these works, Andrea was commissioned by the Wardens of
+Works of S. Maria del Fiore, at the time when Cardinal Giulio de'
+Medici was governing Florence, to make a statue of an Apostle four
+braccia in height; at that time, I mean, when four other similar
+statues were allotted at one and the same moment to four other
+masters&mdash;one to Benedetto da Maiano, another to Jacopo Sansovino, a
+third to Baccio Bandinelli, and the fourth to Michelagnolo Buonarroti;
+which statues were eventually to be twelve in number, and were to be
+placed in that part of that magnificent temple where there are the
+Apostles painted by the hand of Lorenzo di Bicci. Andrea, then,
+executed his rather with fine skill and judgment than with design; and
+he acquired thereby, if not as much praise as the others, at least the
+name of a good and practised master. Wherefore he was almost
+continually employed ever afterwards by the Wardens of Works of that
+church; and he made the head of Marsilius Ficinus that is to be seen
+therein, within the door that leads to the chapter-house. He made,
+also, a marble fountain that was sent to the King of Hungary, which
+brought him great honour; and by his hand was a marble tomb that was
+sent, likewise, to Strigonia, a city of Hungary. In this tomb was a
+Madonna, very well executed, with other figures; and in it was
+afterwards laid to rest the body of the Cardinal of Strigonia. To
+Volterra Andrea sent two Angels of marble in the round; and for Marco
+del Nero, a Florentine, he made a lifesize Crucifix of wood, which is
+now in the Church of S. Felicita at Florence. He made a smaller one
+for the Company of the Assumption in Fiesole. Andrea also delighted in
+architecture, and he was the master of Mangone, the stonecutter and
+architect, who afterwards erected many palaces and other buildings in
+Rome in a passing good manner.</p>
+
+<p>In the end, having grown old, Andrea gave his attention only to
+mason's work, like one who, being a modest and worthy person, loved a
+<span class="pagenum"><a id="Page_6" name="Page_6">[Pg 6]</a></span> quiet life more than anything else. He received from Madonna
+Antonia Vespucci the commission for a tomb for her husband, Messer
+Antonio Strozzi; but since he could not work much himself, the two
+Angels were made for him by Maso Boscoli of Fiesole, his disciple, who
+afterwards executed many works in Rome and elsewhere, and the Madonna
+was made by Silvio Cosini of Fiesole, although it was not set into
+place immediately after it was finished, which was in the year 1522,
+because Andrea died, and was buried by the Company of the Scalzo in
+the Church of the Servi.</p>
+
+<div class="figcenter">
+<a name="img002" id="img002"></a>
+<img src="images/img002-tb.jpg" width="400" height="515" alt="Font." title="">
+<p class="caption">FONT<br>
+(<i>After</i> Andrea da Fiesole [Andrea Ferrucci].<br> <i>Pistoia: Duomo</i>)<br>
+<i>Brogi</i>
+<br><span class="link"><a href="images/img002.jpg">View larger image</a></span></p>
+</div>
+
+<p>Silvio, when the said Madonna was set into place and the tomb of the
+Strozzi completely finished, pursued the art of sculpture with
+extraordinary zeal; wherefore he afterwards executed many works in a
+graceful and beautiful manner, and surpassed a host of other masters,
+above all in the bizarre fancy of his grotesques, as may be seen in
+the sacristy of Michelagnolo Buonarroti, from some carved marble
+capitals over the pilasters of the tombs, with some little masks so
+well hollowed out that there is nothing better to be seen. In the same
+place he made some friezes with very beautiful masks in the act of
+crying out; wherefore Buonarroti, seeing the genius and skill of
+Silvio, caused him to begin certain trophies to complete those tombs,
+but they remained unfinished, with other things, by reason of the
+siege of Florence. Silvio executed a tomb for the Minerbetti in their
+chapel in the tramezzo<a id="FNanchor1" name="FNanchor1"></a><a href="#Footnote1" title="Go to footnote 1" class="fnanchor">[1]</a> of the Church of S. Maria Novella, as well
+as any man could, since, in addition to the beautiful shape of the
+sarcophagus, there are carved upon it various shields, helmet-crests,
+and other fanciful things, and all with as much design as could be
+desired in such a work. Being at Pisa in the year 1528, Silvio made
+there an Angel that was wanting over a column on the high-altar of the
+Duomo, to face the one by Tribolo; and he made it so like the other
+that it could not be more like even if it were by the same hand. In
+the Church of Monte Nero, near Livorno, he made a little panel of
+marble with two figures, for the Frati Ingesuati; and at Volterra he
+made a tomb for Messer Raffaello da Volterra, a man of great learning,
+wherein he portrayed him from nature on a sarcophagus of marble,
+<span class="pagenum"><a id="Page_7" name="Page_7">[Pg 7]</a></span> with some ornaments and figures. Afterwards, while the
+siege of Florence was going on, Niccolò Capponi, a most honourable
+citizen, died at Castel Nuovo della Garfagnana on his return from
+Genoa, where he had been as Ambassador from his Republic to the
+Emperor; and Silvio was sent in great haste to make a cast of his
+head, to the end that he might afterwards make one in marble, having
+already executed a very beautiful one in wax.</p>
+
+<p>Now Silvio lived for some time with all his family in Pisa; and since
+he belonged to the Company of the Misericordia, which in that city
+accompanies those condemned to death to the place of execution, there
+once came into his head, being sacristan at that time, the strangest
+caprice in the world. One night he took out of the grave the body of
+one who had been hanged the day before; and, after having dissected it
+for the purposes of his art, being a whimsical fellow, and perhaps a
+wizard, and ready to believe in enchantments and suchlike follies, he
+flayed it completely, and with the skin, prepared after a method that
+he had been taught, he made a jerkin, which he wore for some time over
+his shirt, believing that it had some great virtue, without anyone
+ever knowing of it. But having once been upbraided by a good Father to
+whom he had confessed the matter, he pulled off the jerkin and laid it
+to rest in a grave, as the monk had urged him to do. Many other
+similar stories could be told of this man, but, since they have
+nothing to do with our history, I will pass them over in silence.</p>
+
+<p>After the death of his first wife in Pisa, Silvio went off to Carrara.
+There he remained to execute some works, and took another wife, with
+whom, no long time after, he went to Genoa, where, entering the
+service of Prince Doria, he made a most beautiful escutcheon of marble
+over the door of his palace, and many ornaments in stucco all over
+that palace, after the directions given to him by the painter Perino
+del Vaga. He made, also, a very beautiful portrait in marble of the
+Emperor Charles V. But since it was Silvio's habit never to stay long
+in one place&mdash;for he was a wayward person&mdash;he grew weary of his
+prosperity in Genoa, and set out to make his way to France. He
+departed, therefore, but before arriving at Monsanese he turned back,
+and, stopping at Milan, he executed <span class="pagenum"><a id="Page_8" name="Page_8">[Pg 8]</a></span> in the Duomo some scenes
+and figures and many ornaments, with much credit for himself. And
+there, finally, he died at the age of forty-five. He was a man of fine
+genius, capricious, very dexterous in any kind of work, and a person
+who could execute with great diligence anything to which he turned his
+hand. He delighted in composing sonnets and improvising songs, and in
+his early youth he gave his attention to arms. If he had concentrated
+his mind on sculpture and design, he would have had no equal; and,
+even as he surpassed his master Andrea Ferrucci, so, had he lived, he
+would have surpassed many others who have enjoyed the name of
+excellent masters.</p>
+
+<p>There flourished at the same time as Andrea and Silvio another
+sculptor of Fiesole, called Il Cicilia, who was a person of much
+skill; and a work by his hand may be seen in the Church of S. Jacopo,
+in the Campo Corbolini at Florence&mdash;namely, the tomb of the Chevalier
+Messer Luigi Tornabuoni, which is much extolled, particularly because
+he made therein the escutcheon of that Chevalier, in the form of a
+horse's head, as if to show, according to the ancient belief, that the
+shape of shields was originally taken from the head of a horse.</p>
+
+<p>About the same time, also, Antonio da Carrara, a very rare sculptor,
+made three statues in Palermo for the Duke of Monteleone, a Neapolitan
+of the house of Pignatella, and Viceroy of Sicily&mdash;namely, three
+figures of Our Lady in different attitudes and manners, which were
+placed over three altars in the Duomo of Monteleone in Calabria. For
+the same patron he made some scenes in marble, which are in Palermo.
+He left behind him a son who is also a sculptor at the present day,
+and no less excellent than was his father.</p>
+
+<div class="figcenter">
+<a name="img003" id="img003"></a>
+<img src="images/img003-tb.jpg" width="400" height="490" alt="Tomb of Raffaele Maffei." title="">
+<p class="caption">TOMB OF RAFFAELE MAFFEI<br>
+(<i>After</i> Silvio Cosini [Silvio da Fiesole].<br> <i>Volterra: S. Lino</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img003.jpg">View larger image</a></span></p>
+</div>
+
+<hr style="width: 65%;">
+<h2><a name="sangimignano" id="sangimignano"></a><span class="pagenum"><a id="Page_9" name="Page_9">[Pg 9]</a></span> VINCENZIO DA SAN GIMIGNANO AND TIMOTEO DA URBINO</h2>
+
+
+<div class="figcenter">
+<a name="img004" id="img004"></a>
+<img src="images/img004-tb.jpg" width="400" height="628" alt="A Muse." title="">
+<p class="caption">TIMOTEO DA URBINO (TIMOTEO VITI): A MUSE<br>
+(<i>Florence: Corsini Gallery. Panel</i>)
+<br><span class="link"><a href="images/img004.jpg">View larger image</a></span></p>
+</div>
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_sangimignano" id="life_of_sangimignano"></a><span class="pagenum"><a id="Page_11" name="Page_11">[Pg 11]</a></span> LIVES OF VINCENZIO DA SAN GIMIGNANO AND TIMOTEO DA URBINO</h2>
+
+<h3>[<i>TIMOTEO DELLA VITE</i>]</h3>
+
+<h3>PAINTERS</h3>
+
+
+<p>Having now to write, after the Life of the sculptor Andrea da Fiesole,
+the Lives of two excellent painters, Vincenzio da San Gimignano of
+Tuscany, and Timoteo da Urbino, I propose to speak first of Vincenzio,
+as the man whose portrait is above,<a id="FNanchor2" name="FNanchor2"></a><a href="#Footnote2" title="Go to footnote 2" class="fnanchor">[2]</a> and immediately afterwards of
+Timoteo, since they lived almost at one and the same time, and were
+both disciples and friends of Raffaello.</p>
+
+<p>Vincenzio, then, working in company with many others in the Papal
+Loggie for the gracious Raffaello da Urbino, acquitted himself in such
+a manner that he was much extolled by Raffaello and by all the others.
+Having therefore been set to work in the Borgo, opposite to the Palace
+of Messer Giovanni Battista dall' Aquila, with great credit to himself
+he painted on a façade a frieze in terretta, in which he depicted the
+Nine Muses, with Apollo in the centre, and above them some lions, the
+device of the Pope, which are held to be very beautiful. Vincenzio
+showed great diligence in his manner and softness in his colouring,
+and his figures were very pleasing in aspect; in short, he always
+strove to imitate the manner of Raffaello da Urbino, as may also be
+seen in the same Borgo, opposite to the Palace of the Cardinal of
+Ancona, from the façade of a house that was built by Messer Giovanni
+Antonio Battiferro of Urbino, who, in consequence of the strait
+friendship that he had with Raffaello, received from him the design
+for that façade, and also, through his good offices, many benefits and
+rich revenues at the Court. In this design, then, <span class="pagenum"><a id="Page_12" name="Page_12">[Pg 12]</a></span> which was
+afterwards carried into execution by Vincenzio, Raffaello drew, in
+allusion to the name of the Battiferri, the Cyclopes forging
+thunderbolts for Jove, and in another part Vulcan making arrows for
+Cupid, with some most beautiful nudes and other very lovely scenes and
+statues. The same Vincenzio painted a great number of scenes on a
+façade in the Piazza di S. Luigi de' Francesi at Rome, such as the
+Death of Cæsar, a Triumph of Justice, and a battle of horsemen in a
+frieze, executed with spirit and much diligence; and in this work,
+close to the roof, between the windows, he painted some Virtues that
+are very well wrought. In like manner, on the façade of the Epifani,
+behind the Curia di Pompeo, and near the Campo di Fiore, he painted
+the Magi following the Star; with an endless number of other works
+throughout that city, the air and position of which seem to be in
+great measure the reason that men are inspired to produce marvellous
+works there. Experience teaches us, indeed, that very often the same
+man has not the same manner and does not produce work of equal
+excellence in every place, but makes it better or worse according to
+the nature of the place.</p>
+
+<div class="figcenter">
+<a name="img005" id="img005"></a>
+<img src="images/img005-tb.jpg" width="400" height="470" alt="The Birth of The Virgin." title="">
+<p class="caption">THE BIRTH OF THE VIRGIN<br>
+(<i>After the fresco by</i> Vincenzio da San Gimignano [Vincenzio Tamagni].
+<i>San Gimignano: S. Agostino</i>)<br>
+<i>Brogi</i>
+<br><span class="link"><a href="images/img005.jpg">View larger image</a></span></p>
+</div>
+
+<p>Vincenzio being in very good repute in Rome, there took place in the
+year 1527 the ruin and sack of that unhappy city, which had been the
+mistress of the nations. Whereupon, grieved beyond measure, he
+returned to his native city of San Gimignano; and there, by reason of
+the sufferings that he had undergone, and the weakening of his love
+for art, now that he was away from the air which nourishes men of fine
+genius and makes them bring forth works of the rarest merit, he
+painted some things that I will pass over in silence, in order not to
+veil with them the renown and the great name that he had honourably
+acquired in Rome. It is enough to point out clearly that violence
+turns the most lofty intellects roughly aside from their chief goal,
+and makes them direct their steps into the opposite path; which may
+also be seen in a companion of Vincenzio, called Schizzone, who
+executed some works in the Borgo that were highly extolled, and also
+in the Campo Santo of Rome and in S. Stefano degl' Indiani, and who
+was likewise caused by the senseless soldiery to turn aside from art
+and in a short time to <span class="pagenum"><a id="Page_13" name="Page_13">[Pg 13]</a></span> lose his life. Vincenzio died in
+his native city of San Gimignano, having had but little gladness in
+his life after his departure from Rome.</p>
+
+<div class="figcenter">
+<a name="img006" id="img006"></a>
+<img src="images/img006-tb.jpg" width="400" height="407" alt="Madonna and Saints, with a Child Angel." title="">
+<p class="caption">MADONNA AND SAINTS, WITH A CHILD ANGEL<br>
+(<i>After the painting by</i> Timoteo da Urbino [Timoteo della Vite].<br>
+<i>Milan: Brera, 508</i>)<br>
+<i>Brogi</i>
+<br><span class="link"><a href="images/img006.jpg">View larger image</a></span></p>
+</div>
+
+<p>Timoteo, a painter of Urbino, was the son of Bartolommeo della Vite, a
+citizen of good position, and Calliope, the daughter of Maestro
+Antonio Alberto of Ferrara, a passing good painter in his day, as is
+shown by his works at Urbino and elsewhere. While Timoteo was still a
+child, his father dying, he was left to the care of his mother
+Calliope, with good and happy augury, from the circumstance that
+Calliope is one of the Nine Muses, and the conformity that exists
+between poetry and painting. Then, after he had been brought
+discreetly through his boyhood by his wise mother, and initiated by
+her into the studies of the simpler arts and likewise of drawing, the
+young man came into his first knowledge of the world at the very time
+when the divine Raffaello Sanzio was flourishing. Applying himself in
+his earliest years to the goldsmith's art, he was summoned by Messer
+Pier Antonio, his elder brother, who was then studying at Bologna, to
+that most noble city, to the end that he might follow that art, to
+which he seemed to be inclined by nature, under the discipline of some
+good master. While living, then, in Bologna, in which city he stayed
+no little time, and was much honoured and received by the noble and
+magnificent Messer Francesco Gombruti into his house with every sort
+of courtesy, Timoteo associated continually with men of culture and
+lofty intellect. Wherefore, having become known in a few months as a
+young man of judgment, and inclined much more to the painter's than to
+the goldsmith's art, of which he had given proofs in some very
+well-executed portraits of his friends and of others, it seemed good
+to his brother, wishing to encourage the young man's natural genius,
+and also persuaded to this by his friends, to take him away from his
+files and chisels, and to make him devote himself entirely to the
+study of drawing. At which he was very content, and applied himself
+straightway to drawing and to the labours of art, copying and drawing
+all the best works in that city; and establishing a close intimacy
+with painters, he set out to such purpose on his new road, that it was
+a marvel to see the progress that he made from one day to another, and
+all the more because he learnt with facility the most difficult things
+without <span class="pagenum"><a id="Page_14" name="Page_14">[Pg 14]</a></span> any particular teaching from any appointed master.
+And so, becoming enamoured of his profession, and learning many
+secrets of painting merely by sometimes seeing certain painters of no
+account making their mixtures and using their brushes, and guided by
+himself and by the hand of nature, he set himself boldly to colouring,
+and acquired a very pleasing manner, very similar to that of the new
+Apelles, his compatriot, although he had seen nothing by his hand save
+a few works at Bologna. Thereupon, after executing some works on panel
+and on walls with very good results, guided by his own good intellect
+and judgment, and believing that in comparison with other painters he
+had succeeded very well in everything, he pursued the studies of
+painting with great ardour, and to such purpose, that in course of
+time he found that he had gained a firm footing in his art, and was
+held in good repute and vast expectation by all the world.</p>
+
+<p>Having then returned to his own country, now a man twenty-six years of
+age, he stayed there for some months, giving excellent proofs of his
+knowledge. Thus he executed, to begin with, the altar-piece of the
+Madonna for the altar of S. Croce in the Duomo, containing, besides
+the Virgin, S. Crescenzio and S. Vitale; and there is a little Angel
+seated on the ground, playing on a viola with a grace truly angelic
+and a childlike simplicity expressed with art and judgment. Afterwards
+he painted another altar-piece for the high-altar of the Church of the
+Trinità, together with a S. Apollonia on the left hand of that altar.</p>
+
+<p>By means of these works and certain others, of which there is no need
+to make mention, the name and fame of Timoteo spread abroad, and he
+was invited with great insistence by Raffaello to Rome; whither having
+gone with the greatest willingness, he was received with that loving
+kindness that was as peculiar to Raffaello as was his excellence in
+art. Working, then, with Raffaello, in little more than a year he made
+a great advance, not only in art, but also in prosperity, for in that
+time he sent home a good sum of money. While working with his master
+in the Church of S. Maria della Pace, he made with his own hand and
+invention the Sibyls that are in the lunettes on the right hand, so
+much esteemed by all painters. That they are his is maintained by some
+who <span class="pagenum"><a id="Page_15" name="Page_15">[Pg 15]</a></span> still remember having seen them painted; and we have
+also testimony in the cartoons which are still to be found in the
+possession of his successors. On his own account, likewise, he
+afterwards painted the bier and the dead body contained therein, with
+the other things, so highly extolled, that are around it, in the
+Scuola of S. Caterina da Siena; and although certain men of Siena,
+carried away by love of their own country, attribute these works to
+others, it may easily be recognized that they are the handiwork of
+Timoteo, both from the grace and sweetness of the colouring, and from
+other memorials of himself that he left in that most noble school of
+excellent painters.</p>
+
+<p>Now, although Timoteo was well and honourably placed in Rome, yet, not
+being able to endure, as many do, the separation from his own country,
+and also being invited and urged every moment to come home by the
+counsels of his friends and by the prayers of his mother, now an old
+woman, he returned to Urbino, much to the displeasure of Raffaello,
+who loved him dearly for his good qualities. And not long after,
+having taken a wife in Urbino at the suggestion of his family, and
+having become enamoured of his country, in which he saw that he was
+highly honoured, besides the circumstance, even more important, that
+he had begun to have children, Timoteo made up his mind firmly never
+again to consent to go abroad, notwithstanding, as may still be seen
+from some letters, that he was invited back to Rome by Raffaello. But
+he did not therefore cease to work, and he made many works in Urbino
+and in the neighbouring cities. At Forlì he painted a chapel in
+company with Girolamo Genga, his friend and compatriot; and afterwards
+he painted entirely with his own hand a panel that was sent to Città
+di Castello, and likewise another for the people of Cagli. At Castel
+Durante, also, he executed some works in fresco, which are truly
+worthy of praise, as are all the other works by his hand, which bear
+witness that he was a graceful painter in figures, landscapes, and
+every other field of painting. In Urbino, at the instance of Bishop
+Arrivabene of Mantua, he painted the Chapel of S. Martino in the
+Duomo, in company with the same Genga; but the altar-panel and the
+middle of the chapel are entirely by the hand of Timoteo. For the same
+church, also, he painted a Magdalene standing, <span class="pagenum"><a id="Page_16" name="Page_16">[Pg 16]</a></span> clothed in a
+short mantle, and covered below this by her own tresses, which reach
+to the ground and are so beautiful and natural, that the wind appears
+to move them; not to mention the divine beauty of the expression of
+her countenance, which reveals clearly the love that she bore to her
+Master.</p>
+
+<p>In S. Agata there is another panel by the hand of the same man, with
+some very good figures. And for S. Bernardino, without that city, he
+made that work so greatly renowned that is at the right hand upon the
+altar of the Buonaventuri, gentlemen of Urbino; wherein the Virgin is
+represented with most beautiful grace as having received the
+Annunciation, standing with her hands clasped and her face and eyes
+uplifted to Heaven. Above, in the sky, in the centre of a great circle
+of light, stands a little Child, with His foot on the Holy Spirit in
+the form of a Dove, and holding in His left hand a globe symbolizing
+the dominion of the world, while, with the other hand raised, He gives
+the benediction; and on the right of the Child is an angel, who is
+pointing Him out with his finger to the Madonna. Below&mdash;that is, on
+the level of the Madonna, to her right&mdash;is the Baptist, clothed in a
+camel's skin, which is torn on purpose that the nude figure may be
+seen; and on her left is a S. Sebastian, wholly naked, and bound in a
+beautiful attitude to a tree, and wrought with such diligence that the
+figure could not have stronger relief nor be in any part more
+beautiful.</p>
+
+<p>At the Court of the most illustrious Dukes of Urbino, in a little
+private study, may be seen an Apollo and two half-nude Muses by his
+hand, beautiful to a marvel. For the same patrons he executed many
+pictures, and made some decorations for apartments, which are very
+beautiful. And afterwards, in company with Genga, he painted some
+caparisons for horses, which were sent to the King of France, with
+such beautiful figures of various animals that they appeared to all
+who beheld them to have life and movement. He made, also, some
+triumphal arches similar to those of the ancients, on the occasion of
+the marriage of the most illustrious Duchess Leonora to the Lord Duke
+Francesco Maria, to whom they gave vast satisfaction, as they did to
+the whole Court; on which account he was received for many years into
+the household of that Duke, with an honourable salary.</p>
+
+<div class="figcenter">
+<a name="img007" id="img007"></a>
+<img src="images/img007-tb.jpg" width="400" height="631" alt="The Magdalene." title="">
+<p class="caption">THE MAGDALENE<br>
+(<i>After the panel by</i> Timoteo da Urbino [Timoteo della Vite].<br>
+<i>Bologna: Accademia, 204</i>)<br>
+<i>Anderson</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> Timoteo was a bold draughtsman, and even more notable for the
+sweetness and charm of his colouring, insomuch that his works could
+not have been executed with more delicacy or greater diligence. He was
+a merry fellow, gay and festive by nature, and most acute and witty in
+his sayings and discourses. He delighted in playing every sort of
+instrument, and particularly the lyre, to which he sang, improvising
+upon it with extraordinary grace. He died in the year of our salvation
+1524, the fifty-fourth of his life, leaving his native country as much
+enriched by his name and his fine qualities as it was grieved by his
+loss. He left in Urbino some unfinished works, which were finished
+afterwards by others and show by comparison how great were the worth
+and ability of Timoteo.</p>
+
+<p>In our book are some drawings by his hand, very beautiful and truly
+worthy of praise, which I received from the most excellent and gentle
+Messer Giovanni Maria, his son&mdash;namely, a pen-sketch for the portrait
+of the Magnificent Giuliano de' Medici, which Timoteo made when
+Giuliano was frequenting the Court of Urbino and that most famous
+academy, a "Noli me tangere," and a S. John the Evangelist sleeping
+while Christ is praying in the Garden, all very beautiful.</p>
+
+
+<hr style="width: 65%;">
+<h2><a name="sansovino" id="sansovino"></a><span class="pagenum"><a id="Page_19" name="Page_19">[Pg 19]</a></span> ANDREA DAL MONTE SANSOVINO</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_sansovino" id="life_of_sansovino"></a><span class="pagenum"><a id="Page_21" name="Page_21">[Pg 21]</a></span> LIFE OF ANDREA DAL MONTE SANSOVINO</h2>
+
+<h3>[<i>ANDREA CONTUCCI</i>]</h3>
+
+<h3>SCULPTOR AND ARCHITECT</h3>
+
+
+<p>Although Andrea, the son of Domenico Contucci of Monte Sansovino, was
+born from a poor father, a tiller of the earth, and rose from the
+condition of shepherd, nevertheless his conceptions were so lofty, his
+genius so rare, and his mind so ready, both in his works and in his
+discourses on the difficulties of architecture and perspective, that
+there was not in his day a better, rarer, or more subtle intellect
+than his, nor one that was more able than he was to render the
+greatest doubts clear and lucid; wherefore he well deserved to be held
+in his own times, by all who were qualified to judge, to be supreme in
+those professions. Andrea was born, so it is said, in the year 1460;
+and in his childhood, while looking after his flocks, he would draw on
+the sand the livelong day, as is also told of Giotto, and copy in clay
+some of the animals that he was guarding. So one day it happened that
+a Florentine citizen, who is said to have been Simone Vespucci, at
+that time Podestà of the Monte, passing by the place where Andrea was
+looking after his little charges, saw the boy standing all intent on
+drawing or modelling in clay. Whereupon he called to him, and, having
+seen what was the boy's bent, and heard whose son he was, he asked for
+him from Domenico Contucci, who graciously granted his request; and
+Simone promised to place him in the way of learning design, in order
+to see what virtue there might be in that inclination of nature, if
+assisted by continual study.</p>
+
+<p>Having returned to Florence, then, Simone placed him to learn art with
+Antonio del Pollaiuolo, under whom Andrea made such proficience, that
+in a few years he became a very good master. In the house of that
+<span class="pagenum"><a id="Page_22" name="Page_22">[Pg 22]</a></span> Simone, on the Ponte Vecchio, there may still be seen a
+cartoon executed by him at that time, of Christ being scourged at the
+Column, drawn with much diligence; and, in addition, two marvellous
+heads in terra-cotta, copied from ancient medals, one of the Emperor
+Nero, and the other of the Emperor Galba, which heads served to adorn
+a chimney-piece; but the Galba is now at Arezzo, in the house of
+Giorgio Vasari. Afterwards, while still living in Florence, he made an
+altar-piece in terra-cotta for the Church of S. Agata at Monte
+Sansovino, with a S. Laurence and some other saints, and little scenes
+most beautifully executed. And no long time after this he made another
+like it, containing a very beautiful Assumption of Our Lady, S. Agata,
+S. Lucia, and S. Romualdo; which altar-piece was afterwards glazed by
+the Della Robbia family.</p>
+
+<div class="figcenter">
+<a name="img008" id="img008"></a>
+<img src="images/img008-tb.jpg" width="400" height="512" alt="Altarpiece." title="">
+<p class="caption">ALTARPIECE<br>
+(<i>After</i> Andrea dal Monte Sansovino [Andrea Contucci].<br> <i>Florence: S.
+Spirito</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img008.jpg">View larger image</a></span></p>
+</div>
+
+<p>Then, pursuing the art of sculpture, he made in his youth for Simone
+del Pollaiuolo, otherwise called Il Cronaca, two capitals for
+pilasters in the Sacristy of S. Spirito, which brought him very great
+fame, and led to his receiving a commission to execute the antechamber
+that is between the said sacristy and the church; and since the space
+was very small, Andrea was forced to use great ingenuity. He made,
+therefore, a structure of grey-stone in the Corinthian Order, with
+twelve round columns, six on either side; and having laid architrave,
+frieze, and cornice over these columns, he then raised a barrel-shaped
+vault, all of the same stone, with a coffer-work surface full of
+carvings, which was something novel, rich and varied, and much
+extolled. It is true, indeed, that if the mouldings of that
+coffer-work ceiling, which serve to divide the square and round panels
+by which it is adorned, had been contrived so as to fall in a straight
+line with the columns, with truer proportion and harmony, this work
+would be wholly perfect in every part; and it would have been an easy
+thing to do this. But, according to what I once heard from certain old
+friends of Andrea, he used to defend himself by saying that he had
+adhered in his vault to the method of the coffering in the Ritonda at
+Rome, wherein the ribs that radiate from the round window in the
+centre above, from which that temple gets its light, serve to enclose
+the square sunk panels containing the rosettes, which diminish little
+by little, as likewise do the ribs; and for that reason they do not
+<span class="pagenum"><a id="Page_23" name="Page_23">[Pg 23]</a></span> fall in a straight line with the columns. Andrea used to
+add that if he who built the Temple of the Ritonda, which is the best
+designed and proportioned that there is, and made with more harmony
+than any other, paid no attention to this in a vault of such size and
+importance, much less should he do so in a coffered ceiling with far
+smaller panels. Nevertheless many craftsmen, and Michelagnolo in
+particular, have been of the opinion that the Ritonda was built by
+three architects, of whom the first carried it as far as the cornice
+that is above the columns, and the second from the cornice upwards,
+the part, namely, that contains those windows of more graceful
+workmanship, for in truth this second part is very different in manner
+from the part below, since the vaulting was carried out without any
+relation between the coffering and the straight lines of what is
+below. The third is believed to have made the portico, which was a
+very rare work. And for these reasons the masters who practise this
+art at the present day should not fall into such an error and then
+make excuses, as did Andrea.</p>
+
+<p>After that work, having received from the family of the Corbinelli the
+commission for the Chapel of the Sacrament in the same church, he
+carried it out with much diligence, imitating in the low-reliefs
+Donato and other excellent craftsmen, and sparing no labour in his
+desire to do himself credit, as, indeed, he did. In two niches, one on
+either side of a very beautiful tabernacle, he placed two saints
+somewhat more than one braccio in height, S. James and S. Matthew,
+executed with such spirit and excellence, that every sort of merit is
+revealed in them and not one fault. Equally good, also, are two Angels
+in the round that are the crowning glory of this work, with the most
+beautiful draperies&mdash;for they are in the act of flying&mdash;that are
+anywhere to be seen; and in the centre is a little naked Christ full
+of grace. There are also some scenes with little figures in the
+predella and over the tabernacle, all so well executed that the point
+of a brush could scarcely do what Andrea did with his chisel. But
+whosoever wishes to be amazed by the diligence of this extraordinary
+man should look at the architecture of this work as a whole, for it is
+so well executed and joined together in its small proportions that it
+appears to have been chiselled out of one single stone. <span class="pagenum"><a id="Page_24" name="Page_24">[Pg 24]</a></span> Much
+extolled, also, is a large Pietà of marble that he made in half-relief
+on the front of the altar, with the Madonna and S. John weeping. Nor
+could one imagine any more beautiful pieces of casting than are the
+bronze gratings that enclose that chapel, with their ornaments of
+marble, and with stags, the device, or rather the arms, of the
+Corbinelli, which serve as adornments for the bronze candelabra. In
+short, this work was executed without any sparing of labour, and with
+all the best considerations that could possibly be imagined.</p>
+
+<p>By these and by other works the name of Andrea spread far and wide,
+and he was sought for from the elder Lorenzo de' Medici, the
+Magnificent, in whose garden, as has been related, he had pursued the
+studies of design, by the King of Portugal; and, being therefore sent
+to him by Lorenzo, he executed for that King many works of sculpture
+and of architecture, and in particular a very beautiful palace with
+four towers, and many other buildings. Part of the palace was painted
+after designs and cartoons by the hand of Andrea, who drew very well,
+as may be seen from some drawings by his own hand in our book,
+finished with a charcoal-point, and some other architectural drawings,
+showing excellent design. He also made for that King a carved altar of
+wood, containing some Prophets; and likewise a very beautiful
+battle-piece in clay, to be afterwards carved in marble, representing
+the wars that the King waged with the Moors, who were vanquished by
+him; and no work by the hand of Andrea was ever seen that was more
+spirited or more terrible than this, what with the movements and
+various attitudes of the horses, the heaps of dead, and the vehement
+fury of the soldiers in combat. And he made a figure of S. Mark in
+marble, which was a very rare work. While in the service of that King,
+Andrea also gave his attention to some difficult and fantastic
+architectural works, according to the custom of that country, in order
+to please the King; of which things I once saw a book at Monte
+Sansovino in the possession of his heirs, which is now in the hands of
+Maestro Girolamo Lombardo, who was his disciple, and to whom it fell,
+as will be related, to finish some works begun by Andrea.</p>
+
+<div class="figcenter">
+<a name="img009" id="img009"></a>
+<img src="images/img009-tb.jpg" width="400" height="600" alt="Tomb of Cardinal Ascanio Sforza." title="">
+<p class="caption">TOMB OF CARDINAL ASCANIO SFORZA<br>
+(<i>After</i> Andrea dal Monte Sansovino [Andrea Contucci].<br> <i>Rome: S. Maria
+del Popolo</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img009.jpg">View larger image</a></span></p>
+</div>
+
+<p>Having been nine years in Portugal, and growing weary of that service,
+and desirous of seeing his relatives and friends in Tuscany again,
+<span class="pagenum"><a id="Page_25" name="Page_25">[Pg 25]</a></span> Andrea determined, now that he had put together a good sum
+of money, to obtain leave from the King and return home. And so,
+having been granted permission, although not willingly, he returned to
+Florence, leaving behind him one who should complete such of his works
+as remained unfinished. After arriving in Florence, he began in the
+year 1500 a marble group of S. John baptizing Christ, which was to be
+placed over that door of the Temple of S. Giovanni that faces the
+Misericordia; but he did not finish it, because he was almost forced
+to go to Genoa, where he made two figures of marble, Christ, or rather
+S. John, and a Madonna, which are truly worthy of the highest praise.
+And those at Florence remained unfinished, and are still to be found
+at the present day in the Office of Works of the said S. Giovanni.</p>
+
+<p>He was then summoned to Rome by Pope Julius II, and received the
+commission for two tombs of marble, which were erected in S. Maria del
+Popolo&mdash;one for Cardinal Ascanio Sforza, and the other for the
+Cardinal of Recanati, a very near relative of the Pope&mdash;and these
+works were wrought so perfectly by Andrea that nothing more could be
+desired, since they were so well executed and finished, and with such
+purity, beauty, and grace, that they reveal the true consideration and
+proportion of art. There may be seen there, also, a Temperance with an
+hourglass in her hand, which is held to be a thing divine; and,
+indeed, it does not appear to be a modern work, but ancient and wholly
+perfect. And although there are other figures there similar to it, yet
+on account of its attitude and grace it is much the best; not to
+mention that nothing could be more pleasing and beautiful than the
+veil that she has around her, which is executed with such delicacy
+that it is a miracle to behold.</p>
+
+<p>In S. Agostino at Rome, on a pilaster in the middle of the church, he
+made in marble a S. Anne embracing a Madonna with the Child, a little
+less than lifesize. This work may be counted as one of the best of
+modern times, since, even as a lively and wholly natural gladness is
+seen in the old woman, and a divine beauty in the Madonna, so the
+figure of the Infant Christ is so well wrought, that no other was ever
+executed with such delicacy and perfection. Wherefore it well deserved
+that for many years a succession of sonnets and various other learned
+compositions <span class="pagenum"><a id="Page_26" name="Page_26">[Pg 26]</a></span> should be attached to it, of which the friars
+of that place have a book full, which I myself have seen, to my no
+little marvel. And in truth the world was right in doing this, for the
+reason that the work can never be praised enough.</p>
+
+<div class="figcenter">
+<a name="img010" id="img010"></a>
+<img src="images/img010-tb.jpg" width="400" height="520" alt="The Madonna and Child with S. Anne." title="">
+<p class="caption">THE MADONNA AND CHILD WITH S. ANNE<br>
+(<i>After</i> Andrea dal Monte Sansovino [Andrea Contucci].<br> <i>Rome: S.
+Agostino</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img010.jpg">View larger image</a></span></p>
+</div>
+
+<p>The fame of Andrea having thereby grown greater, Leo X, who had
+resolved that the adornment with wrought marble of the Chamber of the
+Madonna in S. Maria at Loreto should be carried out, according to the
+beginning made by Bramante, ordained that Andrea should bring that
+work to completion. The ornamentation of that Chamber, which Bramante
+had begun, had at the corners four double projections, which, adorned
+by pillars with bases and carved capitals, rested on a socle rich with
+carvings, and two braccia and a half in height; over which socle,
+between the two aforesaid pillars, he had made a large niche to
+contain seated figures, and, above each of these niches, a smaller
+one, which, reaching to the collarino of the capitals of those
+pillars, left a frieze of the same height as the capitals. Above these
+were afterwards laid architrave, frieze, and richly carved cornice,
+which, going right round all the four walls, project over the four
+corners; and in the middle of each of the larger walls&mdash;for the
+Chamber is greater in length than in breadth&mdash;were left two spaces,
+since there was the same projection in the centre of those walls as
+there was at the corners; whence the larger niche below, with the
+smaller one above it, came to be enclosed by a space of five braccia
+on either side. In this space were two doors, one on either side,
+through which one entered into the chapel; and above the doors was a
+space of five braccia between one niche and another, wherein were to
+be carved scenes in marble. The front wall was the same, but without
+niches in the centre, and the height of the socle, with the
+projection, formed an altar, which was set off by the pillars and the
+niches at the corners. In the same front wall, in the centre, was a
+space of the same breadth as the spaces at the sides, to contain some
+scenes in the upper part, while below, the same in height as the
+spaces of the sides, but beginning immediately above the altar, was a
+bronze grating opposite to the inner altar, through which it was
+possible to hear the Mass and to see the inside of the Chamber and the
+aforesaid altar of the Madonna. <span class="pagenum"><a id="Page_27" name="Page_27">[Pg 27]</a></span> Altogether, then, the
+spaces and compartments for the scenes were seven: one in front, above
+the grating, two on each of the longer sides, and two on the upper
+part&mdash;that is to say, behind the altar of the Madonna; and, in
+addition, there were eight large and eight small niches, with other
+smaller spaces for the arms and devices of the Pope and of the Church.</p>
+
+<p>Andrea, then, having found the work in this condition, distributed
+over these spaces, with a rich and beautiful arrangement, scenes from
+the life of the Madonna. In one of the two side-walls, he began in one
+part the Nativity of the Madonna, and executed half of it; and it was
+completely finished afterwards by Baccio Bandinelli. In the other part
+he began the Marriage of the Virgin, but this also remained
+unfinished, and after the death of Andrea it was completed as we see
+it by Raffaello da Montelupo. On the front wall he arranged that there
+should be made, in two small squares which are on either side of the
+bronze grating, in one the Visitation and in the other the scene of
+the Virgin and Joseph going to have themselves enrolled for taxes;
+which scenes were afterwards executed by Francesco da San Gallo, then
+a young man. Then, in that part where the greatest space is, Andrea
+made the Angel Gabriel bringing the Annunciation to the Virgin&mdash;which
+happened in that very chamber which these marbles enclose&mdash;with such
+grace and beauty that there is nothing better to be seen, for he made
+the Virgin wholly intent on that Salutation, and the Angel, kneeling,
+appears to be not of marble, but truly celestial, with "Ave Maria"
+issuing from his mouth. In company with Gabriel are two other Angels,
+in full-relief and detached from the marble, one of whom is walking
+after him and the other appears to be flying. Behind a building stand
+two other Angels, carved out by the chisel in such a way that they
+seem to be alive. In the air, on a cloud much undercut&mdash;nay, almost
+entirely detached from the marble&mdash;are many little boys upholding a
+God the Father, who is sending down the Holy Spirit by means of a ray
+of marble, which, descending from Him completely detached, appears
+quite real; as, likewise, is the Dove upon it, which represents the
+Holy Spirit. Nor can one describe how great is the beauty and how
+delicate the carving of a vase filled with flowers, <span class="pagenum"><a id="Page_28" name="Page_28">[Pg 28]</a></span> which
+was made in this work by the gracious hand of Andrea, who lavished so
+much excellence on the plumes of the Angels, the hair, the grace of
+their features and draperies, and, in short, on every other thing,
+that this divine work cannot be extolled enough. And, in truth, that
+most holy place, which was the very house and habitation of the Mother
+of the Son of God, could not obtain from the resources of the world a
+greater, richer, or more beautiful adornment than that which it
+received from the architecture of Bramante and the sculpture of Andrea
+Sansovino; although, even if it were entirely of the most precious
+gems of the East, it would be little more than nothing in comparison
+with such merits.</p>
+
+<p>Andrea spent an almost incredible amount of time over this work, and
+therefore had no time to finish the others that he had begun; for, in
+addition to those mentioned above, he began in a space on one of the
+side-walls the Nativity of Jesus Christ, with the Shepherds and four
+Angels singing; and all these he finished so well that they seem to be
+wholly alive. But the story of the Magi, which he began above that
+one, was afterwards finished by Girolamo Lombardo, his disciple, and
+by others. On the back wall he arranged that two large scenes should
+be made, one above the other; in one, the Death of Our Lady, with the
+Apostles bearing her to her burial, four Angels in the air, and many
+Jews seeking to steal that most holy corpse; and this was finished
+after Andrea's lifetime by the sculptor Bologna. Below this one, then,
+he arranged that there should be made a scene of the Miracle of
+Loreto, showing in what manner that chapel, which was the Chamber of
+Our Lady, wherein she was born, brought up, and saluted by the Angel,
+and in which she reared her Son up to the age of twelve and lived ever
+after His Death, was finally carried by the Angels, first into
+Sclavonia, afterwards to a forest in the territory of Recanati, and in
+the end to the place where it is now held in such veneration and
+continually visited in solemn throng by all the Christian people. This
+scene, I say, was executed in marble on that wall, according to the
+arrangement made by Andrea, by the Florentine sculptor Tribolo, as
+will be related in due place. Andrea likewise blocked out the Prophets
+for the niches, but did not finish them completely, save one alone,
+and the others were afterwards finished by <span class="pagenum"><a id="Page_29" name="Page_29">[Pg 29]</a></span> the aforesaid
+Girolamo Lombardo and by other sculptors, as will be seen in the Lives
+that are to follow. But with regard to all the works wrought by Andrea
+in this undertaking, they are the most beautiful and best executed
+works of sculpture that had ever been made up to that time.</p>
+
+<p>In like manner, the Palace of the Canons of the same church was also
+carried on by Andrea, after the arrangements made by Bramante at the
+commission of Pope Leo. But this, also, remained unfinished after the
+death of Andrea, and the building was continued under Clement VII by
+Antonio da San Gallo, and then by the architect Giovanni Boccalino,
+under the patronage of the very reverend Cardinal da Carpi, up to the
+year 1563. While Andrea was at work on the aforesaid Chapel of the
+Virgin, there were built the fortifications of Loreto and other works,
+which were highly extolled by the all-conquering Signor Giovanni de'
+Medici, with whom Andrea had a very strait friendship, having become
+first acquainted with him in Rome.</p>
+
+<p>Having four months of holiday in the year for repose while he was
+working at Loreto, he used to spend that time in agriculture at his
+native place of Monte Sansovino, enjoying meanwhile a most tranquil
+rest with his relatives and friends. Living thus at the Monte during
+the summer, he built there a commodious house for himself and bought
+much property; and for the Friars of S. Agostino in that place he had
+a cloister made, which, although small, is very well designed, but
+also out of the square, since those Fathers insisted on having it
+built over the old walls. Andrea, however, made the interior
+rectangular by increasing the thickness of the pilasters at the
+corners, in order to change it from an ill-proportioned structure into
+one with good and true measurements. He designed, also, for a Company
+that had its seat in that cloister, under the title of S. Antonio, a
+very beautiful door of the Doric Order; and likewise the tramezzo<a id="FNanchor3" name="FNanchor3"></a><a href="#Footnote3" title="Go to footnote 3" class="fnanchor">[3]</a>
+and pulpit of the Church of S. Agostino. He also caused a little
+chapel to be built for the friars half-way down the hill on the
+descent to the fountain, without the door that leads to the old Pieve,
+although they had no wish for it. He made the design for the house of
+Messer Pietro, a most skilful astrologer, at <span class="pagenum"><a id="Page_30" name="Page_30">[Pg 30]</a></span> Arezzo; and a
+large figure of terra-cotta for Montepulciano, of King Porsena, which
+was a rare work, although I have never seen it again since the first
+time, so that I fear that it may have come to an evil end. And for a
+German priest, who was his friend, he made a lifesize S. Rocco of
+terra-cotta, very beautiful; which priest had it placed in the Church
+of Battifolle, in the district of Arezzo. This was the last piece of
+sculpture that Andrea executed.</p>
+
+<p>He gave the design, also, for the steps ascending to the Vescovado of
+Arezzo; and for the Madonna delle Lagrime, in the same city, he made
+the design of a very beautiful ornament that was to be executed in
+marble, with four figures, each four braccia high; but this work was
+carried no farther, on account of the death of our Andrea. For he,
+having reached the age of sixty-eight, and being a man who would never
+stay idle, set to work to move some stakes from one place to another
+at his villa, whereby he caught a chill; and in a few days, worn out
+by a continuous fever, he died, in the year 1529.</p>
+
+<p>The death of Andrea grieved his native place by reason of the honour
+that he had brought it, and his sons and the women of his household,
+who lost both their dearest one and their support. And not long ago
+Muzio Camillo, one of the three aforesaid sons, who was displaying a
+most beautiful intellect in the studies of learning and letters,
+followed him, to the great loss of his family and displeasure of his
+friends.</p>
+
+<p>Andrea, in addition to his profession of art, was truly a person of
+much distinction, for he was wise in his discourse, and reasoned most
+beautifully on every subject. He was prudent and regular in his every
+action, much the friend of learned men, and a philosopher of great
+natural gifts. He gave much attention to the study of cosmography, and
+left to his family a number of drawings and writings on the subject of
+distances and measurements. He was somewhat small in stature, but
+robust and beautifully made. His hair was soft and long, his eyes
+light in colour, his nose aquiline, and his skin pink and white; but
+he had a slight impediment in his speech.</p>
+
+<p>His disciples were the aforesaid Girolamo Lombardo, the Florentine
+Simone Cioli, Domenico dal Monte Sansovino (who died soon after him),
+<span class="pagenum"><a id="Page_31" name="Page_31">[Pg 31]</a></span> and the Florentine Leonardo del Tasso, who made the S.
+Sebastian of wood over his own tomb in S. Ambrogio at Florence, and
+the marble panel of the Nuns of S. Chiara. A disciple of Andrea,
+likewise, was the Florentine Jacopo Sansovino&mdash;so called after his
+master&mdash;of whom there will be a long account in the proper place.</p>
+
+<p>Architecture and sculpture, then, are much indebted to Andrea, in that
+he enriched the one with many rules of measurement and devices for
+drawing weights, and with a degree of diligence that had not been
+employed before, and in the other he brought his marble to perfection
+with marvellous judgment, care, and mastery.</p>
+
+
+<hr style="width: 65%;">
+<h2><a name="rovezzano" id="rovezzano"></a><span class="pagenum"><a id="Page_33" name="Page_33">[Pg 33]</a></span> BENEDETTO DA ROVEZZANO</h2>
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_rovezzano" id="life_of_rovezzano"></a><span class="pagenum"><a id="Page_35" name="Page_35">[Pg 35]</a></span> LIFE OF BENEDETTO DA ROVEZZANO</h2>
+
+<h3>SCULPTOR</h3>
+
+
+<p>Great, I think, must be the displeasure of those who, having executed
+some work of genius, yet, when they hope to enjoy the fruits of this
+in their old age, and to see the beautiful results achieved by other
+intellects in works similar to their own, and to be able to perceive
+what perfection there may be in that field of art that they themselves
+have practised, find themselves robbed by adverse fortune, by time, by
+a bad habit of body, or by some other cause, of the sight of their
+eyes; whence they are not able, as they were before, to perceive
+either the deficiencies or the perfection of men whom they hear of as
+living and practising their own professions. And even more are they
+grieved to hear the praises of the new masters, not through envy, but
+because they are not able to judge, like others, whether that fame be
+well-deserved or not.</p>
+
+<p>This misfortune happened to Benedetto da Rovezzano, a sculptor of
+Florence, of whom we are now about to write the Life, to the end that
+the world may know how able and practised a sculptor he was, and with
+what diligence he carved marble in strong relief against its ground in
+the marvellous works that he made. Among the first of many labours
+that this master executed in Florence, may be numbered a chimney-piece
+of grey-stone that is in the house of Pier Francesco Borgherini,
+wherein are capitals, friezes, and many other ornaments, carved by his
+hand in open-work with great diligence. In the house of Messer Bindo
+Altoviti, likewise, is a chimney-piece by the same hand, with a
+lavatory of marble, and some other things executed with much delicacy;
+but everything in these that has to do with architecture was designed
+by Jacopo Sansovino, then a young man.</p>
+
+<p><span class="pagenum"><a id="Page_36" name="Page_36">[Pg 36]</a></span> Next, in the year 1512, Benedetto received the commission for
+a tomb of marble, with rich ornaments, in the principal chapel of the
+Carmine in Florence, for Piero Soderini, who had been Gonfalonier in
+that city; and that work was executed by him with incredible
+diligence, seeing that, besides foliage, carved emblems of death, and
+figures, he made therein with basanite, in low-relief, a canopy in
+imitation of black cloth, with so much grace and such beautiful finish
+and lustre, that the stone appears to be exquisite black satin rather
+than basanite. And, to put it in a few words, for all that the hand of
+Benedetto did in this work there is no praise that would not seem too
+little.</p>
+
+<p>And since he also gave his attention to architecture, there was
+restored from the design of Benedetto a house near S. Apostolo in
+Florence, belonging to Messer Oddo Altoviti, Patron and Prior of that
+church. There Benedetto made the principal door in marble, and, over
+the door of the house, the arms of the Altoviti in grey-stone, with
+the wolf, lean, excoriated, and carved in such strong relief, that it
+seems to be almost separate from the shield; and some pendant
+ornaments carved in open-work with such delicacy, that they appear to
+be not of stone, but of the finest paper. In the same church, above
+the two chapels of Messer Bindo Altoviti, for which Giorgio Vasari of
+Arezzo painted the panel-picture of the Conception in oils, Benedetto
+made a marble tomb for the said Messer Oddo, surrounded by an ornament
+full of most masterly foliage, with a sarcophagus, likewise very
+beautiful.</p>
+
+<p>Benedetto also executed, in competition with Jacopo Sansovino and
+Baccio Bandinelli, as has been related, one of the Apostles, four and
+a half braccia in height, for S. Maria del Fiore&mdash;namely, a S. John
+the Evangelist, which is a passing good figure, wrought with fine
+design and skill. This figure is in the Office of Works, in company
+with the others.</p>
+
+<p>Next, in the year 1515, the chiefs and heads of the Order of
+Vallombrosa, wishing to transfer the body of S. Giovanni Gualberto
+from the Abbey of Passignano to the Church of S. Trinità, an abbey of
+the same Order, in Florence, commissioned Benedetto to make a design,
+upon which he was to set to work, for a chapel and tomb combined, with
+a vast number of lifesize figures in the round, which were to be
+suitably <span class="pagenum"><a id="Page_37" name="Page_37">[Pg 37]</a></span> distributed over that work in some niches separated
+by pilasters filled with ornaments and friezes and with delicately
+carved grotesques. And below this whole work there was to be a base
+one braccio and a half in height, wherein were to be scenes from the
+life of the said S. Giovanni Gualberto; while endless numbers of other
+ornaments were to be round the sarcophagus, and as a crown to the
+work. On this tomb, then, Benedetto, assisted by many carvers,
+laboured continually for ten years, with vast expense to that
+Congregation; and he brought the work to completion in their house of
+Guarlondo, a place near San Salvi, without the Porta alla Croce, where
+the General of the Order that was having the work executed almost
+always lived. Benedetto, then, carried out the making of that chapel
+and tomb in such a manner as amazed Florence; but, as Fate would have
+it&mdash;for even marbles and the finest works of men of excellence are
+subject to the whims of fortune&mdash;after much discord among those monks,
+their government was changed, and the work remained unfinished in the
+same place until the year 1530. At which time, war raging round
+Florence, all those labours were ruined by soldiers, the heads wrought
+with such diligence were impiously struck off from the little figures,
+and the whole work was so completely destroyed and broken to pieces,
+that the monks afterwards sold what was left for a mere song. If any
+one wishes to see a part of it, let him go to the Office of Works of
+S. Maria del Fiore, where there are a few pieces, bought as broken
+marble not many years ago by the officials of that place. And, in
+truth, even as everything is brought to fine completion in those
+monasteries and other places where peace and concord reign, so, on the
+contrary, nothing ever reaches perfection or an end worthy of praise
+in places where there is naught save rivalry and discord, because what
+takes a good and wise man a hundred years to build up can be destroyed
+by an ignorant and crazy boor in one day. And it seems as if fortune
+wishes that those who know the least and delight in nothing that is
+excellent, should always be the men who govern and command, or rather,
+ruin, everything: as was also said of secular Princes, with no less
+learning than truth, by Ariosto, at the beginning of his seventeenth
+canto. But returning to Benedetto: it was a sad pity that all his
+labours <span class="pagenum"><a id="Page_38" name="Page_38">[Pg 38]</a></span> and all the money spent by that Order should have
+come to such a miserable end.</p>
+
+<p>By the same architect were designed the door and vestibule of the
+Badia of Florence, and likewise some chapels, among them that of S.
+Stefano, erected by the family of the Pandolfini. Finally, Benedetto
+was summoned to England into the service of the King, for whom he
+executed many works in marble and in bronze, and, in particular, his
+tomb; from which works, through the liberality of that King, he gained
+enough to be able to live in comfort for the rest of his life.
+Thereupon he returned to Florence; but, after he had finished some
+little things, a sort of giddiness, which even in England had begun to
+affect his eyes, and other troubles caused, so it was said, by
+standing too long over the fire in the founding of metals, or by some
+other reasons, in a short time robbed him completely of the sight of
+his eyes; wherefore he ceased to work about the year 1550, and to live
+a few years after that. Benedetto endured that blindness during the
+last years of his life with the patience of a good Christian, thanking
+God that He had first enabled him, by means of his labours, to live an
+honourable life.</p>
+
+<p>Benedetto was a courteous gentleman, and he always delighted in the
+society of men of culture. His portrait was copied from one made, when
+he was a young man, by Agnolo di Donnino. This original is in our book
+of drawings, wherein there are also some drawings very well executed
+by the hand of Benedetto, who deserves, on account of all those works,
+to be numbered among our most excellent craftsmen.</p>
+
+<div class="figcenter">
+<a name="img011" id="img011"></a>
+<img src="images/img011-tb.jpg" width="400" height="520" alt="Tomb of Pietro Soderini." title="">
+<p class="caption">TOMB OF PIETRO SODERINI<br>
+(<i>After</i> Benedetto da Rovezzano.<br> <i>Florence: S. Maria del Carmine</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img011.jpg">View larger image</a></span></p>
+</div>
+
+
+<hr style="width: 65%;">
+<h2><a name="montelupo" id="montelupo"></a><span class="pagenum"><a id="Page_39" name="Page_39">[Pg 39]</a></span> BACCIO DA MONTELUPO AND RAFFAELLO, HIS SON</h2>
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_montelupo" id="life_of_montelupo"></a><span class="pagenum"><a id="Page_41" name="Page_41">[Pg 41]</a></span> LIVES OF BACCIO DA MONTELUPO</h2>
+
+<h3>SCULPTOR<br>
+
+AND OF RAFFAELLO, HIS SON</h3>
+
+
+<p>So strong is the belief of mankind that those who are negligent in the
+arts which they profess to practise can never arrive at any perfection
+in them, that it was in the face of the judgment of many that Baccio
+da Montelupo learnt the art of sculpture; and this happened to him
+because in his youth, led astray by pleasures, he would scarcely ever
+study, and, although he was exhorted and upbraided by many, he thought
+little or nothing of art. But having come to years of discretion,
+which bring sense with them, he was forced straightway to learn how
+far he was from the good way. Whereupon, seeing with shame that others
+were going ahead of him in that art, he resolved with a stout heart to
+follow and practise with all possible zeal that which in his idleness
+he had hitherto shunned. This resolution was the reason that he
+produced in sculpture such fruits as the opinions of many no longer
+expected from him.</p>
+
+<p>Having thus devoted himself with all his powers to his art, and
+practising it continually, he became a rare and excellent master. And
+of this he gave a proof in a work in hard-stone, wrought with the
+chisel, on the corner of the garden attached to the Palace of the
+Pucci in Florence; which was the escutcheon of Pope Leo X, with two
+children supporting it, executed in a beautiful and masterly manner.
+He made a Hercules for Pier Francesco de' Medici; and from the Guild
+of Porta Santa Maria he received the commission for a statue of S.
+John the Evangelist, to be executed in bronze, in securing which he
+had many difficulties, since a number of masters made models in
+competition with <span class="pagenum"><a id="Page_42" name="Page_42">[Pg 42]</a></span> him. This figure was afterwards placed on
+the corner of S. Michele in Orto, opposite to the Ufficio; and the
+work was finished by him with supreme diligence. It is said that when
+he had made the figure in clay, all who saw the arrangement of the
+armatures, and the moulds laid upon them, held it to be a beautiful
+piece of work, recognizing the rare ingenuity of Baccio in such an
+enterprise; and when they had seen it cast with the utmost facility,
+they gave Baccio credit for having shown supreme mastery, and having
+made a solid and beautiful casting. These labours endured in that
+profession, brought him the name of a good and even excellent master;
+and that figure is esteemed more than ever at the present day by all
+craftsmen, who hold it to be most beautiful.</p>
+
+<p>Setting himself also to work in wood, he carved lifesize Crucifixes,
+of which he made an endless number for all parts of Italy, and among
+them one that is over the door of the choir of the Monks of S. Marco
+at Florence. These are all excellent and full of grace, but there are
+some that are much more perfect than the rest, such as the one of the
+Murate in Florence, and another, no less famous than the first, in S.
+Pietro Maggiore; and for the Monks of SS. Fiora e Lucilla he made a
+similar one, which they placed over the high-altar of their abbey at
+Arezzo, and which is held to be much the most beautiful of them all.
+For the visit of Pope Leo X to Florence, Baccio erected between the
+Palace of the Podestà and the Badia a very beautiful triumphal arch of
+wood and clay; with many little works, which have either disappeared
+or been dispersed among the houses of citizens.</p>
+
+<p>Having grown weary, however, of living in Florence, he went off to
+Lucca, where he executed some works in sculpture, and even more in
+architecture, in the service of that city, and, in particular, the
+beautiful and well-designed Temple of S. Paulino, the Patron Saint of
+the people of Lucca, built with proofs of a fine and well-trained
+intelligence both within and without, and richly adorned. Living in
+that city, then, up to the eighty-eighth year of his life, he ended
+his days there, and received honourable burial in the aforesaid S.
+Paulino from those whom he had honoured when alive.</p>
+
+<div class="figcenter">
+<a name="img012" id="img012"></a>
+<img src="images/img012-tb.jpg" width="350" height="683" alt="S. John the Evangelist." title="">
+<p class="caption">S. JOHN THE EVANGELIST<br>
+(<i>After</i> Baccio da Montelupo.<br> <i>Florence: Or San Michele</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img012.jpg">View larger image</a></span></p>
+</div>
+
+<p>A contemporary of Baccio was Agostino, a very famous sculptor and
+carver of Milan, who began in S. Maria, at Milan, the tomb of
+Monsignore <span class="pagenum"><a id="Page_43" name="Page_43">[Pg 43]</a></span> de Foix, which remains unfinished even now; and
+in it may still be seen many large figures, some finished, some half
+completed, and others only blocked out, with a number of scenes in
+half-relief, in pieces and not built in, and a great quantity of
+foliage and trophies. For the Biraghi, also, he made another tomb,
+which is finished and erected in S. Francesco, with six large figures,
+the base wrought with scenes, and other very beautiful ornaments,
+which bear witness to the masterly skill of that valiant craftsman.</p>
+
+<p>Baccio left at his death, among other sons, Raffaello, who applied
+himself to sculpture, and not merely equalled his father, but
+surpassed him by a great measure. This Raffaello, beginning in his
+youth to work in clay, in wax, and in bronze, acquired the name of an
+excellent sculptor, and was therefore taken by Antonio da San Gallo to
+Loreto, together with many others, in order to finish the
+ornamentation of that Chamber, according to the directions left by
+Andrea Sansovino; where Raffaello completely finished the Marriage of
+Our Lady, begun by the said Sansovino, executing many things in a
+beautiful and perfect manner, partly over the beginnings of Andrea,
+and partly from his own invention. Wherefore he was deservedly
+esteemed to be one of the best craftsmen who worked there in his time.</p>
+
+<p>He had finished this work, when Michelagnolo, by order of Pope Clement
+VII, proceeded to finish the new sacristy and the library of S.
+Lorenzo in Florence; and that master, having recognized the talent of
+Raffaello, made use of him in that work, and caused him to execute,
+among other things, after the model that he himself had made, the S.
+Damiano of marble which is now in that sacristy&mdash;a very beautiful
+statue, very highly extolled by all men. After the death of Clement,
+Raffaello attached himself to Duke Alessandro de' Medici, who was then
+having the fortress of Prato built; and he made for him in grey-stone,
+on one of the extremities of the chief bastion of that
+fortress&mdash;namely, on the outer side&mdash;the escutcheon of the Emperor
+Charles V, upheld by two nude and lifesize Victories, which were much
+extolled, as they still are. And for the extremity of another bastion,
+in the direction of the city, on the southern side, he made the arms
+of Duke Alessandro in the same kind of stone, with two figures. Not
+long after, he executed a large Crucifix <span class="pagenum"><a id="Page_44" name="Page_44">[Pg 44]</a></span> of wood for the
+Nuns of S. Apollonia; and for Alessandro Antinori, a very rich and
+noble merchant of Florence at that time, he prepared a most
+magnificent festival for the marriage of his daughter, with statues,
+scenes, and many other most beautiful ornaments.</p>
+
+<p>Having then gone to Rome, he received from Buonarroti a commission to
+make two figures of marble, each five braccia high, for the tomb of
+Julius II, which was finished and erected at that time by Michelagnolo
+in S. Pietro in Vincula. But Raffaello, falling ill while he was
+executing this work, was not able to put into it his usual zeal and
+diligence, on which account he lost credit thereby, and gave little
+satisfaction to Michelagnolo. At the visit of the Emperor Charles V to
+Rome, for which Pope Paul III prepared a festival worthy of that
+all-conquering Prince, Raffaello made with clay and stucco, on the
+Ponte S. Angelo, fourteen statues so beautiful, that they were judged
+to be the best that had been made for that festival. And, what is
+more, he executed them with such rapidity that he was in time to come
+to Florence, where the Emperor was likewise expected, to make within
+the space of five days and no more, on the abutment of the Ponte a S.
+Trinità two Rivers of clay, each five braccia high, the Rhine to stand
+for Germany and the Danube for Hungary.</p>
+
+<p>After this, having been summoned to Orvieto, he made in marble, in a
+chapel wherein the excellent sculptor Mosca had previously executed
+many most beautiful ornaments, the story of the Magi in half-relief,
+which proved to be a very fine work, on account of the great variety
+of figures and the good manner with which he executed them.</p>
+
+<div class="figcenter">
+<a name="img013" id="img013"></a>
+<img src="images/img013-tb.jpg" width="450" height="328" alt="Head of Gaston de Foix, from the Tomb." title="">
+<p class="caption">HEAD OF GASTON DE FOIX, FROM THE TOMB<br>
+(<i>After</i> Agostino Busti [Il Bambaja].<br> <i>Milan: Brera</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img013.jpg">View larger image</a></span></p>
+</div>
+
+<p>Then, having returned to Rome, he was appointed by Tiberio Crispo, at
+that time Castellan of the Castello di S. Angelo, as architect of that
+great structure; whereupon he set in order many rooms there, adorning
+them with carvings in many kinds of stone and various sorts of
+variegated marbles on the chimney-pieces, windows, and doors. In
+addition to this, he made a marble statue, five braccia high, of the
+Angel of that Castle, which is on the summit of the great square tower
+in the centre, where the standard flies, after the likeness of that
+Angel that appeared to S. Gregory, who, having prayed that the people
+should be delivered from a most grievous pestilence, saw him sheathing
+his sword in the <span class="pagenum"><a id="Page_45" name="Page_45">[Pg 45]</a></span> scabbard. Later, when the said Crispo
+had been made a Cardinal, he sent Raffaello several times to Bolsena,
+where he was building a palace. Nor was it long before the very
+reverend Cardinal Salviati and Messer Baldassarre Turini da Pescia
+commissioned Raffaello, who had already left the service of the Castle
+and of Cardinal Crispo, to make the statue of Pope Leo that is now
+over his tomb in the Minerva at Rome. That work finished, Raffaello
+made a tomb for the same Messer Baldassarre in the Church of Pescia,
+where that gentleman had built a chapel of marble. And for a chapel in
+the Consolazione, at Rome, he made three figures of marble in
+half-relief. But afterwards, having given himself up to the sort of
+life fit rather for a philosopher than for a sculptor, and wishing to
+live in peace, he retired to Orvieto, where he undertook the charge of
+the building of S. Maria, in which he made many improvements; and with
+this he occupied himself for many years, growing old before his time.</p>
+
+<div class="figcenter">
+<a name="img014" id="img014"></a>
+<img src="images/img014-tb.jpg" width="250" height="543" alt="S. Damiano." title="">
+<p class="caption">S. DAMIANO<br>
+(<i>After</i> Raffaello da Montelupo.<br> <i>Florence: New Sacristy of S.
+Lorenzo</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img014.jpg">View larger image</a></span></p>
+</div>
+
+<p>I believe that Raffaello, if he had undertaken great works, as he
+might have done, would have executed more things in art, and better,
+than he did. But he was too kindly and considerate, avoiding all
+conflict, and contenting himself with that wherewith fortune had
+provided him; and thus he neglected many opportunities of making works
+of distinction. Raffaello was a very masterly draughtsman, and he had
+a much better knowledge of all matters of art than had been shown by
+his father Baccio. In our book are some drawings by the hand both of
+the one and of the other; but those of Raffaello are much the finer
+and more graceful, and executed with better art. In his architectural
+decorations Raffaello followed in great measure the manner of
+Michelagnolo, as is proved by the chimney-pieces, doors, and windows
+that he made in the aforesaid Castello di S. Angelo, and by some
+chapels built under his direction, in a rare and beautiful manner, at
+Orvieto.</p>
+
+<p>But returning to Baccio: his death was a great grief to the people of
+Lucca, who had known him as a good and upright man, courteous to all,
+and very loving. Baccio's works date about the year of our Lord 1533.
+His dearest friend, who learnt many things from him, was Zaccaria da
+Volterra, who executed many works in terra-cotta at Bologna, some of
+which are in the Church of S. Giuseppe.</p>
+
+
+<hr style="width: 65%;">
+<h2><a name="dicredi" id="dicredi"></a><span class="pagenum"><a id="Page_47" name="Page_47">[Pg 47]</a></span> LORENZO DI CREDI</h2>
+
+<div class="figcenter">
+<a name="img015" id="img015"></a>
+<img src="images/img015-tb.jpg" width="250" height="555" alt="Venus." title="">
+<p class="caption">LORENZO DI CREDI: VENUS<br>
+(<i>Florence: Uffizi</i>, 3452. <i>Panel</i>)
+<br><span class="link"><a href="images/img015.jpg">View larger image</a></span></p>
+</div>
+
+<hr style="width: 65%;">
+<h2><a name="life_of_dicredi" id="life_of_dicredi"></a><span class="pagenum"><a id="Page_49" name="Page_49">[Pg 49]</a></span> LIFE OF LORENZO DI CREDI</h2>
+
+<h3>PAINTER OF FLORENCE</h3>
+
+
+<p>The while that Maestro Credi, an excellent goldsmith in his day, was
+working in Florence with very good credit and repute, Andrea
+Sciarpelloni placed with him, to the end that he might learn that
+craft, his son Lorenzo, a young man of beautiful intellect and
+excellent character. And since the ability and willingness of the
+master to teach were not greater than the zeal and readiness with
+which the disciple absorbed whatever was shown to him, no long time
+passed before Lorenzo became not only a good and diligent designer,
+but also so able and finished a goldsmith, that no young man of that
+time was his equal; and this brought such honour to Credi, that from
+that day onward Lorenzo was always called by everyone, not Lorenzo
+Sciarpelloni, but Lorenzo di Credi.</p>
+
+<p>Growing in courage, then, Lorenzo attached himself to Andrea
+Verrocchio, who at that time had taken it into his head to devote
+himself to painting; and under him, having Pietro Perugino and
+Leonardo da Vinci as his companions and friends, although they were
+rivals, he set himself with all diligence to learn to paint. And since
+Lorenzo took an extraordinary pleasure in the manner of Leonardo, he
+contrived to imitate it so well that there was no one who came nearer
+to it than he did in the high finish and thorough perfection of his
+works, as may be seen from many drawings that are in our book,
+executed with the style, with the pen, or in water-colours, among
+which are some drawings made from models of clay covered with waxed
+linen cloths and with liquid clay, imitated with such diligence, and
+finished with such patience, as it is scarcely possible to conceive,
+much less to equal.</p>
+
+<p>For these reasons, then, Lorenzo was so beloved by his master, that,
+when Andrea went to Venice to cast in bronze the horse and the statue
+<span class="pagenum"><a id="Page_50" name="Page_50">[Pg 50]</a></span> of Bartolommeo da Bergamo, he left to Lorenzo the whole
+management and administration of his revenues and affairs, and
+likewise all his drawings, reliefs, statues, and art materials. And
+Lorenzo, on his part, loved his master Andrea so dearly, that, besides
+occupying himself with incredible zeal with his interests in Florence,
+he also went more than once to Venice to see him and to render him an
+account of his good administration, which was so much to the
+satisfaction of his master, that, if Lorenzo had consented, Andrea
+would have made him his heir. Nor did Lorenzo prove in any way
+ungrateful for this good-will, for, after the death of Andrea, he went
+to Venice and brought his body to Florence; and then he handed over to
+his heirs everything that was found to belong to Andrea, except his
+drawings, pictures, sculptures, and all other things connected with
+art.</p>
+
+<p>The first paintings of Lorenzo were a round picture of Our Lady, which
+was sent to the King of Spain (the design of which picture he copied
+from one by his master Andrea), and a picture, much better than the
+other, which was likewise copied by Lorenzo from one by Leonardo da
+Vinci, and also sent to Spain; and so similar was it to that by
+Leonardo, that no difference could be seen between the one and the
+other. By the hand of Lorenzo is a Madonna in a very well executed
+panel, which is beside the great Church of S. Jacopo at Pistoia; and
+another, also, which is in the Hospital of the Ceppo, and is one of
+the best pictures in that city. Lorenzo painted many portraits, and
+when he was a young man he made that one of himself which is now in
+the possession of his disciple, Gian Jacopo, a painter in Florence,
+together with many other things left to him by Lorenzo, among which
+are the portrait of Pietro Perugino and that of Lorenzo's master,
+Andrea Verrocchio. He also made a portrait of Girolamo Benivieni, a
+man of great learning, and much his friend.</p>
+
+<div class="figcenter">
+<a name="img016" id="img016"></a>
+<img src="images/img016-tb.jpg" width="400" height="555" alt="Andrea Verrocchio." title="">
+<p class="caption">ANDREA VERROCCHIO<br>
+(<i>After the panel by</i> Lorenzo di Credi.<br> <i>Florence: Uffizi, 1163</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img016.jpg">View larger image</a></span></p>
+</div>
+
+<p>For the Company of S. Sebastiano, behind the Church of the Servi in
+Florence, he executed a panel-picture of Our Lady, S. Sebastian, and
+other saints; and for the altar of S. Giuseppe, in S. Maria del Fiore,
+he painted the first-named saint. To Montepulciano he sent a panel
+that is now in the Church of S. Agostino, containing a Crucifix, Our
+Lady, and S. John, painted with much diligence. But the best work that
+<span class="pagenum"><a id="Page_51" name="Page_51">[Pg 51]</a></span> Lorenzo ever executed, and that to which he devoted the
+greatest care and zeal, in order to surpass himself, was the one that
+is in a chapel at Cestello, a panel containing Our Lady, S. Julian,
+and S. Nicholas; and whoever wishes to know how necessary it is for a
+painter to work with a high finish in oils if he desires that his
+pictures should remain fresh, must look at this panel, which is
+painted with such a finish as could not be excelled.</p>
+
+<p>While still a young man, Lorenzo painted a S. Bartholomew on a
+pilaster in Orsanmichele, and for the Nuns of S. Chiara, in Florence,
+a panel-picture of the Nativity of Christ, with some shepherds and
+angels; in which picture, besides other things, he took great pains
+with the imitation of some herbage, painting it so well that it
+appears to be real. For the same place he made a picture of S. Mary
+Magdalene in Penitence; and in a round picture that is in the house of
+Messer Ottaviano de' Medici he painted a Madonna. For S. Friano he
+painted a panel; and he executed some figures in S. Matteo at the
+Hospital of Lelmo. For S. Reparata he painted a picture with the Angel
+Michael, and for the Company of the Scalzo he made a panel-picture,
+executed with much diligence. And, in addition to these works, he made
+many pictures of Our Lady and others, which are dispersed among the
+houses of citizens in Florence.</p>
+
+<p>Having thus got together a certain sum of money by means of these
+labours, and being a man who loved quiet more than riches, Lorenzo
+retired to S. Maria Nuova in Florence, where he lived and had a
+comfortable lodging until his death. Lorenzo was much inclined to the
+sect of Fra Girolamo of Ferrara, and always lived like an upright and
+orderly man, showing a friendly courtesy whenever the occasion arose.
+Finally, having come to the seventy-eighth year of his life, he died
+of old age, and was buried in S. Pietro Maggiore, in the year 1530.</p>
+
+<p>He showed such a perfection of finish in his works, that any other
+painting, in comparison with his, must always seem merely sketched and
+dirty. He left many disciples, and among them Giovanni Antonio
+Sogliani and Tommaso di Stefano. Of Sogliani there will be an account
+in another place; and as for Tommaso, he imitated his master closely
+in his high finish, and made many works in Florence and abroad,
+including <span class="pagenum"><a id="Page_52" name="Page_52">[Pg 52]</a></span> a panel-picture for Marco del Nero at his villa of
+Arcetri, of the Nativity of Christ, executed with great perfection of
+finish. But ultimately it became Tommaso's principal profession to
+paint on cloth, insomuch that he painted church-hangings better than
+any other man. Now Stefano, the father of Tommaso, had been an
+illuminator, and had also done something in architecture; and Tommaso,
+after his father's death, in order to follow in his steps, rebuilt the
+bridge of Sieve, which had been destroyed by a flood about that time,
+at a distance of ten miles from Florence, and likewise that of S.
+Piero a Ponte on the River Bisenzio, which is a beautiful work; and
+afterwards he erected many buildings for monasteries and other places.
+Then, being architect to the Guild of Wool, he made the model for the
+new buildings which were constructed by that Guild behind the
+Nunziata; and, finally, having reached the age of seventy or more, he
+died in the year 1564, and was buried in S. Marco, to which he was
+followed by an honourable train of the Academy of Design.</p>
+
+<p>But returning to Lorenzo: he left many works unfinished at his death,
+and, in particular, a very beautiful picture of the Passion of Christ,
+which came into the hands of Antonio da Ricasoli, and a panel painted
+for M. Francesco da Castiglioni, Canon of S. Maria del Fiore, who sent
+it to Castiglioni. Lorenzo had no wish to make many large works,
+because he took great pains in executing his pictures, and devoted an
+incredible amount of labour to them, for the reason, above all, that
+the colours which he used were ground too fine; besides which, he was
+always purifying and distilling his nut-oils, and he made mixtures of
+colours on his palette in such numbers, that from the first of the
+light tints to the last of the darks there was a gradual succession
+involving an over-careful and truly excessive elaboration, so that at
+times he had twenty-five or thirty of them on his palette. For each
+tint he kept a separate brush; and where he was working he would never
+allow any movement that might raise dust. Such excessive care is
+perhaps no more worthy of praise than the other extreme of negligence,
+for in all things one should observe a certain mean and avoid
+extremes, which are generally harmful.</p>
+
+<div class="figcenter">
+<a name="img017" id="img017"></a>
+<img src="images/img017-tb.jpg" width="400" height="400" alt="Madonna and Child with Saints." title="">
+<p class="caption">MADONNA AND CHILD WITH SAINTS<br>
+(<i>After the panel by</i> Lorenzo di Credi.<br> <i>Paris: Louvre, 1263</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img017.jpg">View larger image</a></span></p>
+</div>
+
+<div class="figcenter">
+<a name="img018" id="img018"></a>
+<img src="images/img018-tb.jpg" width="400" height="371" alt="The Nativity." title="">
+<p class="caption">THE NATIVITY<br>
+(<i>After the panel by</i> Lorenzo di Credi.<br> <i>Florence: Accademia, 92</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img018.jpg">View larger image</a></span></p>
+</div>
+
+<hr style="width: 65%;">
+<h2><a name="lorenzetto" id="lorenzetto"></a><span class="pagenum"><a id="Page_53" name="Page_53">[Pg 53]</a></span> LORENZETTO AND BOCCACCINO</h2>
+
+<div class="figcenter">
+<a name="img019" id="img019"></a>
+<img src="images/img019-tb.jpg" width="500" height="273" alt="S. Catharine borne to her Tomb by Angels." title="">
+<p class="caption">BERNARDINO DEL LUPINO (LUINI): S. CATHARINE BORNE TO
+HER TOMB BY ANGELS<br>
+(<i>Milan: Brera, 288. Fresco</i>)
+<br><span class="link"><a href="images/img019.jpg">View larger image</a></span></p>
+</div>
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_lorenzetto" id="life_of_lorenzetto"></a><span class="pagenum"><a id="Page_55" name="Page_55">[Pg 55]</a></span> LIVES OF LORENZETTO</h2>
+
+<h3>SCULPTOR AND ARCHITECT OF FLORENCE<br>
+
+AND OF BOCCACCINO<br>
+
+PAINTER OF CREMONA</h3>
+
+
+<p>It happens at times, after Fortune has kept the talent of some fine
+intellect subjected for a period by poverty, that she thinks better of
+it, and at an unexpected moment provides all sorts of benefits for one
+who has hitherto been the object of her hatred, so as to atone in one
+year for the affronts and discomforts of many. This was seen in
+Lorenzo, the son of Lodovico the bell-founder, a Florentine, who was
+engaged in the work both of architecture and of sculpture, and was
+loved so dearly by Raffaello da Urbino, that he not only was assisted
+by him and employed in many enterprises, but also received from the
+same master a wife in the person of a sister of Giulio Romano, a
+disciple of Raffaello.</p>
+
+<p>Lorenzetto<a id="FNanchor4" name="FNanchor4"></a><a href="#Footnote4" title="Go to footnote 4" class="fnanchor">[4]</a>&mdash;for thus he was always called&mdash;finished in his youth
+the tomb of Cardinal Forteguerra, formerly begun by Andrea Verrocchio,
+which was erected in S. Jacopo at Pistoia; and there, among other
+things, is a Charity by the hand of Lorenzetto, which is not otherwise
+than passing good. And a little afterwards he made a figure for
+Giovanni Bartolini, to adorn his garden; which finished, he went to
+Rome, where in his first years he executed many works, of which there
+is no need to make any further record. Then, receiving from Agostino
+Chigi, at the instance of Raffaello da Urbino, the commission to make
+a tomb for him in S. Maria del Popolo, where Agostino had built a
+chapel, Lorenzo set himself to work on this with all the zeal,
+diligence, and labour in his power, in order to come out of it with
+credit and to give satisfaction to Raffaello, from <span class="pagenum"><a id="Page_56" name="Page_56">[Pg 56]</a></span> whom he
+had reason to expect much favour and assistance, and also in the hope
+of being richly rewarded by the liberality of Agostino, a man of great
+wealth. Nor were these labours expended without an excellent result,
+for, assisted by Raffaello, he executed the figures to perfection: a
+nude Jonah delivered from the belly of the whale, as a symbol of the
+resurrection from the dead, and an Elijah, living by grace, with his
+cruse of water and his bread baked in the ashes, under the
+juniper-tree. These statues, then, were brought to the most beautiful
+completion by Lorenzetto with all the art and diligence at his
+command, but he did not by any means obtain for them that reward which
+his great labours and the needs of his family called for, since, death
+having closed the eyes of Agostino, and almost at the same time those
+of Raffaello, the heirs of Agostino, with scant respect, allowed these
+figures to remain in Lorenzetto's workshop, where they stood for many
+years. In our own day, indeed, they have been set into place on that
+tomb in the aforesaid Church of S. Maria del Popolo; but Lorenzo,
+robbed for those reasons of all hope, found for the present that he
+had thrown away his time and labour.</p>
+
+<div class="figcenter">
+<a name="img020" id="img020"></a>
+<img src="images/img020-tb.jpg" width="300" height="566" alt="Elijah." title="">
+<p class="caption">ELIJAH<br>
+(<i>After</i> Lorenzetto.<br> <i>Rome: S. Maria del Popolo, Chigi Chapel</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img020.jpg">View larger image</a></span></p>
+</div>
+
+<p>Next, by way of executing the testament of Raffaello, Lorenzo was
+commissioned to make a marble statue of Our Lady, four braccia high,
+for the tomb of Raffaello in the Temple of S. Maria Ritonda, where the
+tabernacle was restored by order of that master. The same Lorenzo made
+a tomb with two children in half-relief, for a merchant of the Perini
+family, in the Trinità at Rome. And in architecture he made the
+designs for many houses; in particular, that of the Palace of Messer
+Bernardino Caffarelli, and in the Valle, for Cardinal Andrea della
+Valle, the inner façade, and also the design of the stables and of the
+upper garden. In the composition of that work he included ancient
+columns, bases, and capitals, and around the whole, to serve as base,
+he distributed ancient sarcophagi covered with carved scenes. Higher
+up, below some large niches, he made another frieze with fragments of
+ancient works, and above this, in those niches, he placed some
+statues, likewise ancient and of marble, which, although they were not
+entire&mdash;some being without the head, some without arms, others without
+legs, and every one, in short, with something missing&mdash;nevertheless he
+arranged to the best <span class="pagenum"><a id="Page_57" name="Page_57">[Pg 57]</a></span> advantage, having caused all that
+was lacking to be restored by good sculptors. This was the reason that
+other lords have since done the same thing and have restored many
+ancient works; as, for example, Cardinals Cesis, Ferrara, and Farnese,
+and, in a word, all Rome. And, in truth, antiquities restored in this
+way have more grace than those mutilated trunks, members without
+heads, or figures in any other way maimed and defective. But to return
+to the aforesaid garden: over the niches was placed the frieze that is
+still seen there, of supremely beautiful ancient scenes in
+half-relief; and this invention of Lorenzo's stood him in very good
+stead, since, after the troubles of Pope Clement had abated, he was
+employed by him with much honour and profit to himself. For the Pope
+had seen, when the fight for the Castello di S. Angelo was raging,
+that two little chapels of marble, which were at the head of the
+bridge, had been a source of mischief, in that some harquebusiers,
+standing in them, shot down all who exposed themselves at the walls,
+and, themselves in safety, inflicted great losses and baulked the
+defence; and his Holiness resolved to remove those chapels and to set
+up in place of them two marble statues on pedestals. And so, after the
+S. Paul of Paolo Romano, of which there has been an account in another
+Life, had been set in place, the commission for the other, a S. Peter,
+was given to Lorenzetto, who acquitted himself passing well, but did
+not surpass the work of Paolo Romano. These two statues were set up,
+and are to be seen at the present day at the head of the bridge.</p>
+
+<div class="figcenter">
+<a name="img021" id="img021"></a>
+<img src="images/img021-tb.jpg" width="400" height="531" alt="S. Peter." title="">
+<p class="caption">S. PETER<br>
+(<i>After</i> Lorenzetto.<br> <i>Rome: Ponte S. Angelo</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img021.jpg">View larger image</a></span></p>
+</div>
+
+<p>After Pope Clement was dead, Baccio Bandinelli was given the
+commissions for the tombs of that Pope and of Leo X, and Lorenzo was
+entrusted with the marble masonry that was to be executed for them;
+whereupon the latter spent no little time over that work. Finally, at
+the election of Paul III as Pontiff, when Lorenzo was in sorry straits
+and almost worn out, having nothing but a house which he had built for
+himself in the Macello de' Corbi, and being weighed down by his five
+children and by other expenses, Fortune changed and began to raise him
+and to set him back on a better path; for Pope Paul wishing to have
+the building of S. Pietro continued, and neither Baldassarre of Siena
+nor any of the others who had been employed in that work being now
+alive, <span class="pagenum"><a id="Page_58" name="Page_58">[Pg 58]</a></span> Antonio da San Gallo appointed Lorenzo as architect
+for that structure, wherein the walls were being built at a fixed
+price of so much for every four braccia. Thereupon Lorenzo, without
+exerting himself, in a few years became more famous and prosperous
+than he had been after many years of endless labour, through having
+found God, mankind, and Fortune all propitious at that one moment. And
+if he had lived longer, he would have done even more towards wiping
+out those injuries that a cruel fate had unjustly brought upon him
+during his best period of work. But after reaching the age of
+forty-seven, he died of fever in the year 1541.</p>
+
+<p>The death of this master caused great grief to his many friends, who
+had always known him as a loving and reasonable man. And since he had
+always lived like an upright and orderly citizen, the Deputati of S.
+Pietro gave him honourable burial in a tomb, on which they placed the
+following epitaph:</p>
+
+<p class="center">
+  SCULPTORI LAURENTIO FLORENTINO</p>
+<hr class="small">
+<p class="center">ROMA MIHI TRIBUIT TUMULUM, FLORENTIA VITAM:<br>
+  NEMO ALIO VELLET NASCI ET OBIRE LOCO.<br>
+  MDXLI<br>
+  VIX. ANN. XLVII, MEN. II, D. XV.</p>
+
+<div class="figcenter">
+<a name="img022" id="img022"></a>
+<img src="images/img022-tb.jpg" width="500" height="339" alt="Madonna and Child with Saints." title="">
+<p class="caption">MADONNA AND CHILD WITH SAINTS<br>
+(<i>After the panel by</i> Boccaccino.<br> <i>Rome: Doria Gallery, 125</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img022.jpg">View larger image</a></span></p>
+</div>
+
+<p>Boccaccino of Cremona, who lived about the same time, had acquired the
+name of a rare and excellent painter in his native place and
+throughout all Lombardy, and his works were very highly extolled, when
+he went to Rome to see the works, so much renowned, of Michelagnolo;
+but no sooner had he seen them than he sought to the best of his power
+to disparage and revile them, believing that he could exalt himself
+almost exactly in proportion as he vilified a man who truly was in the
+matters of design, and indeed in all others without exception,
+supremely excellent. This master, then, was commissioned to paint the
+Chapel of S. Maria Traspontina; but when he had finished it and thrown
+it open to view, it was a revelation to all those who thought that he
+would soar above the heavens, for they saw that he could not reach
+even to the level of the <span class="pagenum"><a id="Page_59" name="Page_59">[Pg 59]</a></span> lowest floor of a house. And so
+the painters of Rome, on seeing the Coronation of Our Lady that he had
+painted in that work, with some children flying around her, changed
+from marvel to laughter.</p>
+
+<p>From this it may be seen that when people begin to exalt with their
+praise men who are more excellent in name than in deeds, it is a
+difficult thing to contrive to bring such men down to their true level
+with words, however reasonable, before their own works, wholly
+contrary to their reputation, reveal what the masters so celebrated
+really are. And it is a very certain fact that the worst harm that one
+man can do to another is the giving of praise too early to any
+intellect engaged in work, since such praise, swelling him with
+premature pride, prevents him from going any farther, and a man so
+greatly extolled, on finding that his works have not that excellence
+which was expected, takes the censure too much to heart, and despairs
+completely of ever being able to do good work. Wise men, therefore,
+should fear praise much more than censure, for the first flatters and
+deceives, and the second, revealing the truth, gives instruction.</p>
+
+<p>Boccaccino, then, departing from Rome, where he felt himself wounded
+and torn to pieces, returned to Cremona, and there continued to
+practise painting to the best of his power and knowledge. In the
+Duomo, over the arches in the middle, he painted all the stories of
+the Madonna; and this work is much esteemed in that city. He also made
+other works throughout that city and in the neighbourhood, of which
+there is no need to make mention.</p>
+
+<p>He taught his art to a son of his own, called Camillo, who, applying
+himself to the art with more study, strove to make amends for the
+shortcomings of the boastful Boccaccino. By the hand of this Camillo
+are some works in S. Gismondo, which is a mile distant from Cremona;
+and these are esteemed by the people of Cremona as the best paintings
+that they have. He also painted the façade of a house on their Piazza,
+all the compartments of the vaulting and some panels in S. Agata, and
+the façade of S. Antonio, together with other works, which made him
+known as a practised master. If death had not snatched him from the
+world before his time, he would have achieved a most honourable
+success, for <span class="pagenum"><a id="Page_60" name="Page_60">[Pg 60]</a></span> he was advancing on the good way; and even for
+those works that he has left to us, he deserves to have record made of
+him.</p>
+
+<p>But returning to Boccaccino; without having ever made any improvement
+in his art, he passed from this life at the age of fifty-eight. In his
+time there lived in Milan a passing good illuminator, called Girolamo,
+whose works may be seen in good numbers both in that city and
+throughout all Lombardy. A Milanese, likewise, living about the same
+time, was Bernardino del Lupino,<a id="FNanchor5" name="FNanchor5"></a><a href="#Footnote5" title="Go to footnote 5" class="fnanchor">[5]</a> a very delicate and pleasing
+painter, as may be seen from many works by his hand that are in that
+city, and from a Marriage of Our Lady at Sarone, a place twelve miles
+distant from Milan, and other scenes that are in the Church of S.
+Maria, executed most perfectly in fresco. He also worked with a very
+high finish in oils, and he was a courteous person, and very liberal
+with his possessions; wherefore he deserves all the praise that is due
+to any craftsman who makes the works and ways of his daily life shine
+by the adornment of courtesy no less than do his works of art on
+account of their excellence.</p>
+
+<div class="figcenter">
+<a name="img023" id="img023"></a>
+<img src="images/img023-tb.jpg" width="500" height="325" alt="The Marriage of the Virgin." title="">
+<p class="caption">THE MARRIAGE OF THE VIRGIN<br>
+(<i>After the fresco by</i> Bernardino del Lupino [Luini].<br> <i>Saronno:
+Santuario della Beata Vergine</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img023.jpg">View larger image</a></span></p>
+</div>
+
+
+<hr style="width: 65%;">
+<h2><a name="peruzzi" id="peruzzi"></a><span class="pagenum"><a id="Page_61" name="Page_61">[Pg 61]</a></span> BALDASSARRE PERUZZI</h2>
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_peruzzi" id="life_of_peruzzi"></a><span class="pagenum"><a id="Page_63" name="Page_63">[Pg 63]</a></span> LIFE OF BALDASSARRE PERUZZI</h2>
+
+<h3>PAINTER AND ARCHITECT OF SIENA</h3>
+
+
+<p>Among all the gifts that Heaven distributes to mortals, none, in
+truth, can or should be held in more account than talent, with
+calmness and peace of soul, for the first makes us for ever immortal,
+and the second blessed. He, then, who is endowed with these gifts, in
+addition to the deep gratitude that he should feel towards God, must
+make himself known among other men almost as a light amid darkness.
+And even so, in our own times, did Baldassarre Peruzzi, a painter and
+architect of Siena, of whom we can say with certainty that the modesty
+and goodness which were revealed in him were no mean offshoots of that
+supreme serenity for which the minds of all who are born in this world
+are ever sighing, and that the works which he left to us are most
+honourable fruits of that true excellence which was infused in him by
+Heaven.</p>
+
+<p>Now, although I have called him above, Baldassarre of Siena, because
+he was always known as a Sienese, I will not withhold that even as
+seven cities contended for Homer, each claiming that he was her
+citizen, so three most noble cities of Tuscany&mdash;Florence, Volterra,
+and Siena&mdash;have each held that Baldassarre was her son. But, to tell
+the truth, each of them has a share in him, seeing that Antonio
+Peruzzi, a noble citizen of Florence, that city being harassed by
+civil war, went off, in the hope of a quieter life, to Volterra; and
+after living some time there, in the year 1482 he took a wife in that
+city, and in a few years had two children, one a boy, called
+Baldassarre, and the other a girl, who received the name of Virginia.
+Now it happened that war pursued this man who sought nothing but peace
+and quiet, and that no long time afterwards <span class="pagenum"><a id="Page_64" name="Page_64">[Pg 64]</a></span> Volterra was
+sacked; whence Antonio was forced to fly to Siena, and to live there
+in great poverty, having lost almost all that he had.</p>
+
+<p>Meanwhile Baldassarre, having grown up, was for ever associating with
+persons of ability, and particularly with goldsmiths and draughtsmen;
+and thus, beginning to take pleasure in the arts, he devoted himself
+heart and soul to drawing. And not long after, his father being now
+dead, he applied himself to painting with such zeal, that in a very
+short time he made marvellous progress therein, imitating living and
+natural things as well as the works of the best masters. In this way,
+executing what work he could find, he was able to maintain himself,
+his mother, and his sister with his art, and to pursue the studies of
+painting.</p>
+
+<div class="figcenter">
+<a name="img024" id="img024"></a>
+<img src="images/img024-tb.jpg" width="450" height="309" alt="Cupola of the Ponzetti Chapel." title="">
+<p class="caption">CUPOLA OF THE PONZETTI CHAPEL<br>
+(<i>After the fresco by</i> Baldassarre Peruzzi.<br> <i>Rome: S. Maria della
+Pace</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img024.jpg">View larger image</a></span></p>
+</div>
+
+<p>His first work&mdash;apart from some things at Siena, not worthy of
+mention&mdash;was in a little chapel near the Porta Fiorentina at Volterra,
+wherein he executed some figures with such grace, that they led to his
+forming a friendship with a painter of Volterra, called Piero, who
+lived most of his time in Rome, and going off with that master to that
+city, where he was doing some work in the Palace for Alexander VI. But
+after the death of Alexander, Maestro Piero working no more in that
+place, Baldassarre entered the workshop of the father of Maturino, a
+painter of no great excellence, who at that time had always plenty of
+work to do in the form of commonplace commissions. That painter, then,
+placing a panel primed with gesso before Baldassarre, but giving him
+no scrap of drawing or cartoon, told him to make a Madonna upon it.
+Baldassarre took a piece of charcoal, and in a moment, with great
+mastery, he had drawn what he wished to paint in the picture; and
+then, setting his hand to the colouring, in a few days he painted a
+picture so beautiful and so well finished, that it amazed not only the
+master of the workshop, but also many painters who saw it; and they,
+recognizing his ability, contrived to obtain for him the commission to
+paint the Chapel of the High-Altar in the Church of S. Onofrio, which
+he executed in fresco with much grace and in a very beautiful manner.
+After this, he painted two other little chapels in fresco in the
+Church of S. Rocco a Ripa. Having thus begun to be in good repute, he
+was summoned to Ostia, where he painted most beautiful scenes in
+chiaroscuro in some apartments of the great tower of <span class="pagenum"><a id="Page_65" name="Page_65">[Pg 65]</a></span> the
+fortress; in particular, a hand-to-hand battle after the manner in
+which the ancient Romans used to fight, and beside this a company of
+soldiers delivering an assault on a fortress, wherein the attackers,
+covered by their shields, are seen making a beautiful and spirited
+onslaught and planting their ladders against the walls, while the men
+within are hurling them back with the utmost fury. In this scene,
+also, he painted many antique instruments of war, and likewise various
+kinds of arms; with many other scenes in another hall, which are held
+to be among the best works that he ever made, although it is true that
+he was assisted in this work by Cesare da Milano.</p>
+
+<p>After these labours, having returned to Rome, Baldassarre formed a
+very strait friendship with Agostino Chigi of Siena, both because
+Agostino had a natural love for every man of talent, and because
+Baldassarre called himself a Sienese. And thus, with the help of so
+great a man, he was able to maintain himself while studying the
+antiquities of Rome, and particularly those in architecture, wherein,
+out of rivalry with Bramante, in a short time he made marvellous
+proficience, which afterwards brought him, as will be related, very
+great honour and profit. He also gave attention to perspective, and
+became such a master of that science, that we have seen few in our own
+times who have worked in it as well as he. Pope Julius II having
+meanwhile built a corridor in his Palace, with an aviary near the
+roof, Baldassarre painted there, in chiaroscuro, all the months of the
+year and the pursuits that are practised in each of them. In this work
+may be seen an endless number of buildings, theatres, amphitheatres,
+palaces, and other edifices, all distributed with beautiful invention
+in that place. He then painted, in company with other painters, some
+apartments in the Palace of S. Giorgio for Cardinal Raffaello Riario,
+Bishop of Ostia; and he painted a façade opposite to the house of
+Messer Ulisse da Fano, and also that of the same Messer Ulisse,
+wherein he executed stories of Ulysses that brought him very great
+renown and fame.</p>
+
+<p>Even greater was the fame that came to him from the model of the
+Palace of Agostino Chigi, executed with such beautiful grace that it
+seems not to have been built, but rather to have sprung into life; and
+<span class="pagenum"><a id="Page_66" name="Page_66">[Pg 66]</a></span> with his own hand he decorated the exterior with most
+beautiful scenes in terretta. The hall, likewise, is adorned with rows
+of columns executed in perspective, which, with the depth of the
+intercolumniation, cause it to appear much larger. But what is the
+greatest marvel of all is a loggia that may be seen over the garden,
+painted by Baldassarre with scenes of the Medusa turning men into
+stone, such that nothing more beautiful can be imagined; and then
+there is Perseus cutting off her head, with many other scenes in the
+spandrels of that vaulting, while the ornamentation, drawn in
+perspective with colours, in imitation of stucco, is so natural and
+lifelike, that even to excellent craftsmen it appears to be in relief.
+And I remember that when I took the Chevalier Tiziano, a most
+excellent and honoured painter, to see that work, he would by no means
+believe that it was painted, until he had changed his point of view,
+when he was struck with amazement. In that place are some works
+executed by Fra Sebastiano Viniziano, in his first manner; and by the
+hand of the divine Raffaello, as has been related, there is a Galatea
+being carried off by sea-gods.</p>
+
+<div class="figcenter">
+<a name="img025" id="img025"></a>
+<img src="images/img025-tb.jpg" width="450" height="309" alt="Palazzo Della Farnesina." title="">
+<p class="caption">PALAZZO DELLA FARNESINA<br>
+(<i>After</i> Baldassarre Peruzzi.<br> <i>Rome</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img025.jpg">View larger image</a></span></p>
+</div>
+
+<p>Baldassarre also painted, beyond the Campo di Fiore, on the way to the
+Piazza Giudea, a most beautiful façade in terretta with marvellous
+perspectives, for which he received the commission from a Groom of the
+Chamber to the Pope; and it is now in the possession of Jacopo
+Strozzi, the Florentine. In like manner, he wrought for Messer
+Ferrando Ponzetti, who afterwards became a Cardinal, a chapel at the
+entrance of the Church of the Pace, on the left hand, with little
+scenes from the Old Testament, and also with some figures of
+considerable size; and for a work in fresco this is executed with much
+diligence. But even more did he prove his worth in painting and
+perspective near the high-altar of the same church, where he painted a
+scene for Messer Filippo da Siena, Clerk of the Chamber, of Our Lady
+going into the Temple, ascending the steps, with many figures worthy
+of praise, such as a gentleman in antique dress, who, having
+dismounted from his horse, with his servants waiting, is giving alms
+to a beggar, quite naked and very wretched, who may be seen asking him
+for it with pitiful humility. In this place, also, are various
+buildings and most beautiful ornaments; and right round <span class="pagenum"><a id="Page_67" name="Page_67">[Pg 67]</a></span>
+the whole work, executed likewise in fresco, are counterfeited
+decorations of stucco, which have the appearance of being attached to
+the wall with large rings, as if it were a panel painted in oils.</p>
+
+<p>And in the magnificent festival that the Roman people prepared on the
+Campidoglio when the baton of Holy Church was given to Duke Giuliano
+de' Medici, out of six painted scenes which were executed by six
+different painters of eminence, that by the hand of Baldassarre,
+twenty-eight braccia high and fourteen broad, showing the betrayal of
+the Romans by Julia Tarpeia, was judged to be without a doubt better
+than any of the others. But what amazed everyone most was the
+perspective-view or scenery for a play, which was so beautiful that it
+would be impossible to imagine anything finer, seeing that the variety
+and beautiful manner of the buildings, the various loggie, the
+extravagance of the doors and windows, and the other architectural
+details that were seen in it, were so well conceived and so
+extraordinary in invention, that one is not able to describe the
+thousandth part.</p>
+
+<p>For the house of Messer Francesco di Norcia, on the Piazza de'
+Farnesi, he made a very graceful door of the Doric Order; and for
+Messer Francesco Buzio he executed, near the Piazza degl' Altieri, a
+very beautiful façade, in the frieze of which he painted portraits
+from life of all the Roman Cardinals who were then alive, while on the
+wall itself he depicted the scenes of Cæsar receiving tribute from all
+the world, and above he painted the twelve Emperors, who are standing
+upon certain corbels, being foreshortened with a view to being seen
+from below, and wrought with extraordinary art. For this whole work he
+rightly obtained vast commendation. In the Banchi he executed the
+escutcheon of Pope Leo, with three children, that seemed to be alive,
+so tender was their flesh. For Fra Mariano Fetti, Friar of the Piombo,
+he made a very beautiful S. Bernard in terretta in his garden at
+Montecavallo. And for the Company of S. Catherine of Siena, on the
+Strada Giulia, in addition to a bier for carrying the dead to burial,
+he executed many other things, all worthy of praise. In Siena, also,
+he gave the design for the organ of the Carmine; and he made some
+other works in that city, but none of much importance.</p>
+
+<p><span class="pagenum"><a id="Page_68" name="Page_68">[Pg 68]</a></span> Later, having been summoned to Bologna by the Wardens of
+Works of S. Petronio, to the end that he might make the model for the
+façade of that church, he made for this two large ground-plans and two
+elevations, one in the modern manner and the other in the German; and
+the latter is still preserved in the Sacristy of the same S. Petronio,
+as a truly extraordinary work, since he drew that building in such
+sharply-detailed perspective that it appears to be in relief. In the
+house of Count Giovan Battista Bentivogli, in the same city, he made
+several drawings for the aforesaid structure, which were so beautiful,
+that it is not possible to praise enough the wonderful expedients
+sought out by this man in order not to destroy the old masonry, but to
+join it in beautiful proportion with the new. For the Count Giovan
+Battista mentioned above he made the design of a Nativity with the
+Magi, in chiaroscuro, wherein it is a marvellous thing to see the
+horses, the equipage, and the courts of the three Kings, executed with
+supreme beauty and grace, as are also the walls of the temples and
+some buildings round the hut. This work was afterwards given to be
+coloured by the Count to Girolamo Trevigi, who brought it to fine
+completion. Baldassarre also made the design for the door of the
+Church of S. Michele in Bosco, a most beautiful monastery of the Monks
+of Monte Oliveto, without Bologna; and the design and model of the
+Duomo of Carpi, which was very beautiful, and was built under his
+direction according to the rules of Vitruvius. And in the same place
+he made a beginning with the Church of S. Niccola, but it was not
+finished at that time, because Baldassarre was almost forced to return
+to Siena in order to make designs for the fortifications of that city,
+which were afterwards carried into execution under his supervision.</p>
+
+<p>He then returned to Rome, where, after building the house that is
+opposite to the Farnese Palace, with some others within that city, he
+was employed in many works by Pope Leo X. That Pontiff wished to
+finish the building of S. Pietro, begun by Julius II after the design
+of Bramante, but it appeared to him that the edifice was too large and
+lacking in cohesion; and Baldassarre made a new model, magnificent and
+truly ingenious, and revealing such good judgment, that some parts of
+it have since been used by other architects. So diligent, indeed, was
+<span class="pagenum"><a id="Page_69" name="Page_69">[Pg 69]</a></span> this craftsman, so rare and so beautiful his judgment, and
+such the method with which his buildings were always designed, that he
+has never had an equal in works of architecture, seeing that, in
+addition to his other gifts, he combined that profession with a good
+and beautiful manner of painting. He made the design of the tomb of
+Adrian VI, and all that is painted round it is by his hand; and
+Michelagnolo, a sculptor of Siena, executed that tomb in marble, with
+the help of our Baldassarre.</p>
+
+<p>When the Calandra, a play by Cardinal Bibbiena, was performed before
+the same Pope Leo, Baldassarre made the scenic setting, which was no
+less beautiful&mdash;much more so, indeed&mdash;than that which he had made on
+another occasion, as has been related above. In such works he deserved
+all the greater praise, because dramatic performances, and
+consequently the scenery for them, had been out of fashion for a long
+time, festivals and sacred representations taking their place. And
+either before or after (it matters little which) the performance of
+the aforesaid Calandra, which was one of the first plays in the vulgar
+tongue to be seen or performed, in the time of Leo X, Baldassarre made
+two such scenes, which were marvellous, and opened the way to those
+who have since made them in our own day. Nor is it possible to imagine
+how he found room, in a space so limited, for so many streets, so many
+palaces, and so many bizarre temples, loggie, and various kinds of
+cornices, all so well executed that it seemed that they were not
+counterfeited, but absolutely real, and that the piazza was not a
+little thing, and merely painted, but real and very large. He
+designed, also, the chandeliers and the lights within that illuminated
+the scene, and all the other things that were necessary, with much
+judgment, although, as has been related, the drama had fallen almost
+completely out of fashion. This kind of spectacle, in my belief, when
+it has all its accessories, surpasses any other kind, however
+sumptuous and magnificent.</p>
+
+<p>Afterwards, at the election of Pope Clement VII in the year 1524, he
+prepared the festivities for his coronation. He finished with
+peperino-stone the front of the principal chapel, formerly begun by
+Bramante, in S. Pietro; and in the chapel wherein is the bronze tomb
+of Pope Sixtus, <span class="pagenum"><a id="Page_70" name="Page_70">[Pg 70]</a></span> he painted in chiaroscuro the Apostles that
+are in the niches behind the altar, besides making the design of the
+Tabernacle of the Sacrament, which is very graceful.</p>
+
+<p>Then in the year 1527, when the cruel sack of Rome took place, our
+poor Baldassarre was taken prisoner by the Spaniards, and not only
+lost all his possessions, but was also much maltreated and outraged,
+because he was grave, noble, and gracious of aspect, and they believed
+him to be some great prelate in disguise, or some other man able to
+pay a fat ransom. Finally, however, those impious barbarians having
+found that he was a painter, one of them, who had borne a great
+affection to Bourbon, caused him to make a portrait of that most
+rascally captain, the enemy of God and man, either letting Baldassarre
+see him as he lay dead, or giving him his likeness in some other way,
+with drawings or with words. After this, having slipped from their
+hands, Baldassarre took ship to go to Porto Ercole, and thence to
+Siena; but on the way he was robbed of everything and stripped to such
+purpose, that he went to Siena in his shirt. However, he was received
+with honour and reclothed by his friends, and a little time afterwards
+he was given a provision and a salary by the Commonwealth, to the end
+that he might give his attention to the fortification of that city.
+Living there, he had two children; and, besides what he did for the
+public service, he made many designs of houses for his
+fellow-citizens, and the design for the ornament of the organ, which
+is very beautiful, in the Church of the Carmine.</p>
+
+<div class="figcenter">
+<a name="img026" id="img026"></a>
+<img src="images/img026-tb.jpg" width="450" height="334" alt="Courtyard of Palazzo Massimi." title="">
+<p class="caption">COURTYARD OF PALAZZO MASSIMI<br>
+(<i>After</i> Baldassarre Peruzzi. <i>Rome</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img026.jpg">View larger image</a></span></p>
+</div>
+
+<p>Meanwhile, the armies of the Emperor and the Pope had advanced to the
+siege of Florence, and his Holiness sent Baldassarre to the camp to
+Baccio Valori, the Military Commissary, to the end that Baccio might
+avail himself of his services for the purposes of his operations and
+for the capture of the city. But Baldassarre, loving the liberty of
+his former country more than the favour of the Pope, and in no way
+fearing the indignation of so great a Pontiff, would never lend his
+aid in any matter of importance. The Pope, hearing of this, for a
+short time bore him no little ill-will; but when the war was finished,
+Baldassarre desiring to return to Rome, Cardinals Salviati, Trivulzi,
+and Cesarino, to all of whom he had given faithful service in many
+works, restored him to the favour <span class="pagenum"><a id="Page_71" name="Page_71">[Pg 71]</a></span> of the Pope and to his
+former appointments. He was thus able to return without hindrance to
+Rome, where, not many days after, he made for the Signori Orsini the
+designs of two very beautiful palaces, which were built on the way to
+Viterbo, and of some other edifices for Apuglia. But meanwhile he did
+not neglect the studies of astrology, nor those of mathematics and the
+others in which he much delighted, and he began a book on the
+antiquities of Rome, with a commentary on Vitruvius, making little by
+little illustrative drawings beside the writings of that author, some
+of which are still to be seen in the possession of Francesco da Siena,
+who was his disciple, and among them some papers with drawings of
+ancient edifices and of the modern manner of building.</p>
+
+<p>While living in Rome, also, he made the design for the house of the
+Massimi, drawn in an oval form, with a new and beautiful manner of
+building; and for the façade he made a vestibule of Doric columns
+showing great art and good proportion, with a beautiful distribution
+of detail in the court and in the disposition of the stairs; but he
+was not able to see this work finished, for he was overtaken by death.</p>
+
+<p>And yet, although the talents and labours of this noble craftsman were
+so great, they brought much more benefit to others than to himself;
+for, while he was employed by Popes, Cardinals, and other great and
+rich persons, not one of them ever gave him any remarkable reward.
+That this should have happened is not surprising, not so much through
+want of liberality in such patrons, although for the most part they
+are least liberal where they should be the very opposite, as through
+the timidity and excessive modesty, or rather, to be more exact in
+this case, the lack of shrewdness of Baldassarre. To tell the truth,
+in proportion as one should be discreet with magnanimous and liberal
+Princes, so should one always be pressing and importunate with such as
+are miserly, unthankful, and discourteous, for the reason that, even
+as in the case of the generous importunate asking would always be a
+vice, so with the miserly it is a virtue, and with such men it is
+discretion that would be the vice.</p>
+
+<p>In the last years of his life, then, Baldassarre found himself poor
+and weighed down by his family. Finally, having always lived a life
+without reproach, he fell grievously ill, and took to his bed; and
+Pope <span class="pagenum"><a id="Page_72" name="Page_72">[Pg 72]</a></span> Paul III, hearing this, and recognizing too late the
+harm that he was like to suffer in the loss of so great a man, sent
+Jacopo Melighi, the accountant of S. Pietro, to give him a present of
+one hundred crowns, and to make him most friendly offers. However, his
+sickness increased, either because it was so ordained, or, as many
+believe, because his death was hastened with poison by some rival who
+desired his place, from which he drew two hundred and fifty crowns of
+salary; and, the physicians discovering this too late, he died, very
+unwilling to give up his life, more on account of his poor family than
+for his own sake, as he thought in what sore straits he was leaving
+them. He was much lamented by his children and his friends, and he
+received honourable burial, next to Raffaello da Urbino, in the
+Ritonda, whither he was followed by all the painters, sculptors, and
+architects of Rome, doing him honour and bewailing him; with the
+following epitaph:</p>
+
+<p class="center">
+  BALTHASARI PERUTIO SENENSI, VIRO ET PICTURA ET ARCHITECTURA<br>
+  ALIISQUE INGENIORUM ARTIBUS ADEO EXCELLENTI, UT SI PRISCORUM<br>
+  OCCUBUISSET TEMPORIBUS, NOSTRA ILLUM FELICIUS LEGERENT. VIX.<br>
+                      ANN. LV, MENS. XI, DIES XX.<br>
+  LUCRETIA ET JO. SALUSTIUS OPTIMO CONJUGI ET PARENTI, NON SINE LACRIMIS<br>
+  SIMONIS, HONORII, CLAUDII, ÆMILIÆ, AC SULPITIÆ, MINORUM FILIORUM,<br>
+          DOLENTES POSUERUNT, DIE IIII JANUARII, MDXXXVI.</p>
+
+<p>The name and fame of Baldassarre became greater after his death than
+they had been during his lifetime; and then, above all, was his talent
+missed, when Pope Paul III resolved to have S. Pietro finished,
+because men recognized how great a help he would have been to Antonio
+da San Gallo. For, although Antonio had to his credit all that is to
+be seen executed by him, yet it is believed that in company with
+Baldassarre he would have done more towards solving some of the
+difficulties of that work. The heir to many of the possessions of
+Baldassarre was Sebastiano Serlio of Bologna, who wrote the third book
+on architecture and the fourth on the antiquities of Rome with their
+measurements; in which works the above-mentioned labours of
+Baldassarre were partly inserted in the margins, and partly turned to
+great advantage by the author. Most of these writings of Baldassarre
+came into the hands of Jacomo Melighino of Ferrara, who was afterwards
+chosen by Pope Paul as architect <span class="pagenum"><a id="Page_73" name="Page_73">[Pg 73]</a></span> for his buildings, and of
+the aforesaid Francesco da Siena, his former assistant and disciple,
+by whose hand is the highly renowned escutcheon of Cardinal Trani in
+Piazza Navona, with some other works. From this Francesco we received
+the portrait of Baldassarre, and information about some matters which
+I was not able to ascertain when this book was published for the first
+time. Another disciple of Baldassarre was Virgilio Romano, who
+executed a façade with some prisoners in sgraffito-work in the centre
+of the Borgo Nuovo in his native city, and many other beautiful works.
+From the same master, also, Antonio del Rozzo, a citizen of Siena and
+a very excellent engineer, learnt the first principles of
+architecture; and Baldassarre was followed, in like manner, by Riccio,
+a painter of Siena, who, however, afterwards imitated to no small
+extent the manner of Giovanni Antonio Sodoma of Vercelli. And another
+of his pupils was Giovan Battista Peloro, an architect of Siena, who
+gave much attention to mathematics and cosmography, and made with his
+own hand mariner's compasses, quadrants, many irons and instruments
+for measuring, and likewise the ground-plans of many fortifications,
+most of which are in the possession of Maestro Giuliano, a goldsmith
+of Siena, who was very much his friend. This Giovan Battista made for
+Duke Cosimo de' Medici a plan of Siena, all in relief and altogether
+marvellous, with the valleys and the surroundings for a mile and a
+half round&mdash;the walls, the streets, the forts, and, in a word, a most
+beautiful model of the whole place. But, since he was unstable by
+nature, he left Duke Cosimo, although he had a good allowance from
+that Prince; and, thinking to do better, he made his way into France,
+where he followed the Court without any success for a long time, and
+finally died at Avignon. And although he was an able and
+well-practised architect, yet in no place are there to be seen any
+buildings erected by him or after his design, for he always stayed
+such a short time in any one place, that he could never bring anything
+to completion; wherefore he consumed all his time with designs,
+measurements, models, and caprices. Nevertheless, as a follower of our
+arts, he has deserved to have record made of him.</p>
+
+<p>Baldassarre drew very well in every manner, with great judgment and
+diligence, but more with the pen, in water-colours, and in
+chiaroscuro, <span class="pagenum"><a id="Page_74" name="Page_74">[Pg 74]</a></span> than in any other way, as may be seen from many
+drawings by his hand that belong to different craftsmen. Our book, in
+particular, contains various drawings; and in one of these is a scene
+full of invention and caprice, showing a piazza filled with arches,
+colossal figures, theatres, obelisks, pyramids, temples of various
+kinds, porticoes, and other things, all after the antique, while on a
+pedestal stands a Mercury, round whom are all sorts of alchemists with
+bellows large and small, retorts, and other instruments for
+distilling, hurrying about and giving him a clyster in order to purge
+his body&mdash;an invention as ludicrous as it is beautiful and bizarre.</p>
+
+<p>Friends and intimate companions of Baldassarre, who was always
+courteous, modest, and gentle with every man, were Domenico Beccafumi
+of Siena, an excellent painter, and Il Capanna, who, in addition to
+many other works that he painted in Siena, executed the façade of the
+house of the Turchi and another that is on the Piazza.</p>
+
+
+<hr style="width: 65%;">
+<h2><a name="francesco" id="francesco"></a><span class="pagenum"><a id="Page_75" name="Page_75">[Pg 75]</a></span> GIOVAN FRANCESCO PENNI
+  OF FLORENCE AND
+  PELLEGRINO DA MODENA</h2>
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_francesco" id="life_of_francesco"></a><span class="pagenum"><a id="Page_77" name="Page_77">[Pg 77]</a></span> LIVES OF GIOVAN FRANCESCO PENNI OF FLORENCE</h2>
+
+<h3>[<i>CALLED IL FATTORE</i>]</h3>
+
+<h3>AND OF PELLEGRINO DA MODENA</h3>
+
+<h3>PAINTERS</h3>
+
+
+<p>Giovan Francesco Penni, called Il Fattore, a painter of Florence, was
+no less indebted to Fortune than he was to the goodness of his own
+nature, in that his ways of life, his inclination for painting, and
+his other qualities brought it about that Raffaello da Urbino took him
+into his house and educated him together with Giulio Romano, looking
+on both of them ever afterwards as his children, and proving at his
+death how much he thought both of the one and of the other by leaving
+them heirs to his art and to his property alike. Now Giovan Francesco,
+who began from his boyhood, when he first entered the house of
+Raffaello, to be called Il Fattore, and always retained that name,
+imitated in his drawings the manner of Raffaello, and never ceased to
+follow it, as may be perceived from some drawings by his hand that are
+in our book. And it is nothing wonderful that there should be many of
+these to be seen, all finished with great diligence, because he
+delighted much more in drawing than in colouring.</p>
+
+<p>The first works of Giovan Francesco were executed by him in the Papal
+Loggie at Rome, in company with Giovanni da Udine, Perino del Vaga,
+and other excellent masters; and in these may be seen a marvellous
+grace, worthy of a master striving at perfection of workmanship. He
+was very versatile, and he delighted much in making landscapes and
+buildings. He was a good colourist in oils, in fresco, and in
+distemper, and made excellent portraits from life; and he was much
+assisted in every respect by nature, so that he gained great mastery
+over all the <span class="pagenum"><a id="Page_78" name="Page_78">[Pg 78]</a></span> secrets of art without much study. He was a
+great help to Raffaello, therefore, in painting a large part of the
+cartoons for the tapestries of the Pope's Chapel and of the
+Consistory, and particularly the ornamental borders. He also executed
+many other things from the cartoons and directions of Raffaello, such
+as the ceiling for Agostino Chigi in the Trastevere, with many
+pictures, panels, and various other works, in which he acquitted
+himself so well, that every day he won greater affection from
+Raffaello. On the Monte Giordano, in Rome, he painted a façade in
+chiaroscuro, and in S. Maria de Anima, by the side-door that leads to
+the Pace, a S. Christopher in fresco, eight braccia high, which is a
+very good figure; and in this work is a hermit with a lantern in his
+hand, in a grotto, executed with good draughtsmanship, harmony, and
+grace.</p>
+
+<p>Giovan Francesco then came to Florence, and painted for Lodovico
+Capponi at Montughi, a place without the Porta a San Gallo, a shrine
+with a Madonna, which is much extolled.</p>
+
+<p>Raffaello having meanwhile been overtaken by death, Giulio Romano and
+Giovan Francesco, who had been his disciples, remained together for a
+long time, and finished in company such of Raffaello's works as had
+been left unfinished, and in particular those that he had begun in the
+Vigna of the Pope, and likewise those of the Great Hall in the Palace,
+wherein are painted by the hands of these two masters the stories of
+Constantine, with excellent figures, executed in an able and beautiful
+manner, although the invention and the sketches of these stories came
+in part from Raffaello. While these works were in progress, Perino del
+Vaga, a very excellent painter, took to wife a sister of Giovan
+Francesco; on which account they executed many works in company. And
+afterwards Giulio and Giovan Francesco, continuing to work together,
+painted a panel in two parts, containing the Assumption of Our Lady,
+which went to Monteluci, near Perugia; and also other works and
+pictures for various places.</p>
+
+<div class="figcenter">
+<a name="img027" id="img027"></a>
+<img src="images/img027-tb.jpg" width="450" height="330" alt="The Baptism of Constantine." title="">
+<p class="caption">THE BAPTISM OF CONSTANTINE<br>
+(<i>After the fresco by</i> Giovanni Francesco Penni [Il Fattore].<br> <i>Rome:
+The Vatican</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img027.jpg">View larger image</a></span></p>
+</div>
+
+<p>Then, receiving a commission from Pope Clement to paint a
+panel-picture like the one by Raffaello (which is in S. Pietro a
+Montorio), which was to be sent to France, whither Raffaello had meant
+to send the first, they began it; but soon afterwards, having fallen
+out with each other, <span class="pagenum"><a id="Page_79" name="Page_79">[Pg 79]</a></span> they divided their inheritance of
+drawings and everything else left to them by Raffaello, and Giulio
+went off to Mantua, where he executed an endless number of works for
+the Marquis. Thither, not long afterwards, Giovan Francesco also made
+his way, drawn either by love of Giulio or by the hope of finding
+work; but he received so cold a welcome from Giulio that he soon
+departed, and, after travelling round Lombardy, he returned to Rome.
+And from Rome he went to Naples by ship in the train of the Marchese
+del Vasto, taking with him the now finished copy of the panel-picture
+of S. Pietro a Montorio, with other works, which he left in Ischia, an
+island belonging to the Marquis, while the panel was placed where it
+is at the present day, in the Church of S. Spirito degli Incurabili at
+Naples. Having thus settled in Naples, where he occupied himself with
+drawing and painting, Giovan Francesco was entertained and treated
+with great kindness by Tommaso Cambi, a Florentine merchant, who
+managed the affairs of that nobleman. But he did not live there long,
+because, being of a sickly habit of body, he fell ill and died, to the
+great grief of the noble Marquis and of all who knew him.</p>
+
+<p>He had a brother called Luca, likewise a painter, who worked in Genoa
+with his brother-in-law Perino, as well as at Lucca and many other
+places in Italy. In the end he went to England, where, after executing
+certain works for the King and for some merchants, he finally devoted
+himself to making designs for copper-plates for sending abroad, which
+he had engraved by Flemings. Of such he sent abroad a great number,
+which are known by his name as well as by the manner; and by his hand,
+among others, is a print wherein are some women in a bath, the
+original of which, by the hand of Luca himself, is in our book.</p>
+
+<p>A disciple of Giovan Francesco was Leonardo, called Il Pistoia because
+he came from that city, who executed some works at Lucca, and made
+many portraits from life in Rome. At Naples, for Diomede Caraffa,
+Bishop of Ariano, and now a Cardinal, he painted a panel-picture of
+the Stoning of S. Stephen for his chapel in S. Domenico. And for Monte
+Oliveto he painted another, which was placed on the high-altar,
+although it was afterwards removed to make room for a new one,
+<span class="pagenum"><a id="Page_80" name="Page_80">[Pg 80]</a></span> similar in subject, by the hand of Giorgio Vasari of Arezzo.
+Leonardo earned large sums from these Neapolitan nobles, but he
+accumulated little, for he squandered it all as it came to his hand;
+and finally he died in Naples, leaving behind him the reputation of
+having been a good colourist, but not of having shown much excellence
+in draughtsmanship.</p>
+
+<p>Giovan Francesco lived forty years, and his works date about 1528.</p>
+
+<p>A friend of Giovan Francesco, and likewise a disciple of Raffaello,
+was Pellegrino da Modena, who, having acquired in his native city the
+name of a man of fine genius for painting, and having heard of the
+marvels of Raffaello da Urbino, determined, in order to justify by
+means of labour the hopes already conceived of him, to go to Rome.
+Arriving there, he placed himself under Raffaello, who never refused
+anything to men of ability. There were then in Rome very many young
+men who were working at painting and seeking in mutual rivalry to
+surpass one another in draughtsmanship, in order to win the favour of
+Raffaello and to gain a name among men; and thus Pellegrino, giving
+unceasing attention to his studies, became not only a good
+draughtsman, but also a well-practised master of the whole of his art.
+And when Leo X commissioned Raffaello to paint the Loggie, Pellegrino
+also worked there, in company with the other young men; and so well
+did he succeed, that Raffaello afterwards made use of him in many
+other things.</p>
+
+<p>He executed three figures in fresco in S. Eustachio at Rome, over an
+altar near the entrance into the church; and in the Church of the
+Portuguese, near the Scrofa, he painted in fresco the Chapel of the
+High-Altar, as well as the altar-piece. Afterwards, Cardinal Alborense
+having caused a chapel richly adorned with marbles to be erected in S.
+Jacopo, the Church of the Spanish people, with a S. James of marble by
+Jacopo Sansovino, four braccia and a half in height, and much
+extolled, Pellegrino painted there in fresco the stories of that
+Apostle, giving an air of great sweetness to his figures in imitation
+of his master Raffaello, and designing the whole composition so well,
+that the work made him known as an able man with a fine and beautiful
+genius for painting. This work finished, he made many others in Rome,
+both by himself and in company with others.</p>
+
+<div class="figcenter">
+<a name="img028" id="img028"></a>
+<img src="images/img028-tb.jpg" width="400" height="598" alt="The Last Supper." title="">
+<p class="caption">THE LAST SUPPER<br>
+(<i>After the fresco by</i> Gaudenzio Milanese [Gaudenzio Ferrari].<br> <i>Milan:
+S. Maria della Passione</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img028.jpg">View larger image</a></span></p>
+</div>
+
+<p><span class="pagenum"><a id="Page_81" name="Page_81">[Pg 81]</a></span> But finally, when death had come upon Raffaello, Pellegrino
+returned to Modena, where he executed many works; among others, he
+painted for a Confraternity of Flagellants a panel-picture in oils of
+S. John baptizing Christ, and another panel for the Church of the
+Servi, containing S. Cosimo and S. Damiano, with other figures.
+Afterwards, having taken a wife, he had a son, who was the cause of
+his death. For this son, having come to words with some companions,
+young men of Modena, killed one of them; the news of which being
+carried to Pellegrino, he, in order to help his son from falling into
+the hands of justice, set out to smuggle him away. But he had not gone
+far from his house, when he stumbled against the relatives of the dead
+youth, who were going about searching for the murderer; and they,
+confronting Pellegrino, who had no time to escape, and full of fury
+because they had not been able to catch his son, gave him so many
+wounds that they left him dead on the ground. This event was a great
+grief to the people of Modena, who knew that by the death of
+Pellegrino they had been robbed of a spirit truly excellent and rare.</p>
+
+<p>A contemporary of this craftsman was the Milanese Gaudenzio, a
+resolute, well-practised, and excellent painter, who made many works
+in fresco at Milan; and in particular, for the Frati della Passione, a
+most beautiful Last Supper, which remained unfinished by reason of his
+death. He also painted very well in oils, and there are many
+highly-esteemed works by his hand at Vercelli and Veralla.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="delsarto" id="delsarto"></a><span class="pagenum"><a id="Page_83" name="Page_83">[Pg 83]</a></span> ANDREA DEL SARTO</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_delsarto" id="life_of_delsarto"></a><span class="pagenum"><a id="Page_85" name="Page_85">[Pg 85]</a></span> LIFE OF ANDREA DEL SARTO</h2>
+
+<h3>A MOST EXCELLENT PAINTER OF FLORENCE</h3>
+
+
+<p>At length, after the Lives of many craftsmen who have been excellent,
+some in colouring, some in drawing, and others in invention, we have
+come to the most excellent Andrea del Sarto, in whose single person
+nature and art demonstrated all that painting can achieve by means of
+draughtsmanship, colouring, and invention, insomuch that, if Andrea
+had possessed a little more fire and boldness of spirit, to correspond
+to his profound genius and judgment in his art, without a doubt he
+would have had no equal. But a certain timidity of spirit and a sort
+of humility and simplicity in his nature made it impossible that there
+should be seen in him that glowing ardour and that boldness which,
+added to his other qualities, would have made him truly divine in
+painting; for which reason he lacked those adornments and that
+grandeur and abundance of manners which have been seen in many other
+painters. His figures, however, for all their simplicity and purity,
+are well conceived, free from errors, and absolutely perfect in every
+respect. The expressions of his heads, both in children and in women,
+are gracious and natural, and those of men, both young and old,
+admirable in their vivacity and animation; his draperies are beautiful
+to a marvel, and his nudes very well conceived. And although his
+drawing is simple, all that he coloured is rare and truly divine.</p>
+
+<p>Andrea was born in Florence, in the year 1478, to a father who was all
+his life a tailor; whence he was always called Andrea del Sarto by
+everyone. Having come to the age of seven, he was taken away from his
+reading and writing school and apprenticed to the goldsmith's craft.
+But in this he was always much more willing to practise his hand in
+<span class="pagenum"><a id="Page_86" name="Page_86">[Pg 86]</a></span> drawing, to which he was drawn by a natural inclination,
+than in using the tools for working in silver or gold; whence it came
+to pass that Gian Barile, a painter of Florence, but one of gross and
+vulgar taste, having seen the boy's good manner of drawing, took him
+under his protection, and, making him abandon his work as goldsmith,
+directed him to the art of painting. Andrea, beginning with much
+delight to practise it, recognized that nature had created him for
+that profession; and in a very short space of time, therefore, he was
+doing such things with colours as filled Gian Barile and the other
+craftsmen in the city with marvel. Now after three years, through
+continual study, he had acquired an excellent mastery over his work,
+and Gian Barile saw that by persisting in his studies the boy was
+likely to achieve an extraordinary success. Having therefore spoken of
+him to Piero di Cosimo, who was held at that time to be one of the
+best painters in Florence, he placed Andrea with Piero. And Andrea, as
+one full of desire to learn, laboured and studied without ceasing;
+while nature, which had created him to be a painter, so wrought in
+him, that he handled and managed his colours with as much grace as if
+he had been working for fifty years. Wherefore Piero conceived an
+extraordinary love for him, feeling marvellous pleasure in hearing
+that when Andrea had any time to himself, particularly on feast-days,
+he would spend the whole day in company with other young men, drawing
+in the Sala del Papa, wherein were the cartoons of Michelagnolo and
+Leonardo da Vinci, and that, young as he was, he surpassed all the
+other draughtsmen, both native and foreign, who were always competing
+there with one another.</p>
+
+<div class="figcenter">
+<a name="img029" id="img029"></a>
+<img src="images/img029-tb.jpg" width="400" height="615" alt="Noli Me Tangere." title="">
+<p class="caption">"NOLI ME TANGERE"<br>
+(<i>After the panel by</i> Andrea del Sarto.<br> <i>Florence: Uffizi, 93</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img029.jpg">View larger image</a></span></p>
+</div>
+
+<p>Among these young men, there was one who pleased Andrea more than any
+other with his nature and conversation, namely, the painter
+Franciabigio; and Franciabigio, likewise, was attracted by Andrea.
+Having become friends, therefore, Andrea said to Franciabigio that he
+could no longer endure the caprices of Piero, who was now old, and
+that for this reason he wished to take a room for himself. Hearing
+this, Franciabigio, who was obliged to do the same thing because his
+master Mariotto Albertinelli had abandoned the art of painting, said
+to his companion Andrea that he also was in need of a room, and that
+it would be <span class="pagenum"><a id="Page_87" name="Page_87">[Pg 87]</a></span> to the advantage of both of them if they were
+to join forces. Having therefore taken a room on the Piazza del Grano,
+they executed many works in company; among others, the curtains that
+cover the panel-pictures on the high-altar of the Servi; for which
+they received the commission from a sacristan very closely related to
+Franciabigio. On one of those curtains, that which faces the choir,
+they painted the Annunciation of the Virgin; and on the other, which
+is in front, a Deposition of Christ from the Cross, like that of the
+panel-picture which was there, painted by Filippo and Pietro Perugino.</p>
+
+<p>The men of that company in Florence which is called the Company of the
+Scalzo used to assemble at the head of the Via Larga, above the houses
+of the Magnificent Ottaviano de' Medici, and opposite to the garden of
+S. Marco, in a building dedicated to S. John the Baptist, which had
+been built in those days by a number of Florentine craftsmen, who had
+made there, among other things, an entrance-court of masonry with a
+loggia which rested on some columns of no great size. And some of
+them, perceiving that Andrea was on the way to becoming known as an
+excellent painter, and being richer in spirit than in pocket,
+determined that he should paint round that cloister twelve pictures in
+chiaroscuro&mdash;that is to say, in fresco with terretta&mdash;containing
+twelve scenes from the life of S. John the Baptist. Whereupon, setting
+his hand to this, he painted in the first the scene of S. John
+baptizing Christ, with much diligence and great excellence of manner,
+whereby he gained credit, honour, and fame to such an extent, that
+many persons turned to him with commissions for works, as to one whom
+they thought to be destined in time to reach that honourable goal
+which was foreshadowed by his extraordinary beginnings in his
+profession.</p>
+
+<p>Among other works that he made in that first manner, he painted a
+picture which is now in the house of Filippo Spini, held in great
+veneration in memory of so able a craftsman. And not long after this
+he was commissioned to paint for a chapel in S. Gallo, the Church of
+the Eremite Observantines of the Order of S. Augustine, without the
+Porta a S. Gallo, a panel-picture of Christ appearing in the garden to
+Mary Magdalene in the form of a gardener; which work, what with the
+colouring and a certain <span class="pagenum"><a id="Page_88" name="Page_88">[Pg 88]</a></span> quality of softness and harmony, is
+sweetness itself, and so well executed, that it led to his painting
+two others not long afterwards for the same church, as will be related
+below. This panel is now in S. Jacopo tra Fossi, on the Canto degli
+Alberti, together with the two others.</p>
+
+<p>After these works, Andrea and Franciabigio, leaving the Piazza del
+Grano, took new rooms in the Sapienza, near the Convent of the
+Nunziata; whence it came about that Andrea and Jacopo Sansovino, who
+was then a young man and was working at sculpture in the same place
+under his master Andrea Contucci, formed so warm and so strait a
+friendship together, that neither by day nor by night were they ever
+separated one from another. Their discussions were for the most part
+on the difficulties of art, so that it is no marvel that both of them
+should have afterwards become most excellent, as is now being shown of
+Andrea and as will be related in the proper place of Jacopo.</p>
+
+<div class="figcenter">
+<a name="img030" id="img030"></a>
+<img src="images/img030-tb.jpg" width="500" height="315" alt="The Last Supper." title="">
+<p class="caption">THE LAST SUPPER<br>
+(<i>After the fresco by</i> Andrea del Sarto.<br> <i>Florence: S. Salvi</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img030.jpg">View larger image</a></span></p>
+</div>
+
+<p>There was at this same time in the Convent of the Servi, selling the
+candles at the counter, a friar called Fra Mariano dal Canto alla
+Macine, who was also sacristan; and he heard everyone extolling Andrea
+mightily and saying that he was by way of making marvellous
+proficience in painting. Whereupon he planned to fulfil a desire of
+his own without much expense; and so, approaching Andrea, who was a
+mild and guileless fellow, on the side of his honour, he began to
+persuade him under the cloak of friendship that he wished to help him
+in a matter which would bring him honour and profit and would make him
+known in such a manner, that he would never be poor any more. Now many
+years before, as has been related above, Alesso Baldovinetti had
+painted a Nativity of Christ in the first cloister of the Servi, on
+the wall that has the Annunciation behind it; and in the same
+cloister, on the other side, Cosimo Rosselli had begun a scene of S.
+Filippo, the founder of that Servite Order, assuming the habit. But
+Cosimo had not carried that scene to completion, because death came
+upon him at the very moment when he was working at it. The friar,
+then, being very eager to see the rest finished, thought of serving
+his own ends by making Andrea and Franciabigio, who, from being
+friends, had become rivals in art, compete with one another, each
+doing part of the work. This, besides effecting <span class="pagenum"><a id="Page_89" name="Page_89">[Pg 89]</a></span> his
+purpose very well, would make the expense less and their efforts
+greater. Thereupon, revealing his mind to Andrea, he persuaded him to
+undertake that enterprise, by pointing out to him that since it was a
+public and much frequented place, he would become known on account of
+such a work no less by foreigners than by the Florentines; that he
+should not look for any payment in return, or even for an invitation
+to undertake it, but should rather pray to be allowed to do it; and
+that if he were not willing to set to work, there was Franciabigio,
+who, in order to make himself known, had offered to accept it and to
+leave the matter of payment to him. These incitements did much to make
+Andrea resolve to undertake the work, and the rather as he was a man
+of little spirit; and the last reference to Franciabigio induced him
+to make up his mind completely and to come to an agreement, in the
+form of a written contract, with regard to the whole work, on the
+terms that no one else should have a hand in it. The friar, then,
+having thus pledged him and given him money, demanded that he should
+begin by continuing the life of S. Filippo, without receiving more
+than ten ducats from him in payment of each scene; and he told Andrea
+that he was giving him even that out of his own pocket, and was doing
+it more for the benefit and advantage of the painter than through any
+want or need of the convent.</p>
+
+<p>Andrea, therefore, pursuing that work with the utmost diligence, like
+one who thought more of honour than of profit, after no long time
+completely finished the first three scenes and unveiled them. One was
+the scene of S. Filippo, now a friar, clothing the naked. In another
+he is shown rebuking certain gamesters, who blasphemed God and laughed
+at S. Filippo, mocking at his admonition, when suddenly there comes a
+lightning-flash from Heaven, which, striking a tree under the shade of
+which they were sheltering, kills two of them and throws the rest into
+an incredible panic. Some, with their hands to their heads, cast
+themselves forward in dismay; others, crying aloud in their terror,
+turn to flight; a woman, beside herself with fear at the sound of the
+thunder, is running away so naturally that she appears to be truly
+alive; and a horse, breaking loose amid this uproar and confusion,
+reveals with his leaps and fearsome movements what fear and terror are
+caused by things <span class="pagenum"><a id="Page_90" name="Page_90">[Pg 90]</a></span> so sudden and so unexpected. In all this
+one can see how carefully Andrea looked to variety of incident in the
+representation of such events, with a forethought truly beautiful and
+most necessary for one who practises painting. In the third he painted
+the scene of S. Filippo delivering a woman from evil spirits, with all
+the most characteristic considerations that could be imagined in such
+an action. All these scenes brought extraordinary fame and honour to
+Andrea; and thus encouraged, he went on to paint two other scenes in
+the same cloister. On one wall is S. Filippo lying dead, with his
+friars about him making lamentation; and in addition there is a dead
+child, who, touching the bier on which S. Filippo lies, comes to life
+again, so that he is first seen dead, and then revived and restored to
+life, and all with a very beautiful, natural, and appropriate effect.
+In the last picture on that side he represented the friars placing the
+garments of S. Filippo on the heads of certain children; and there he
+made a portrait of Andrea della Robbia, the sculptor, in an old man
+clothed in red, who comes forward, stooping, with a staff in his hand.
+There, too, he portrayed Luca, his son; even as in the other scene
+mentioned above, in which S. Filippo lies dead, he made a portrait of
+another son of Andrea, named Girolamo, a sculptor and very much his
+friend, who died not long since in France.</p>
+
+<p>Having thus finished that side of the cloister, and considering that
+if the honour was great, the payment was small, Andrea resolved to
+give up the rest of the work, however much the friar might complain.
+But the latter would not release him from his bond without Andrea
+first promising that he would paint two other scenes, at his own
+leisure and convenience, however, and with an increase of payment; and
+thus they came to terms.</p>
+
+<div class="figcenter">
+<a name="img031" id="img031"></a>
+<img src="images/img031-tb.jpg" width="400" height="508" alt="The Arrival of the Magi." title="">
+<p class="caption">THE ARRIVAL OF THE MAGI<br>
+(<i>After the fresco by</i> Andrea del Sarto.<br> <i>Florence: SS. Annunziata</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img031.jpg">View larger image</a></span></p>
+</div>
+
+<p>Having come into greater repute by reason of these works, Andrea
+received commissions for many pictures and works of importance; among
+others, one from the General of the Monks of Vallombrosa, for painting
+an arch of the vaulting, with a Last Supper on the front wall, in the
+Refectory of the Monastery of S. Salvi, without the Porta alla Croce.
+In four medallions on that vault he painted four figures, S. Benedict,
+S. Giovanni Gualberto, S. Salvi the Bishop, and S. Bernardo degli
+Uberti <span class="pagenum"><a id="Page_91" name="Page_91">[Pg 91]</a></span> of Florence, a friar of that Order and a Cardinal;
+and in the centre he made a medallion containing three faces, which
+are one and the same, to represent the Trinity. All this was very well
+executed for a work in fresco, and Andrea, therefore, came to be
+valued at his true worth in the art of painting. Whereupon he was
+commissioned at the instance of Baccio d' Agnolo to paint in fresco,
+in a close on the steep path of Orsanmichele, which leads to the
+Mercato Nuovo, the Annunciation still to be seen there, executed on a
+minute scale, which brought him but little praise; and this may have
+been because Andrea, who worked well without over-exerting himself or
+forcing his powers, is believed to have tried in this work to force
+himself and to paint with too much care.</p>
+
+<p>As for the many pictures that he executed after this for Florence, it
+would take too long to try to speak of them all; and I will only say
+that among the most distinguished may be numbered the one that is now
+in the apartment of Baccio Barbadori, containing a full-length Madonna
+with a Child in her arms, S. Anne, and S. Joseph, all painted in a
+beautiful manner and held very dear by Baccio. He made one, likewise
+well worthy of praise, which is now in the possession of Lorenzo di
+Domenico Borghini, and another of Our Lady for Leonardo del Giocondo,
+which at the present day is in the hands of Piero, the son of
+Leonardo. For Carlo Ginori he painted two of no great size, which were
+bought afterwards by the Magnificent Ottaviano de' Medici; and one of
+these is now in his most beautiful villa of Campi, while the other,
+together with many other modern pictures executed by the most
+excellent masters, is in the apartment of the worthy son of so great a
+father, Signor Bernardetto, who not only esteems and honours the works
+of famous craftsmen, but is also in his every action a truly generous
+and magnificent nobleman.</p>
+
+<p>Meanwhile the Servite friar had allotted to Franciabigio one of the
+scenes in the above-mentioned cloister; but that master had not yet
+finished making the screen, when Andrea, becoming apprehensive, since
+it seemed to him that Franciabigio was an abler and more dexterous
+master than himself in the handling of colours in fresco, executed, as
+it were out of rivalry, the cartoons for his two scenes, which he
+intended to paint on the angle between the side-door of S. Bastiano
+and the <span class="pagenum"><a id="Page_92" name="Page_92">[Pg 92]</a></span> smaller door that leads from the cloister into the
+Nunziata. Having made the cartoons, he set to work in fresco; and in
+the first scene he painted the Nativity of Our Lady, a composition of
+figures beautifully proportioned and grouped with great grace in a
+room, wherein some women who are friends and relatives of the newly
+delivered mother, having come to visit her, are standing about her,
+all clothed in such garments as were customary at that time, and other
+women of lower degree, gathered around the fire, are washing the
+newborn babe, while others are preparing the swathing-bands and doing
+other similar services. Among them is a little boy, full of life, who
+is warming himself at the fire, with an old man resting in a very
+natural attitude on a couch, and likewise some women carrying food to
+the mother who is in bed, with movements truly lifelike and
+appropriate. And all these figures, together with some little boys who
+are hovering in the air and scattering flowers, are most carefully
+considered in their expressions, their draperies, and every other
+respect, and so soft in colour, that the figures appear to be of flesh
+and everything else rather real than painted.</p>
+
+<p>In the other scene Andrea painted the three Magi from the East, who,
+guided by the Star, went to adore the Infant Jesus Christ. He
+represented them dismounted, as though they were near their
+destination; and that because there was only the space embracing the
+two doors to separate them from the Nativity of Christ which may be
+seen there, by the hand of Alesso Baldovinetti. In this scene Andrea
+painted the Court of those three Kings coming behind them, with
+baggage, much equipment, and many people following in their train,
+among whom, in a corner, are three persons portrayed from life and
+wearing the Florentine dress, one being Jacopo Sansovino, a
+full-length figure looking straight at the spectator, while another,
+with an arm in foreshortening, who is leaning against him and making a
+sign, is Andrea, the master of the work, and a third head, seen in
+profile behind Jacopo, is that of Ajolle, the musician. There are, in
+addition, some little boys who are climbing on the walls, in order to
+be able to see the magnificent procession and the fantastic animals
+that those three Kings have brought with them. This scene is quite
+equal in excellence to that mentioned above; nay, in both <span class="pagenum"><a id="Page_93" name="Page_93">[Pg 93]</a></span>
+the one and the other he surpassed himself, not to speak of
+Franciabigio, who also finished his.</p>
+
+<p>At this same time Andrea painted for the Abbey of S. Godenzo, a
+benefice belonging to the same friars, a panel which was held to be
+very well executed. And for the Friars of S. Gallo he made a
+panel-picture of Our Lady receiving the Annunciation from the Angel,
+wherein may be seen a very pleasing harmony of colouring, while the
+heads of some Angels accompanying Gabriel show a sweet gradation of
+tints and a perfectly executed beauty of expression in their features;
+and the predella below this picture was painted by Jacopo da Pontormo,
+who was a disciple of Andrea at that time, and gave proofs at that
+early age that he was destined to produce afterwards those beautiful
+works which he actually did execute in Florence with his own hand,
+although in the end he became one might say another painter, as will
+be related in his Life.</p>
+
+<p>Andrea then painted for Zanobi Girolami a picture with figures of no
+great size, wherein was a story of Joseph, the son of Jacob, which was
+finished by him with unremitting diligence, and therefore held to be a
+very beautiful painting. Not long after this, he undertook to execute
+for the men of the Company of S. Maria della Neve, situated behind the
+Nunnery of S. Ambrogio, a little panel with three figures&mdash;Our Lady,
+S. John the Baptist, and S. Ambrogio; which work, when finished, was
+placed in due time on the altar of that Company.</p>
+
+<p>Meanwhile, thanks to his talent, Andrea had become intimate with
+Giovanni Gaddi, afterwards appointed Clerk of the Chamber, who, always
+delighting in the arts of design, was then keeping Jacopo Sansovino
+continually at work. Being pleased, therefore, with the manner of
+Andrea, he caused him to paint a picture of Our Lady for himself,
+which was very beautiful, for Andrea painted various patterns and
+other ingenious devices round it, so that it was considered to be the
+most beautiful work that he had executed up to that time. After this
+he made for Giovanni di Paolo, the mercer, another picture of Our
+Lady, which, being truly lovely, gave infinite pleasure to all who saw
+it. And for Andrea Santini he executed another, containing Our Lady,
+Christ, S. John, and S. Joseph, all wrought with such diligence
+<span class="pagenum"><a id="Page_94" name="Page_94">[Pg 94]</a></span> that the painting has always been esteemed in Florence as
+worthy of great praise.</p>
+
+<p>All these works acquired such a name for Andrea in his city, that
+among the many, both young and old, who were painting at that time, he
+was considered one of the most excellent who were handling brushes and
+colours. Wherefore he found himself not only honoured, but even,
+although he exacted the most paltry prices for his labours, in a
+condition to do something to help and support his family, and also to
+shelter himself from the annoyances and anxieties which afflict those
+of us who live in poverty. But he became enamoured of a young woman,
+and a little time afterwards, when she had been left a widow, he took
+her for his wife; and then he had more than enough to do for the rest
+of his life, and much more trouble than he had suffered in the past,
+for the reason that, in addition to the labours and annoyances that
+such entanglements generally involve, he undertook others into the
+bargain, such as that of letting himself be harassed now by jealousy,
+now by one thing, and now by another.</p>
+
+<div class="figcenter">
+<a name="img032" id="img032"></a>
+<img src="images/img032-tb.jpg" width="400" height="466" alt="Madonna Dell' Arpie." title="">
+<p class="caption">ANDREA DEL SARTO: MADONNA DELL' ARPIE<br>
+(<i>Florence: Uffizi, 1112. Panel</i>)
+<br><span class="link"><a href="images/img032.jpg">View larger image</a></span></p>
+</div>
+
+<p>But to return to the works of his hand, which were as rare as they
+were numerous: after those of which mention has been made above, he
+painted for a friar of S. Croce, of the Order of Minorites, who was
+then Governor of the Nunnery of S. Francesco in Via Pentolini, and
+delighted much in paintings, a panel-picture destined for the Church
+of those Nuns, of Our Lady standing on high upon an octagonal
+pedestal, at the corners of which are seated some Harpies, as it were
+in adoration of the Virgin; and she, using one hand to uphold her Son,
+who is clasping her most tenderly round the neck with His arms, in a
+very beautiful attitude, is holding a closed book in the other hand
+and gazing on two little naked boys, who, while helping her to stand
+upright, serve as ornaments about her person. This Madonna has on her
+right a beautifully painted S. Francis, in whose face may be seen the
+goodness and simplicity that truly belonged to that saintly man;
+besides which, the feet are marvellous, and so are the draperies,
+because Andrea always rounded off his figures with a very rich flow of
+folds and with certain most delicate curves, in such a way as to
+reveal the nude below. On her left hand she has a <span class="pagenum"><a id="Page_95" name="Page_95">[Pg 95]</a></span> S. John
+the Evangelist, represented as a young man and in the act of writing
+his Gospel, in a very beautiful manner. In this work, moreover, over
+the building and the figures, is a film of transparent clouds, which
+appear to be really moving. This picture, among all Andrea's works, is
+held at the present day to be one of singular and truly rare beauty.
+For the joiner Nizza, also, he made a picture of Our Lady, which was
+considered to be no less beautiful than any of his other works.</p>
+
+<p>After this, the Guild of Merchants determined to have some triumphal
+chariots made of wood after the manner of those of the ancient Romans,
+to the end that these might be drawn in procession on the morning of
+S. John's day, in place of certain altar-cloths and wax tapers which
+the cities and townships carry in token of tribute, passing before the
+Duke and the chief magistrates; and out of ten that were made at that
+time, Andrea painted some with scenes in oils and in chiaroscuro,
+which were much extolled. But although it was proposed that some
+should be made every year, until such time as every city and district
+had one of its own, which would have produced a show of extraordinary
+magnificence, nevertheless this custom was abandoned in the year 1527.</p>
+
+<p>Now, while Andrea was adorning his city with these and other works,
+and his name was growing greater every day, the men of the Company of
+the Scalzo resolved that he should finish the work in their cloister,
+which he had formerly begun by painting the scene of the Baptism of
+Christ. Having resumed that work, therefore, more willingly, he
+executed two scenes there, with two very beautiful figures of Charity
+and Justice to adorn the door that leads into the building of the
+Company. In one of these scenes he represented S. John preaching to
+the multitude in a spirited attitude, lean in person, as befitted the
+life that he was leading, and with an expression of countenance filled
+with inspiration and thoughtfulness. Marvellous, likewise, are the
+variety and the vivacity of his hearers, some being shown in
+admiration, and all in astonishment, at hearing that new message and a
+doctrine so singular and never heard before. Even more did Andrea
+exert his genius in painting the same John baptizing with water a vast
+number of people, some of whom are stripping off their clothes, some
+receiving the baptism, <span class="pagenum"><a id="Page_96" name="Page_96">[Pg 96]</a></span> and others, naked, waiting for him to
+finish baptizing those who are before them. In all of them Andrea
+showed a vivid emotion, with a burning desire in the gestures of those
+who are eager to be purified of their sins; not to mention that all
+the figures are so well executed in that chiaroscuro, that the whole
+has the appearance of a real and most lifelike scene in marble.</p>
+
+<p>I will not refrain from saying that while Andrea was employed on these
+and other pictures, there appeared certain copper engravings by
+Albrecht Dürer, and Andrea made use of them, taking some of the
+figures and transforming them into his manner. And this has caused
+some people, while not saying that it is a bad thing for a man to make
+adroit use of the good work of others, to believe that Andrea had not
+much invention.</p>
+
+<p>At that time there came to Baccio Bandinelli, then a draughtsman of
+great repute, a desire to learn to paint in oils. Whereupon, knowing
+that no man in Florence knew how to do that better than our Andrea, he
+commissioned him to paint his portrait, which was a good likeness of
+him at that age, as may be seen even yet; and thus, by watching him
+paint that work and others, he saw his method of colouring, although
+afterwards, either by reason of the difficulty or from lack of
+inclination, he did not pursue the use of colours, finding more
+satisfaction in sculpture.</p>
+
+<p>Andrea executed for Alessandro Corsini a picture of a Madonna seated
+on the ground with a Child in her arms, surrounded by many little
+boys, which was finished with beautiful art and with very pleasing
+colour; and for a mercer, much his friend, who kept a shop in Rome, he
+made a most beautiful head. Giovan Battista Puccini of Florence,
+likewise, taking extraordinary pleasure in the manner of Andrea,
+commissioned him to paint a picture of Our Lady for sending into
+France; but it proved to be so fine that he kept it for himself, and
+would by no means send it. However, having been asked, while
+transacting the affairs of his business in France, to undertake to
+send choice paintings to that country, he caused Andrea to paint a
+picture of a Dead Christ surrounded by some Angels, who were
+supporting Him and contemplating with gestures of sorrow and
+compassion their Maker sunk to such a <span class="pagenum"><a id="Page_97" name="Page_97">[Pg 97]</a></span> pass through the sins
+of the world. This work, when finished, gave such universal
+satisfaction, that Andrea, urged by many entreaties, had it engraved
+in Rome by the Venetian Agostino; but it did not succeed very well,
+and he would never again give any of his works to be engraved. But to
+return to the picture: it gave no less satisfaction in France, whither
+it was sent, than it had done in Florence, insomuch that the King,
+kindled with even greater desire to have works by Andrea, gave orders
+that he should execute others; which was the reason that Andrea,
+encouraged by his friends, resolved to go in a short time to France.</p>
+
+<p>But meanwhile the Florentines, hearing in the year 1515 that Pope Leo
+X wished to grace his native city with his presence, ordained for his
+reception extraordinary festivities and a sumptuous and magnificent
+spectacle, with so many arches, façades, temples, colossal figures,
+and other statues and ornaments, that there had never been seen up to
+that time anything richer, more gorgeous, or more beautiful; for there
+was then flourishing in that city a greater abundance of fine and
+exalted intellects than had ever been known at any other period. At
+the entrance of the Porta di S. Piero Gattolini, Jacopo di Sandro, in
+company with Baccio da Montelupo, made an arch covered with historical
+scenes. Giuliano del Tasso made another at S. Felice in Piazza, with
+some statues and the obelisk of Romulus at S. Trinità, and Trajan's
+Column in the Mercato Nuovo. In the Piazza de' Signori, Antonio, the
+brother of Giuliano da San Gallo, erected an octagonal temple, and
+Baccio Bandinelli made a Giant for the Loggia. Between the Badia and
+the Palace of the Podestà there was an arch erected by Granaccio and
+Aristotele da San Gallo, and Il Rosso made another on the Canto de'
+Bischeri with a very beautiful design and a variety of figures. But
+what was admired more than everything else was the façade of S. Maria
+del Fiore, made of wood, and so well decorated with various scenes in
+chiaroscuro by our Andrea, that nothing more could have been desired.
+The architecture of this work was by Jacopo Sansovino, as were some
+scenes in low-relief and many figures carved in the round; and it was
+declared by the Pope that this structure&mdash;which was designed by
+Lorenzo de' Medici, father of that Pontiff, when he was alive&mdash;could
+not have been more beautiful, even if it had been of marble. <span class="pagenum"><a id="Page_98" name="Page_98">[Pg 98]</a></span>
+The same Jacopo made a horse similar to the one in Rome, which was
+held to be a miracle of beauty, on the Piazza di S. Maria Novella. An
+endless number of ornaments, also, were executed for the Sala del Papa
+in the Via della Scala, and that street was half filled with most
+beautiful scenes wrought by the hands of many craftsmen, but designed
+for the most part by Baccio Bandinelli. Wherefore, when Leo entered
+Florence, on the third day of September in the same year, this
+spectacle was pronounced to be the grandest that had ever been
+devised, and the most beautiful.</p>
+
+<p>But to return now to Andrea: being again requested to make another
+picture for the King of France, in a short time he finished one
+wherein he painted a very beautiful Madonna, which was sent off
+immediately, the merchants receiving for it four times as much as they
+had paid. Now at that very time Pier Francesco Borgherini had caused
+to be made by Baccio d' Agnolo some panelling, chests, chairs, and a
+bed, all carved in walnut-wood, for the furnishing of an apartment;
+wherefore, to the end that the paintings therein might be equal in
+excellence to the rest of the work, he commissioned Andrea to paint
+part of the scenes on these with figures of no great size,
+representing the acts of Joseph the son of Jacob, in competition with
+some of great beauty that had been executed by Granaccio and Jacopo da
+Pontormo. Andrea, then, devoting an extraordinary amount of time and
+diligence to the work, strove to bring it about that they should prove
+to be more perfect than those of the others mentioned above; in which
+he succeeded to a marvel, for in the variety of events happening in
+the stories he showed how great was his worth in the art of painting.
+So excellent were those scenes, that an attempt was made by Giovan
+Battista della Palla, on account of the siege of Florence, to remove
+them from the places where they were fixed, in order to send them to
+the King of France; but, since they were fixed in such a way that it
+would have meant spoiling the whole work, they were left where they
+were, together with a picture of Our Lady, which is held to be a very
+choice work.</p>
+
+<div class="figcenter">
+<a name="img033" id="img033"></a>
+<img src="images/img033-tb.jpg" width="400" height="554" alt="Charity." title="">
+<p class="caption">CHARITY<br>
+(<i>After the painting by</i> Andrea del Sarto.<br> <i>Paris: Louvre, 1514</i>)<br>
+<i>Neurdein</i>
+<br><span class="link"><a href="images/img033.jpg">View larger image</a></span></p>
+</div>
+
+<p>After this Andrea executed a head of Christ, now kept by the Servite
+Friars on the altar of the Nunziata, of such beauty, that I for my
+part do not know whether any more beautiful image of the head of
+Christ <span class="pagenum"><a id="Page_99" name="Page_99">[Pg 99]</a></span> could be conceived by the intellect of man. For the
+chapels in the Church of S. Gallo, without the Porta S. Gallo, there
+had been painted, in addition to the two panel-pictures by Andrea, a
+number of others, which were not equal to his; wherefore, since there
+was a commission to be given for another, those friars contrived to
+persuade the owner of the chapel to give it to Andrea; and he,
+beginning it immediately, made therein four figures standing, engaged
+in a disputation about the Trinity. One of these is S. Augustine, who,
+robed as a Bishop and truly African in aspect, is moving impetuously
+towards S. Peter Martyr, who is holding up an open book in a proud and
+sublime attitude: and the head and figure of the latter are much
+extolled. Beside him is a S. Francis holding a book in one hand and
+pressing the other against his breast; and he appears to be expressing
+with his lips a glowing ardour that makes him almost melt away in the
+heat of the discussion. There is also a S. Laurence, who, being young,
+is listening, and seems to be yielding to the authority of the others.
+Below them are two figures kneeling, one a Magdalene with most
+beautiful draperies, whose countenance is a portrait of Andrea's wife;
+for in no place did he paint a woman's features without copying them
+from her, and if perchance it happened at times that he took them from
+other women, yet, from his being used to see her continually, and from
+the circumstance that he had drawn her so often, and, what is more,
+had her impressed on his mind, it came about that almost all the heads
+of women that he made resembled her. The other kneeling figure is a S.
+Sebastian, who, being naked, shows his back, which appears to all who
+see it to be not painted, but of living flesh. And indeed, among so
+many works in oils, this was held by craftsmen to be the best, for the
+reason that there may be seen in it signs of careful consideration in
+the proportions of the figures, and much order in the method, with a
+sense of fitness in the expressions of the faces, the heads of the
+young showing sweetness of expression, those of the old hardness, and
+those of middle age a kind of blend that inclines both to the first
+and to the second. In a word, this panel is most beautiful in all its
+parts; and it is now to be found in S. Jacopo tra Fossi on the Canto
+degli Alberti, together with others by the hand of the same master.</p>
+
+<p><span class="pagenum"><a id="Page_100" name="Page_100">[Pg 100]</a></span> While Andrea was living poorly enough in Florence, engaged in
+these works, but without bettering himself a whit, the two pictures
+that he had sent to France had been duly considered in that country by
+King Francis I; and among many others which had been sent from Rome,
+from Venice, and from Lombardy, they had been judged to be by far the
+best. The King therefore praising them mightily, it was remarked to
+him that it would be an easy matter to persuade Andrea to come to
+France to serve his Majesty; which news was so agreeable to the King,
+that he gave orders that all that was necessary should be done, and
+that money for the journey should be paid to Andrea in Florence.
+Andrea then set out for France with a glad heart, taking with him his
+assistant Andrea Sguazzella; and, having arrived at last at the Court,
+they were received by the King with great kindness and rejoicing.
+Before the very day of his arrival had passed by, Andrea proved for
+himself how great were the courtesy and the liberality of that
+magnanimous King, receiving presents of money and rich and honourable
+garments. Beginning to work soon afterwards, he became so dear to the
+King and to all the Court, that he was treated lovingly by everyone,
+and it appeared to him that his departure from his country had brought
+him from one extreme of wretchedness to the other extreme of bliss.
+Among his first works was a portrait from life of the Dauphin, the son
+of the King, born only a few months before, and still in
+swaddling-clothes; and when he took this to the King, he received a
+present of three hundred gold crowns. Then, continuing to work, he
+painted for the King a figure of Charity, which was considered a very
+rare work and was held by that Sovereign in the estimation that it
+deserved. After that, his Majesty granted him a liberal allowance and
+did all that he could to induce Andrea to stay willingly with him,
+promising him that he should never want for anything; and this because
+he liked Andrea's resoluteness in his work, and also the character of
+the man, who was contented with everything. Moreover, giving great
+satisfaction to the whole Court, he executed many pictures and various
+other works; and if he had kept in mind the condition from which he
+had escaped and the place to which fortune had brought him, there is
+no doubt that he would have risen&mdash;to say nothing of riches&mdash;to a most
+<span class="pagenum"><a id="Page_101" name="Page_101">[Pg 101]</a></span> honourable rank. But one day, when he was at work on a S.
+Jerome in Penitence for the mother of the King, there came to him some
+letters from Florence, written by his wife; and he began, whatever may
+have been the reason, to think of departing. He sought leave,
+therefore, from the King, saying that he wished to go to Florence, but
+would return without fail to his Majesty after settling some affairs;
+and he would bring his wife with him, in order to live more at his
+ease in France, and would come back laden with pictures and sculptures
+of value. The King, trusting in him, gave him money for that purpose;
+and Andrea swore on the Testament to return to him in a few months.</p>
+
+<p>Thus, then, he arrived in Florence, and for several months blissfully
+took his joy of his fair lady, his friends, and the city. And finally,
+the time at which he was to return having passed by, he found in the
+end that what with building, taking his pleasure, and doing no work,
+he had squandered all his money and likewise that of the King. Even so
+he wished to return, but he was more influenced by the sighs and
+prayers of his wife than by his own necessities and the pledge given
+to the King, so that, in order to please his wife, he did not go back;
+at which the King fell into such disdain, that for a long time he
+would never again look with a favourable eye on any painter from
+Florence, and he swore that if Andrea ever came into his hands he
+would give him a very different kind of welcome, with no regard
+whatever for his abilities. And thus Andrea, remaining in Florence,
+and sinking from the highest rung of the ladder to the very lowest,
+lived and passed the time as best he could.</p>
+
+<p>After Andrea's departure to France, the men of the Scalzo, thinking
+that he would never return, had entrusted all the rest of the work in
+their cloister to Franciabigio, who had already executed two scenes
+there, when, seeing Andrea back in Florence, they persuaded him to set
+his hand to the work once more; and he, continuing it, painted four
+scenes, one beside another. In the first is S. John taken before
+Herod. In the second are the Feast and the Dance of Herodias, with
+figures very well grouped and appropriate. In the third is the
+Beheading of S. John, wherein the minister of justice, a half-nude
+figure, is beautifully drawn, as are all the others. In the fourth
+Herodias is presenting the head; <span class="pagenum"><a id="Page_102" name="Page_102">[Pg 102]</a></span> and here there are figures
+expressing their astonishment, which are wrought with most beautiful
+thought and care. These scenes have been for some time the study and
+school of many young men who are now excellent in our arts.</p>
+
+<p>In a shrine without the Porta a Pinti, at a corner where the road
+turns towards the Ingesuati, he painted in fresco a Madonna seated
+with a Child in her arms, and a little S. John who is smiling, a
+figure wrought with extraordinary art and with such perfect execution,
+that it is much extolled for its beauty and vivacity; and the head of
+the Madonna is a portrait of his wife from nature. This shrine, on
+account of the incredible beauty of the painting, which is truly
+marvellous, was left standing in 1530, when, because of the siege of
+Florence, the aforesaid Convent of the Ingesuati was pulled down,
+together with many other very beautiful buildings.</p>
+
+<p>About the same time the elder Bartolommeo Panciatichi, who was
+carrying on a great mercantile business in France, desiring to leave a
+memorial of himself in Lyons, ordered Baccio d' Agnolo to have a panel
+painted for him by Andrea, and to send it to him there; saying that he
+wanted the subject to be the Assumption of Our Lady, with the Apostles
+about the tomb. This work, then, Andrea carried almost to completion;
+but since the wood of the panel split apart several times, he would
+sometimes work at it, and sometimes leave it alone, so that at his
+death it remained not quite finished. Afterwards it was placed by the
+younger Bartolommeo Panciatichi in his house, as a work truly worthy
+of praise on account of the beautiful figures of the Apostles; not to
+speak of the Madonna, who is surrounded by a choir of little boys
+standing, while certain others are supporting her and bearing her
+upwards with extraordinary grace. And in the foreground of the panel,
+among the Apostles, is a portrait of Andrea, so natural that it seems
+to be alive. It is now at the villa of the Baroncelli, a little
+distance from Florence, in a small church built by Piero Salviati near
+his villa to do honour to the picture.</p>
+
+<p>At the head of the garden of the Servi, in two angles, Andrea painted
+two scenes of Christ's Vineyard, one showing the planting, staking,
+and binding of the vines, and then the husbandman summoning to the
+labour <span class="pagenum"><a id="Page_103" name="Page_103">[Pg 103]</a></span> those who were standing idle, among whom is one who,
+being asked whether he wishes to join the work, sits rubbing his hands
+and pondering whether he will go among the other labourers, exactly as
+those idle fellows do who have but little mind to work. Even more
+beautiful is the other scene, wherein the same husbandman is causing
+them to be paid, while they murmur and complain, and one among them,
+who is counting over his money by himself, wholly intent on examining
+his share, seems absolutely alive, as also does the steward who is
+paying out the wages. These scenes are in chiaroscuro, and executed
+with extraordinary mastery in fresco. After them he painted a Pietà,
+coloured in fresco, which is very beautiful, in a niche at the head of
+a staircase in the noviciate of the same convent. He also painted
+another Pietà in a little picture in oils, in addition to a Nativity,
+for the room in that convent wherein the General, Angelo Aretino, once
+lived.</p>
+
+<p>The same master painted for Zanobi Bracci, who much desired to have
+some work by his hand, for one of his apartments, a picture of Our
+Lady, in which she is on her knees, leaning against a rock, and
+contemplating Christ, who lies on a heap of drapery and looks up at
+her, smiling; while a S. John, who stands there, is making a sign to
+the Madonna, as if to say that her Child is the true Son of God.
+Behind these figures is a S. Joseph with his head resting on his
+hands, which are lying on a rock; and he appears to be filled with joy
+at seeing the human race become divine through that Birth.</p>
+
+<p>Cardinal Giulio de' Medici having been commissioned by Pope Leo to see
+to the adorning with stucco and paintings of the ceiling in the Great
+Hall of Poggio a Caiano, a palatial villa of the Medici family,
+situated between Pistoia and Florence, the charge of arranging for
+that work and of paying out the money was given to the Magnificent
+Ottaviano de' Medici, as to a person who, not falling short of the
+standard of his ancestors, was well informed in such matters and a
+loving friend to all the masters of our arts, and delighted more than
+any other man to have his dwellings adorned with the works of the most
+excellent. Ottaviano ordained, therefore, although the commission for
+the whole work had already been given to Franciabigio, that he should
+have only a third, <span class="pagenum"><a id="Page_104" name="Page_104">[Pg 104]</a></span> Andrea another, and Jacopo da Pontormo
+the last. But it was found impossible, for all the efforts that the
+Magnificent Ottaviano made to urge them on, and for all the money that
+he offered and even paid to them, to get the work brought to
+completion; and Andrea alone finished with great diligence a scene on
+one wall, representing Cæsar being presented with tribute of all kinds
+of animals. The drawing for this work is in our book, with many others
+by his hand; it is in chiaroscuro, and is the most finished that he
+ever made. In this picture Andrea, in order to surpass Franciabigio
+and Jacopo, subjected himself to unexampled labour, drawing in it a
+magnificent perspective-view and a very masterly flight of steps,
+which formed the ascent to the throne of Cæsar. And these steps he
+adorned with very well-designed statues, not being content with having
+proved the beauty of his genius in the variety of figures that are
+carrying on their backs all those different animals, such as the
+figure of an Indian who is wearing a yellow coat, and carrying on his
+shoulders a cage drawn in perspective with some parrots both within it
+and without, the whole being rarely beautiful; and such, also, as some
+who are leading Indian goats, lions, giraffes, panthers, lynxes, and
+apes, with Moors and other lovely things of fancy, all grouped in a
+beautiful manner and executed divinely well in fresco. On these steps,
+also, he made a dwarf seated and holding a box containing a chameleon,
+which is so well executed in all the deformity of its fantastic shape,
+that it is impossible to imagine more beautiful proportions than those
+that he gave it. But, as has been said, this work remained unfinished,
+on account of the death of Pope Leo; and although Duke Alessandro de'
+Medici had a great desire that Jacopo da Pontormo should finish it, he
+was not able to prevail on him to put his hand to it. And in truth it
+suffered a very grievous wrong in the failure to complete it, seeing
+that the hall, for one in a villa, is the most beautiful in the world.</p>
+
+<p>After returning to Florence, Andrea painted a picture with a nude
+half-length figure of S. John the Baptist, a very beautiful thing,
+which he executed at the commission of Giovan Maria Benintendi, who
+presented it afterwards to the Lord Duke Cosimo.</p>
+
+<div class="figcenter">
+<a name="img034" id="img034"></a>
+<img src="images/img034-tb.jpg" width="450" height="404" alt="Cæsar receiving the Tribute of Egypt." title="">
+<p class="caption">CÆSAR RECEIVING THE TRIBUTE OF EGYPT<br>
+(<i>After the fresco by</i> Andrea del Sarto.<br> <i>Florence: Poggio a Caiano</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img034.jpg">View larger image</a></span></p>
+</div>
+
+<p>While affairs were proceeding in this manner, Andrea, remembering
+<span class="pagenum"><a id="Page_105" name="Page_105">[Pg 105]</a></span> sometimes his connection with France, sighed from his
+heart: and if he had hoped to find pardon for the fault he had
+committed, there is no doubt that he would have gone back. Indeed, to
+try his fortune, he sought to see whether his talents might be helpful
+to him in the matter. Thus he painted a picture of a half-naked S.
+John the Baptist, meaning to send it to the Grand Master of France, to
+the end that he might occupy himself with restoring the painter to the
+favour of the King. However, whatever may have been the reason, he
+never sent it after all, but sold it to the Magnificent Ottaviano de'
+Medici, who always valued it much as long as he lived, even as he did
+two pictures of Our Lady executed for him by Andrea in one and the
+same manner, which are in his house at the present day.</p>
+
+<p>Not long afterwards he was commissioned by Zanobi Bracci to paint a
+picture for Monsignore di San Biause,<a id="FNanchor6" name="FNanchor6"></a><a href="#Footnote6" title="Go to footnote 6" class="fnanchor">[6]</a> which he executed with all
+possible diligence, hoping that it might enable him to regain the
+favour of King Francis, to whose service he desired to return. He also
+executed for Lorenzo Jacopi a picture of much greater size than was
+usual, containing a Madonna seated with the Child in her arms,
+accompanied by two other figures that are seated on some steps; and
+the whole, both in drawing and in colouring, is similar to his other
+works. He painted for Giovanni d' Agostino Dini, likewise, a picture
+of Our Lady, which is now much esteemed for its beauty; and he made so
+good a portrait from life of Cosimo Lapi, that it seems absolutely
+alive.</p>
+
+<p>Afterwards, in the year 1523, the plague came to Florence and also to
+some places in the surrounding country; and Andrea, in order to avoid
+that pestilence and also to do some work, went at the instance of
+Antonio Brancacci to the Mugello to paint a panel for the Nuns of S.
+Piero a Luco, of the Order of Camaldoli, taking with him his wife and
+a stepdaughter, together with his wife's sister and an assistant.
+Living quietly there, then, he set his hand to the work. And since
+those venerable ladies showed more and more kindness and courtesy
+every day to his wife, to himself, and to the whole party, he applied
+himself with the greatest possible willingness to executing that
+panel, in which he painted <span class="pagenum"><a id="Page_106" name="Page_106">[Pg 106]</a></span> a Dead Christ mourned by Our
+Lady, S. John the Evangelist, and the Magdalene, figures so lifelike,
+that they appear truly to have spirit and breath. In S. John may be
+seen the loving tenderness of that Apostle, with affection in the
+tears of the Magdalene, and bitter sorrow in the face and whole
+attitude of the Madonna, whose aspect, as she gazes on Christ, who
+seems to be truly a real corpse and in relief, is so pitiful, that she
+fills with helpless awe and bewilderment the minds of S. Peter and S.
+Paul, who are contemplating the Dead Saviour of the World in the lap
+of His mother. From these marvellous conceptions it is clear how much
+Andrea delighted in finish and perfection of art; and to tell the
+truth, this panel has given more fame to that convent than all the
+buildings and all the other costly works, however magnificent and
+extraordinary, that have been executed there.</p>
+
+<p>This picture finished, Andrea, seeing that the danger of the plague
+was not yet past, stayed some weeks more in the same place, where he
+was so well received and treated with such kindness. During that time,
+in order not to be idle, he painted not only a Visitation of Our Lady
+to S. Elizabeth, which is in the church, on the right hand above the
+Manger, serving as a crown to a little ancient panel, but also, on a
+canvas of no great size, a most beautiful head of Christ, somewhat
+similar to that on the altar of the Nunziata, but not so finished.
+This head, which may in truth be numbered among the better works that
+issued from the hands of Andrea, is now in the Monastery of the Monks
+of the Angeli at Florence, in the possession of that very reverend
+father, Don Antonio da Pisa, who loves not only the men of excellence
+in our arts, but every man of talent without exception. From this
+picture several copies have been taken, for Don Silvano Razzi
+entrusted it to the painter Zanobi Poggini, to the end that he might
+make a copy for Bartolommeo Gondi, who had asked him for one, and some
+others were made, which are held in vast veneration in Florence.</p>
+
+<p>In this manner, then, Andrea passed without danger the time of the
+plague, and those nuns received from the genius of that great man such
+a work as can bear comparison with the most excellent pictures that
+have been painted in our day; wherefore it is no marvel that
+Ramazzotto, <span class="pagenum"><a id="Page_107" name="Page_107">[Pg 107]</a></span> the captain of mercenaries of Scaricalasino,
+sought to obtain it on several occasions during the siege of Florence,
+in order to send it to his chapel in S. Michele in Bosco at Bologna.</p>
+
+<p>On his return to Florence, Andrea executed for Beccuccio da Gambassi,
+the glass-blower, who was very much his friend, a panel-picture of Our
+Lady in the sky with the Child in her arms, and four figures below, S.
+John the Baptist, S. Mary Magdalene, S. Sebastian, and S. Rocco; and
+in the predella he made portraits from nature, which are most
+lifelike, of Beccuccio and his wife. This panel is now at Gambassi, a
+township in Valdelsa, between Volterra and Florence. For a chapel in
+the villa of Zanobi Bracci at Rovezzano, he painted a most beautiful
+picture of Our Lady suckling a Child, with a Joseph, all executed with
+such diligence that they stand out from the panel, so strong is the
+relief; and this picture is now in the house of M. Antonio Bracci, the
+son of that Zanobi. About the same time, also, and in the
+above-mentioned cloister of the Scalzo, Andrea painted two other
+scenes, in one of which he depicted Zacharias offering sacrifice and
+being made dumb by the Angel appearing to him, while in the other is
+the Visitation of Our Lady, beautiful to a marvel.</p>
+
+<p>Now Federigo II, Duke of Mantua, in passing through Florence on his
+way to make obeisance to Clement VII, saw over a door in the house of
+the Medici that portrait of Pope Leo between Cardinal Giulio de'
+Medici and Cardinal de' Rossi, which the most excellent Raffaello da
+Urbino had formerly painted; and being extraordinarily pleased with
+it, he resolved, being a man who delighted in pictures of such beauty,
+to make it his own. And so, when he was in Rome and the moment seemed
+to him to have come, he asked for it as a present from Pope Clement,
+who courteously granted his request. Thereupon orders were sent to
+Florence to Ottaviano de' Medici, under whose care and government were
+Ippolito and Alessandro, that he should have it packed up and taken to
+Mantua. This matter was very displeasing to the Magnificent Ottaviano,
+who would never have consented to deprive Florence of such a picture,
+and he marvelled that the Pope should have given it up so readily.
+However, he answered that he would not fail to satisfy the Duke; but
+that, <span class="pagenum"><a id="Page_108" name="Page_108">[Pg 108]</a></span> since the frame was bad, he was having a new one made,
+and when it had been gilt he would send the picture with every
+possible precaution to Mantua. This done, Messer Ottaviano, in order
+to "save both the goat and the cabbage," as the saying goes, sent
+privately for Andrea and told him how the matter stood, and how there
+was no way out of it but to make an exact copy of the picture with the
+greatest care and send it to the Duke, secretly retaining the one by
+the hand of Raffaello. Andrea, then, having promised to do all in his
+power and knowledge, caused a panel to be made similar in size and in
+every respect, and painted it secretly in the house of Messer
+Ottaviano. And to such purpose did he labour, that when it was
+finished even Messer Ottaviano, for all his understanding in matters
+of art, could not tell the one from the other, nor distinguish the
+real and true picture from the copy; especially as Andrea had
+counterfeited even the spots of dirt, exactly as they were in the
+original. And so, after they had hidden the picture of Raffaello, they
+sent the one by the hand of Andrea, in a similar frame, to Mantua; at
+which the Duke was completely satisfied, and above all because the
+painter Giulio Romano, a disciple of Raffaello, had praised it,
+failing to detect the trick. This Giulio would always have been of the
+same opinion, and would have believed it to be by the hand of
+Raffaello, but for the arrival in Mantua of Giorgio Vasari, who,
+having been as it were the adoptive child of Messer Ottaviano, and
+having seen Andrea at work on that picture, revealed the truth. For
+Giulio making much of Vasari, and showing him, after many antiquities
+and paintings, that picture of Raffaello's, as the best work that was
+there, Giorgio said to him, "A beautiful work it is, but in no way by
+the hand of Raffaello." "What?" answered Giulio. "Should I not know
+it, when I recognize the very strokes that I made with my own brush?"
+"You have forgotten them," said Giorgio, "for this picture is by the
+hand of Andrea del Sarto; and to prove it, there is a sign (to which
+he pointed) that was made in Florence, because when the two were
+together they could not be distinguished." Hearing this, Giulio had
+the picture turned round, and saw the mark; at which he shrugged his
+shoulders and said these words, "I value it no less than if it were by
+the hand of Raffaello&mdash;nay, even more, for it is something <span class="pagenum"><a id="Page_109" name="Page_109">[Pg 109]</a></span>
+out of the course of nature that a man of excellence should imitate
+the manner of another so well, and should make a copy so like. It is
+enough that it should be known that Andrea's genius was as valiant in
+double harness as in single." Thus, then, by the wise judgment of
+Messer Ottaviano, satisfaction was given to the Duke without depriving
+Florence of so choice a work, which, having been presented to him
+afterwards by Duke Alessandro, he kept in his possession for many
+years; and finally he gave it to Duke Cosimo, who has it in his
+guardaroba together with many other famous pictures.</p>
+
+<p>While Andrea was making this copy, he also painted for the same Messer
+Ottaviano a picture with only the head of Cardinal Giulio de' Medici,
+who afterwards became Pope Clement; and this head, which was similar
+to that by Raffaello, and very beautiful, was presented eventually by
+Messer Ottaviano to old Bishop de' Marzi.</p>
+
+<p>Not long after, Messer Baldo Magini of Prato desiring to have a most
+beautiful panel-picture painted for the Madonna delle Carcere in his
+native city, for which he had already caused a very handsome ornament
+of marble to be made, one of the many painters proposed to him was
+Andrea. Wherefore Messer Baldo, having more inclination for him than
+for any of the others, although he had no great understanding in such
+a matter, had almost given him to believe that he and no other should
+do the work, when a certain Niccolò Soggi of Sansovino, who had some
+interest at Prato, was suggested to Messer Baldo for the undertaking,
+and assisted to such purpose by the assertion that there was not a
+better master to be found, that the work was given to him. Meanwhile,
+Andrea's supporters sending for him, he, holding it as settled that
+the work was to be his, went off to Prato with Domenico Puligo and
+other painters who were his friends. Arriving there, he found that
+Niccolò not only had persuaded Messer Baldo to change his mind, but
+also was bold and shameless enough to say to him in the presence of
+Messer Baldo that he would compete with Andrea for a bet of any sum of
+money in painting something, the winner to take the whole. Andrea, who
+knew what Niccolò was worth, answered, although he was generally a man
+of little spirit, "Here is my assistant, who has not been long in our
+art. If you <span class="pagenum"><a id="Page_110" name="Page_110">[Pg 110]</a></span> will bet with him, I will put down the money for
+him; but with me you shall have no bet for any money in the world,
+seeing that, if I were to beat you, it would do me no honour, and if I
+were to lose, it would be the greatest possible disgrace." And, saying
+to Messer Baldo that he should give the work to Niccolò, because he
+would execute it in such a manner as would please the folk that went
+to market, he returned to Florence.</p>
+
+<p>There he was commissioned to paint a panel for Pisa, divided into five
+pictures, which were afterwards placed round the Madonna of S. Agnese,
+beside the walls of that city, between the old Citadel and the Duomo.
+Making one figure, then, in each picture, he painted in two of them S.
+John the Baptist and S. Peter, one on either side of the Madonna that
+works miracles; and in the others are S. Catharine the Martyr, S.
+Agnese, and S. Margaret, each a figure by itself, and all so beautiful
+as to fill with marvel anyone who beholds them, and considered to be
+the most gracious and lovely women that he ever painted.</p>
+
+<p>M. Jacopo, a Servite friar, in releasing and absolving a woman from a
+vow, had told her that she must have a figure of Our Lady painted over
+the outer side of that lateral door of the Nunziata which leads into
+the cloister; and therefore, finding Andrea, he said to him that he
+had this money to spend, and that although it was not much it seemed
+to him right, since the other works executed by Andrea in that place
+had brought him such fame, that he and no other should paint this one
+as well. Andrea, who was nothing if not an amiable man, moved by the
+persuasions of the friar and by his own desire for profit and glory,
+answered that he would do it willingly; and shortly afterwards,
+putting his hand to the work, he painted in fresco a most beautiful
+Madonna seated with her Son in her arms, and S. Joseph leaning on a
+sack, with his eyes fixed upon an open book. And of such a kind was
+this work, in draughtsmanship, grace, and beauty of colouring, as well
+as in vivacity and relief, that it proved that he outstripped and
+surpassed by a great measure all the painters who had worked up to
+that time. Such, indeed, is this picture, that by its own merit and
+without praise from any other quarter it makes itself clearly known as
+amazing and most rare.</p>
+
+<p><span class="pagenum"><a id="Page_111" name="Page_111">[Pg 111]</a></span> There was wanting only one scene in the cloister of the
+Scalzo for it to be completely finished; wherefore Andrea, who had
+added grandeur to his manner after having seen the figures that
+Michelagnolo had begun and partly finished for the Sacristy of S.
+Lorenzo, set his hand to executing this last scene. In this, giving
+the final proof of his improvement, he painted the Birth of S. John
+the Baptist, with figures that were very beautiful and much better and
+stronger in relief than the others made by him before in the same
+place. Most beautiful, among others in this work, are a woman who is
+carrying the newborn babe to the bed on which lies S. Elizabeth, who
+is likewise a most lovely figure, and Zacharias, who is writing on a
+paper that he has placed on his knee, holding it with one hand and
+with the other writing the name of his son, and all with such
+vivacity, that he lacks nothing save the breath of life. Most
+beautiful, also, is an old woman who is seated on a stool, smiling
+with gladness at the delivery of the other aged woman, and revealing
+in her attitude and expression all that would be seen in a living
+person after such an event.</p>
+
+<p>Having finished that work, which is certainly well worthy of all
+praise, he painted for the General of Vallombrosa a panel-picture with
+four very lovely figures, S. John the Baptist, S. Giovanni Gualberto,
+founder of that Order, S. Michelagnolo, and S. Bernardo, a Cardinal
+and a monk of the Order, with some little boys in the centre that
+could not be more vivacious or more beautiful. This panel is at
+Vallombrosa, on the summit of a rocky height, where certain monks live
+in some rooms called "the cells," separated from the others, and
+leading as it were the lives of hermits.</p>
+
+<p>After this he was commissioned by Giuliano Scala to paint a
+panel-picture, which was to be sent to Serrazzana, of a Madonna seated
+with the Child in her arms, and two half-length figures from the knees
+upwards, S. Celso and S. Julia, with S. Onofrio, S. Catharine, S.
+Benedict, S. Anthony of Padua, S. Peter, and S. Mark; which panel was
+held to be equal to the other works of Andrea. And in the hands of
+Giuliano Scala, in place of the balance due to him of a sum of money
+that he had paid for the owners of that work, there remained a lunette
+containing an Annunciation, which was to go above the panel, to
+complete it; and it is now <span class="pagenum"><a id="Page_112" name="Page_112">[Pg 112]</a></span> in his chapel in the great
+tribune round the choir of the Church of the Servi.</p>
+
+<p>The Monks of S. Salvi had let many years pass by without thinking of
+having a beginning made with their Last Supper, which they had
+commissioned Andrea to execute at the time when he painted the arch
+with the four figures; but finally an Abbot, who was a man of judgment
+and breeding, determined that he should finish that work. Thereupon
+Andrea, who had already pledged himself to it on a previous occasion,
+far from making any demur, put his hand to the task, and, working at
+it one piece at a time when he felt so inclined, finished it in a few
+months, and that in such a manner, that the work was held to be, as it
+certainly is, the most spontaneous and the most vivacious in colouring
+and drawing that he ever made, or that ever could be made. For, among
+other things, he gave infinite grandeur, majesty, and grace to all the
+figures, insomuch that I know not what to say of this Last Supper that
+would not be too little, it being such that whoever sees it is struck
+with amazement. Wherefore it is no marvel that on account of its
+excellence it was left standing amid the havoc of the siege of
+Florence, in the year 1529, at which time the soldiers and destroyers,
+by command of those in authority, pulled down all the suburbs without
+the city, and all the monasteries, hospitals, and other buildings.
+These men, I say, having destroyed the Church and Campanile of S.
+Salvi, and beginning to throw down part of the convent, had come to
+the refectory where this Last Supper is, when their leader, seeing so
+marvellous a painting, of which he may have heard speak, abandoned the
+undertaking and would not let any more of that place be destroyed,
+reserving the task until such time as there should be no alternative.</p>
+
+<div class="figcenter">
+<a name="img035" id="img035"></a>
+<img src="images/img035-tb.jpg" width="400" height="576" alt="Portrait of the Artist." title="">
+<p class="caption">PORTRAIT OF THE ARTIST<br>
+(<i>After the painting on a tile by</i> Andrea del Sarto.<br> <i>Florence:
+Uffizi, 280</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img035.jpg">View larger image</a></span></p>
+</div>
+
+<p>Andrea then painted for the Company of S. Jacopo, called the Nicchio,
+on a banner for carrying in processions, a S. James fondling a little
+boy dressed as a Flagellant by stroking him under the chin, with
+another boy who has a book in his hand, executed with beautiful grace
+and naturalness. He made a portrait from life of a steward of the
+Monks of Vallombrosa, who lived almost always in the country on the
+affairs of his monastery; and this portrait was placed under a sort of
+bower, in <span class="pagenum"><a id="Page_113" name="Page_113">[Pg 113]</a></span> which he had made pergole and contrivances of
+his own in various fanciful designs, so that it was buffeted by wind
+and rain, according to the pleasure of that steward, who was the
+friend of Andrea. And because, when the work was finished, there were
+some colours and lime left over, Andrea, taking a tile, called to his
+wife Lucrezia and said to her: "Come here, for these colours are left
+over, and I wish to make your portrait, so that all may see how well
+you have preserved your beauty even at your time of life, and yet may
+know how your appearance has changed, which will make this one
+different from your early portraits." But the woman, who may have had
+something else in her mind, would not stand still; and Andrea, as it
+were from a feeling that he was near his end, took a mirror and made a
+portrait of himself on that tile, of such perfection, that it seems
+alive and as real as nature; and that portrait is in the possession of
+the same Madonna Lucrezia, who is still living.</p>
+
+<p>He also portrayed a Canon of Pisa, very much his friend; and the
+portrait, which is lifelike and very beautiful, is still in Pisa. He
+then began for the Signoria the cartoons for the paintings to be
+executed on the balustrades of the Ringhiera in the Piazza, with many
+beautiful things of fancy to represent the quarters of the city, and
+with the banners of the Consuls of the chief Guilds supported by some
+little boys, and also ornaments in the form of images of all the
+virtues, and likewise the most famous mountains and rivers of the
+dominion of Florence. But this work, thus begun, remained unfinished
+on account of Andrea's death, as was also the case with a
+panel&mdash;although it was all but finished&mdash;which he painted for the
+Abbey of the Monks of Vallombrosa at Poppi in the Casentino. In that
+panel he painted an Assumption of Our Lady, who is surrounded by many
+little boys, with S. Giovanni Gualberto, S. Bernardo the Cardinal (a
+monk of their Order, as has been related), S. Catharine, and S.
+Fedele; and, unfinished as it is, the picture is now in that Abbey of
+Poppi. The same happened to a panel of no great size, which, when
+finished, was to have gone to Pisa. But he left completely finished a
+very beautiful picture which is now in the house of Filippo Salviati,
+and some others.</p>
+
+<p><span class="pagenum"><a id="Page_114" name="Page_114">[Pg 114]</a></span> About the same time Giovan Battista della Palla, having
+bought all the sculptures and pictures of note that he could obtain,
+and causing copies to be made of those that he could not buy, had
+despoiled Florence of a vast number of choice works, without the least
+scruple, in order to furnish a suite of rooms for the King of France,
+which was to be richer in suchlike ornaments than any other in the
+world. And this man, desiring that Andrea should return to the service
+and favour of the King, commissioned him to paint two pictures. In one
+of these Andrea painted Abraham in the act of trying to sacrifice his
+son; and that with such diligence, that it was judged that up to that
+time he had never done anything better. Beautifully expressed in the
+figure of the patriarch was seen that living and steadfast faith which
+made him ready without a moment of dismay or hesitation to slay his
+own son. The same Abraham, likewise, could be seen turning his head
+towards a very beautiful little angel, who appeared to be bidding him
+stay his hand. I will not describe the attitude, the dress, the
+foot-wear, and other details in the painting of that old man, because
+it is not possible to say enough of them; but this I must say, that
+the boy Isaac, tender and most beautiful, was to be seen all naked,
+trembling with the fear of death, and almost dead without having been
+struck. The same boy had only the neck browned by the heat of the sun,
+and white as snow those parts that his draperies had covered during
+the three days' journey. In like manner, the ram among the thorns
+seemed to be alive, and Isaac's draperies on the ground rather real
+and natural than painted. And in addition there were some naked
+servants guarding an ass that was browsing, and a landscape so well
+represented that the real scene of the event could not have been more
+beautiful or in any way different. This picture, having been bought by
+Filippo Strozzi after the death of Andrea and the capture of Battista,
+was presented by him to Signor Alfonso Davalos, Marchese del Vasto,
+who had it carried to the island of Ischia, near Naples, and placed in
+one of his apartments in company with other most noble paintings.</p>
+
+<p>In the other picture Andrea painted a very beautiful Charity, with
+three little boys; and this was afterwards bought from the wife of
+Andrea, <span class="pagenum"><a id="Page_115" name="Page_115">[Pg 115]</a></span> after his death, by the painter Domenico Conti, who
+sold it later to Niccolò Antinori, who treasures it as a rare work, as
+indeed it is.</p>
+
+<p>During this time there came to the Magnificent Ottaviano de' Medici,
+seeing from that last picture how much Andrea had improved his manner,
+a desire to have a picture by his hand. Whereupon Andrea, who was
+eager to serve that lord, to whom he was much indebted, because he had
+always shown favour to men of lofty intellect, and particularly to
+painters, executed for him a picture of Our Lady seated on the ground
+with the Child riding astride on her knees, while He turns His head
+towards a little S. John supported by an old S. Elizabeth, a figure so
+natural and so well painted that she appears to be alive, even as
+every other thing is wrought with incredible diligence,
+draughtsmanship, and art. Having finished this picture, Andrea carried
+it to Messer Ottaviano; but since that lord had something else to
+think about, Florence being then besieged, he told Andrea, while
+thanking him profoundly and making his excuses, to dispose of it as he
+thought best. To which Andrea made no reply but this: "The labour was
+endured for you, and yours the work shall always be." "Sell it,"
+answered Messer Ottaviano, "and use the money, for I know what I am
+talking about." Andrea then departed and returned to his house, nor
+would he ever give the picture to anyone, for all the offers that were
+made to him; but when the siege was raised and the Medici back in
+Florence, he took it once more to Messer Ottaviano, who accepted it
+right willingly, thanking him and paying him double. The work is now
+in the apartment of his wife, Madonna Francesca, sister to the very
+reverend Salviati, who holds the beautiful pictures left to her by her
+magnificent consort in no less account than she does the duty of
+retaining and honouring his friends.</p>
+
+<p>For Giovanni Borgherini Andrea painted another picture almost exactly
+like the one of Charity mentioned above, containing a Madonna, a
+little S. John offering to Christ a globe that represents the world,
+and a very beautiful head of S. Joseph.</p>
+
+<p>There came to Paolo da Terrarossa, a friend to the whole body of
+painters, who had seen the sketch for the aforesaid Abraham, a wish to
+have some work by the hand of Andrea. Having therefore asked him
+<span class="pagenum"><a id="Page_116" name="Page_116">[Pg 116]</a></span> for a copy of that Abraham, Andrea willingly obliged him and
+made a copy of such a kind, that in its minuteness it was by no means
+inferior to the large original. Wherefore Paolo, well satisfied with
+it and wishing to pay him, asked him the price, thinking that it would
+cost him what it was certainly worth; but Andrea asked a mere song,
+and Paolo, almost ashamed, shrugged his shoulders and gave him all
+that he claimed. The picture was afterwards sent by him to Naples
+...<a id="FNanchor7" name="FNanchor7"></a><a href="#Footnote7" title="Go to footnote 7" class="fnanchor">[7]</a> and it is the most beautiful and the most highly honoured
+painting in that place.</p>
+
+<p>During the siege of Florence some captains had fled the city with the
+pay-chests; on which account Andrea was asked to paint on the façade
+of the Palace of the Podestà and in the Piazza not only those
+captains, but also some citizens who had fled and had been proclaimed
+outlaws. He said that he would do it; but in order not to acquire,
+like Andrea dal Castagno, the name of Andrea degl' Impiccati, he gave
+it out that he was entrusting the work to one of his assistants,
+called Bernardo del Buda. However, having made a great enclosure,
+which he himself entered and left by night, he executed those figures
+in such a manner that they appeared to be the men themselves, real and
+alive. The soldiers, who were painted on the façade of the old
+Mercatanzia in the Piazza, near the Condotta, were covered with
+whitewash many years ago, that they might be seen no longer; and the
+citizens, whom he painted entirely with his own hand on the Palace of
+the Podestà, were destroyed in like manner.</p>
+
+<p>After this, being very intimate in these last years of his life with
+certain men who governed the Company of S. Sebastiano, which is behind
+the Servite Convent, Andrea made for them with his own hand a S.
+Sebastian from the navel upwards, so beautiful that it might well have
+seemed that these were the last strokes of the brush which he was to
+make.</p>
+
+<p>The siege being finished, Andrea was waiting for matters to mend,
+although with little hope that his French project would succeed, since
+Giovan Battista della Palla had been taken prisoner, when Florence
+became filled with soldiers and stores from the camp. Among those
+soldiers were <span class="pagenum"><a id="Page_117" name="Page_117">[Pg 117]</a></span> some lansquenets sick of the plague, who
+brought no little terror into the city and shortly afterwards left it
+infected. Thereupon, either through this apprehension or through some
+imprudence in eating after having suffered much privation in the
+siege, one day Andrea fell grievously ill and took to his bed with
+death on his brow; and finding no remedy for his illness, and being
+without much attention&mdash;for his wife, from fear of the plague, kept as
+far away from him as she could&mdash;he died, so it is said, almost without
+a soul being aware of it; and he was buried by the men of the Scalzo
+with scant ceremony in the Church of the Servi, near his own house, in
+the place where the members of that Company are always buried.</p>
+
+<p>The death of Andrea was a very great loss to the city and to art,
+because up to the age of forty-two, which he attained, he went on
+always improving from one work to another in such wise that, if he had
+lived longer, he would have continued to confer benefits on art; for
+the reason that it is better to go on making progress little by
+little, advancing with a firm and steady foot through the difficulties
+of art, than to seek to force one's intellect and nature in a single
+effort. Nor is there any doubt that if Andrea had stayed in Rome when
+he went there to see the works of Raffaello and Michelagnolo, and also
+the statues and ruins of that city, he would have enriched his manner
+greatly in the composition of scenes, and would one day have given
+more delicacy and greater force to his figures; which has never been
+thoroughly achieved save by one who has been some time in Rome, to
+study those works in detail and grow familiar with them. Having then
+from nature a sweet and gracious manner of drawing and great facility
+and vivacity of colouring, both in fresco-work and in oils, it is
+believed without a doubt that if he had stayed in Rome, he would have
+surpassed all the craftsmen of his time. But some believe that he was
+deterred from this by the abundance of works of sculpture and
+painting, both ancient and modern, that he saw in that city, and by
+observing the many young men, disciples of Raffaello and of others,
+resolute in draughtsmanship and working confidently and without
+effort, whom, like the timid fellow that he was, he did not feel it in
+him to excel. And so, not trusting himself, he resolved, as the best
+course for him, to <span class="pagenum"><a id="Page_118" name="Page_118">[Pg 118]</a></span> return to Florence; where, reflecting
+little by little on what he had seen, he made such proficience that
+his works have been admired and held in price, and, what is more,
+imitated more often after his death than during his lifetime. Whoever
+has some holds them dear, and whoever has consented to sell them has
+received three times as much as was paid to him, for the reason that
+he never received anything but small prices for his works, both
+because he was timid by nature, as has been related, and also because
+certain master-joiners, who were executing the best works at that time
+in the houses of citizens, would never allow any commission to be
+given to Andrea (so as to oblige their friends), save when they knew
+that he was in great straits, for at such times he would accept any
+price. But this does not prevent his works from being most rare, or
+from being held in very great account, and that rightly, since he was
+one of the best and greatest masters who have lived even to our own
+day. In our book are many drawings by his hand, all good; but in
+particular there is one that is altogether beautiful, of the scene
+that he painted at Poggio, showing the tribute of all the animals from
+the East being presented to Cæsar. This drawing, which is executed in
+chiaroscuro, is a rare thing, and the most finished that Andrea ever
+made; for when he drew natural objects for reproduction in his works,
+he made mere sketches dashed off on the spot, contenting himself with
+marking the character of the reality; and afterwards, when reproducing
+them in his works, he brought them to perfection. His drawings,
+therefore, served him rather as memoranda of what he had seen than as
+models from which to make exact copies in his pictures.</p>
+
+<p>The disciples of Andrea were innumerable, but they did not all pursue
+the same course of study under his discipline, for some stayed with
+him a long time, and some but little; which was the fault, not of
+Andrea, but of his wife, who, tyrannizing arrogantly over them all,
+and showing no respect to a single one of them, made all their lives a
+burden. Among his disciples, then, were Jacopo da Pontormo; Andrea
+Sguazzella, who adhered to the manner of Andrea and decorated a
+palace, a work which is much extolled, without the city of Paris in
+France; Solosmeo; Pier Francesco di Jacopo di Sandro, who has painted
+three panels that <span class="pagenum"><a id="Page_119" name="Page_119">[Pg 119]</a></span> are in S. Spirito; Francesco Salviati;
+Giorgio Vasari of Arezzo, who was the companion of the aforesaid
+Salviati, although he did not stay long with Andrea; Jacopo del Conte
+of Florence; and Nannoccio, who is now in France with Cardinal de
+Tournon, in the highest credit. In like manner, Jacopo, called Jacone,
+was a disciple of Andrea and much his friend, and an imitator of his
+manner. This Jacone, while Andrea was alive, received no little help
+from him, as is evident in all his works, and particularly in the
+façade executed for the Chevalier Buondelmonti on the Piazza di S.
+Trinita.</p>
+
+<p>The heir to Andrea's drawings and other art-possessions, after his
+death, was Domenico Conti, who made little proficience in painting;
+but one night he was robbed&mdash;by some men of the same profession, so it
+is thought&mdash;of all the drawings, cartoons, and other things that he
+had from Andrea, nor was it ever discovered who these men were. Now
+Domenico, as one not ungrateful for the benefits received from his
+master, and desiring to render to him after his death the honours that
+he deserved, prevailed upon Raffaello da Montelupo to make for him out
+of courtesy a very handsome tablet of marble, which was built into a
+pilaster in the Church of the Servi, with the following epitaph,
+written for him by the most learned Messer Piero Vettori, then a young
+man:</p>
+
+<p class="center">
+  ANDREÆ SARTIO<br>
+  ADMIRABILIS INGENII PICTORI, AC VETERIBUS ILLIS OMNIUM JUDICIO<br>
+  COMPARANDO,<br>
+  DOMINICUS CONTES DISCIPULUS, PRO LABORIBUS IN SE INSTITUENDO SUSCEPTIS,<br>
+  GRATO ANIMO POSUIT.<br>
+  VIXIT ANN. XLII, OB. ANN. MDXXX.</p>
+
+<p>After no long time, certain citizens, Wardens of Works of that church,
+rather ignorant than hostile to honoured memories, so went to work out
+of anger that the tablet should have been set up in that place without
+their leave, that they had it removed; nor has it yet been re-erected
+in any other place. Thus, perchance, Fortune sought to show that the
+power of the Fates prevails not only during our lives, but also over
+our memorials after death. In spite of them, however, the works
+<span class="pagenum"><a id="Page_120" name="Page_120">[Pg 120]</a></span> and the name of Andrea are likely to live a long time, as
+are these my writings, I hope, to preserve their memory for many ages.</p>
+
+<p>We must conclude, then, that if Andrea showed poor spirit in the
+actions of his life, contenting himself with little, this does not
+mean that in art he was otherwise than exalted in genius, most
+resolute, and masterly in every sort of labour; and with his works, in
+addition to the adornment that they confer on the places where they
+are, he rendered a most valuable service to his fellow-craftsmen with
+regard to manner, drawing, and colouring, and that with fewer errors
+than any other painter of Florence, for the reason that, as has been
+said above, he understood very well the management of light and shade
+and how to make things recede in the darks, and painted his pictures
+with a sweetness full of vivacity; not to mention that he showed us
+the method of working in fresco with perfect unity and without doing
+much retouching on the dry, which makes his every work appear to have
+been painted in a single day. Wherefore he should serve in every place
+as an example to Tuscan craftsmen, and receive supreme praise and a
+palm of honour among the number of their most celebrated champions.</p>
+
+
+
+<hr style="width: 65%;">
+<h2><a name="derossi" id="derossi"></a><span class="pagenum"><a id="Page_121" name="Page_121">[Pg 121]</a></span> MADONNA PROPERZIA
+  DE' ROSSI</h2>
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_derossi" id="life_of_derossi"></a><span class="pagenum"><a id="Page_123" name="Page_123">[Pg 123]</a></span> LIFE OF MADONNA PROPERZIA DE' ROSSI</h2>
+
+<h3>SCULPTOR<a id="FNanchor8" name="FNanchor8"></a><a href="#Footnote8" title="Go to footnote 8" class="fnanchor">[8]</a> OF BOLOGNA</h3>
+
+
+<p>It is an extraordinary thing that in all those arts and all those
+exercises wherein at any time women have thought fit to play a part in
+real earnest, they have always become most excellent and famous in no
+common way, as one might easily demonstrate by an endless number of
+examples. Everyone, indeed, knows what they are all, without
+exception, worth in household matters; besides which, in connection
+with war, likewise, it is known who were Camilla, Harpalice, Valasca,
+Tomyris, Penthesilea, Molpadia, Orizia, Antiope, Hippolyta, Semiramis,
+Zenobia, and, finally, Mark Antony's Fulvia, who so often took up
+arms, as the historian Dion tells us, to defend her husband and
+herself. But in poetry, also, they have been truly marvellous, as
+Pausanias relates. Corinna was very celebrated as a writer of verse,
+and Eustathius makes mention in his "Catalogue of the Ships of
+Homer"&mdash;as does Eusebius in his book of "Chronicles"&mdash;of Sappho, a
+young woman of great renown, who, in truth, although she was a woman,
+was yet such that she surpassed by a great measure all the eminent
+writers of that age. And Varro, on his part, gives extraordinary but
+well-deserved praise to Erinna, who, with her three hundred verses,
+challenged the fame of the brightest light of Greece, and
+counterbalanced with her one small volume, called the "Elecate," the
+ponderous "Iliad" of the great Homer. Aristophanes celebrates
+Carissena, a votary of the same profession, as a woman of great
+excellence and learning; and the same may be said for Teano, Merone,
+Polla, Elpe, Cornificia, and Telesilla, to the last of whom, in
+<span class="pagenum"><a id="Page_124" name="Page_124">[Pg 124]</a></span> honour of her marvellous talents, a most beautiful statue
+was set up in the Temple of Venus.</p>
+
+<p>Passing by the numberless other writers of verse, do we not read that
+Arete was the teacher of the learned Aristippus in the difficulties of
+philosophy, and that Lastheneia and Assiotea were disciples of the
+divine Plato? In the art of oratory, Sempronia and Hortensia, women of
+Rome, were very famous. In grammar, so Athenæus relates, Agallis was
+without an equal. And as for the prediction of the future, whether we
+class this with astrology or with magic, it is enough to say that
+Themis, Cassandra, and Manto had an extraordinary renown in their
+times; as did Isis and Ceres in matters of agriculture, and the
+Thespiades in the whole field of the sciences.</p>
+
+<p>But in no other age, for certain, has it been possible to see this
+better than in our own, wherein women have won the highest fame not
+only in the study of letters&mdash;as has been done by Signora Vittoria del
+Vasto, Signora Veronica Gambara, Signora Caterina Anguisciuola,
+Schioppa, Nugarola, Madonna Laura Battiferri, and a hundred others,
+all most learned as well in the vulgar tongue as in the Latin and the
+Greek&mdash;but also in every other faculty. Nor have they been too proud
+to set themselves with their little hands, so tender and so white, as
+if to wrest from us the palm of supremacy, to manual labours, braving
+the roughness of marble and the unkindly chisels, in order to attain
+to their desire and thereby win fame; as did, in our own day,
+Properzia de' Rossi of Bologna, a young woman excellent not only in
+household matters, like the rest of them, but also in sciences without
+number, so that all the men, to say nothing of the women, were envious
+of her.</p>
+
+<p>This Properzia was very beautiful in person, and played and sang in
+her day better than any other woman of her city. And because she had
+an intellect both capricious and very ready, she set herself to carve
+peach-stones, which she executed so well and with such patience, that
+they were singular and marvellous to behold, not only for the subtlety
+of the work, but also for the grace of the little figures that she
+made in them and the delicacy with which they were distributed. And it
+was certainly a miracle to see on so small a thing as a peach-stone
+the whole <span class="pagenum"><a id="Page_125" name="Page_125">[Pg 125]</a></span> Passion of Christ, wrought in most beautiful
+carving, with a vast number of figures in addition to the Apostles and
+the ministers of the Crucifixion. This encouraged her, since there
+were decorations to be made for the three doors of the first façade of
+S. Petronio all in figures of marble, to ask the Wardens of Works, by
+means of her husband, for a part of that work; at which they were
+quite content, on the condition that she should let them see some work
+in marble executed by her own hand. Whereupon she straightway made for
+Count Alessandro de' Peppoli a portrait from life in the finest
+marble, representing his father, Count Guido, which gave infinite
+pleasure not only to them, but also to the whole city; and the Wardens
+of Works, therefore, did not fail to allot a part of the work to her.
+In this, to the vast delight of all Bologna, she made an exquisite
+scene, wherein&mdash;because at that time the poor woman was madly
+enamoured of a handsome young man, who seemed to care but little for
+her&mdash;she represented the wife of Pharaoh's Chamberlain, who, burning
+with love for Joseph, and almost in despair after so much persuasion,
+finally strips his garment from him with a womanly grace that defies
+description. This work was esteemed by all to be most beautiful, and
+it was a great satisfaction to herself, thinking that with this
+illustration from the Old Testament she had partly quenched the raging
+fire of her own passion. Nor would she ever do any more work in
+connection with that building, although there was no person who did
+not beseech her that she should go on with it, save only Maestro
+Amico, who out of envy always dissuaded her and went so far with his
+malignity, ever speaking ill of her to the Wardens, that she was paid
+a most beggarly price for her work.</p>
+
+<p>She also made two angels in very strong relief and beautiful
+proportions, which may now be seen, although against her wish, in the
+same building. In the end she devoted herself to copper-plate
+engraving, which she did without reproach, gaining the highest praise.
+And so the poor love-stricken young woman came to succeed most
+perfectly in everything, save in her unhappy passion.</p>
+
+<p>The fame of an intellect so noble and so exalted spread throughout all
+Italy, and finally came to the ears of Pope Clement VII, who,
+<span class="pagenum"><a id="Page_126" name="Page_126">[Pg 126]</a></span> immediately after he had crowned the Emperor in Bologna,
+made inquiries after her; but he found that the poor woman had died
+that very week, and had been buried in the Della Morte Hospital, as
+she had directed in her last testament. At which the Pope, who was
+eager to see her, felt much sorrow at her death; but more bitter even
+was it for her fellow-citizens, who regarded her during her lifetime
+as one of the greatest miracles produced by nature in our days.</p>
+
+<p>In our book are some very good drawings by the hand of this Properzia,
+done with the pen and copied from the works of Raffaello da Urbino;
+and her portrait was given to me by certain painters who were very
+much her friends.</p>
+
+<div class="figcenter">
+<a name="img036" id="img036"></a>
+<img src="images/img036-tb.jpg" width="450" height="348" alt="Two Angels." title="">
+<p class="caption">TWO ANGELS,<br> <i>after</i> Madonna Properzia de' Rossi
+(THE ASSUMPTION OF THE VIRGIN, <i>after</i> Tribolo)<br>
+(<i>Bologna: S. Petronio</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img036.jpg">View larger image</a></span></p>
+</div>
+
+<p>But, although Properzia drew very well, there have not been wanting
+women not only to equal her in drawing, but also to do as good work in
+painting as she did in sculpture. Of these the first is Sister
+Plautilla, a nun and now Prioress in the Convent of S. Caterina da
+Siena, on the Piazza di S. Marco in Florence. She, beginning little by
+little to draw and to imitate in colours pictures and paintings by
+excellent masters, has executed some works with such diligence, that
+she has caused the craftsmen to marvel. By her hand are two panels in
+the Church of that Convent of S. Caterina, of which the one with the
+Magi adoring Jesus is much extolled. In the choir of the Convent of S.
+Lucia, at Pistoia, there is a large panel, containing Our Lady with
+the Child in her arms, S. Thomas, S. Augustine, S. Mary Magdalene, S.
+Catherine of Siena, S. Agnese, S. Catherine the Martyr, and S. Lucia;
+and another large panel by the same hand was sent abroad by the
+Director of the Hospital of Lelmo. In the refectory of the aforesaid
+Convent of S. Caterina there is a great Last Supper, with a panel in
+the work-room, both by the hand of the same nun. And in the houses of
+gentlemen throughout Florence there are so many pictures, that it
+would be tedious to attempt to speak of them all. A large picture of
+the Annunciation belongs to the wife of the Spaniard, Signor
+Mondragone, and Madonna Marietta de' Fedini has another like it. There
+is a little picture of Our Lady in S. Giovannino, at Florence; and an
+altar-predella in S. Maria del Fiore, containing very beautiful scenes
+from the life of S. Zanobi. And because <span class="pagenum"><a id="Page_127" name="Page_127">[Pg 127]</a></span> this venerable and
+talented sister, before executing panels and works of importance, gave
+attention to painting in miniature, there are in the possession of
+various people many wonderfully beautiful little pictures by her hand,
+of which there is no need to make mention. The best works from her
+hand are those that she has copied from others, wherein she shows that
+she would have done marvellous things if she had enjoyed, as men do,
+advantages for studying, devoting herself to drawing, and copying
+living and natural objects. And that this is true is seen clearly from
+a picture of the Nativity of Christ, copied from one which Bronzino
+once painted for Filippo Salviati. In like manner, the truth of such
+an opinion is proved by this, that in her works the faces and features
+of women, whom she has been able to see as much as she pleased, are no
+little better than the heads of the men, and much nearer to the
+reality. In the faces of women in some of her works she has portrayed
+Madonna Costanza de' Doni, who has been in our time an unexampled
+pattern of beauty and dignity; painting her so well, that it is
+impossible to expect more from a woman who, for the reasons mentioned
+above, has had no great practice in her art.</p>
+
+<p>With much credit to herself, likewise, has Madonna Lucrezia, the
+daughter of Messer Alfonso Quistelli della Mirandola, and now the wife
+of Count Clemente Pietra, occupied herself with drawing and painting,
+as she still does, after having been taught by Alessandro Allori, the
+pupil of Bronzino; as may be seen from many pictures and portraits
+executed by her hand, which are worthy to be praised by all. But
+Sofonisba of Cremona, the daughter of Messer Amilcaro Anguisciuola,
+has laboured at the difficulties of design with greater study and
+better grace than any other woman of our time, and she has not only
+succeeded in drawing, colouring, and copying from nature, and in
+making excellent copies of works by other hands, but has also executed
+by herself alone some very choice and beautiful works of painting.
+Wherefore she well deserved that King Philip of Spain, having heard of
+her merits and abilities from the Lord Duke of Alba, should have sent
+for her and caused her to be escorted in great honour to Spain, where
+he keeps her with a rich allowance about the person of the Queen, to
+the admiration of all <span class="pagenum"><a id="Page_128" name="Page_128">[Pg 128]</a></span> that Court, which reveres the
+excellence of Sofonisba as a miracle. And it is no long time since
+Messer Tommaso Cavalieri, a Roman gentleman, sent to the Lord Duke
+Cosimo (in addition to a drawing by the hand of the divine
+Michelagnolo, wherein is a Cleopatra) another drawing by the hand of
+Sofonisba, containing a little girl laughing at a boy who is weeping
+because one of the cray-fish out of a basket full of them, which she
+has placed in front of him, is biting his finger; and there is nothing
+more graceful to be seen than that drawing, or more true to nature.
+Wherefore, in memory of the talent of Sofonisba, who lives in Spain,
+so that Italy has no abundance of her works, I have placed it in my
+book of drawings.</p>
+
+<p>We may truly say, then, with the divine Ariosto, that&mdash;</p>
+
+<p class="poem10">
+  Le donne son venute in eccellenza<br>
+  Di ciascun' arte ov' hanno posto cura.</p>
+
+<p>And let this be the end of the Life of Properzia, sculptor of Bologna.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="ferrara" id="ferrara"></a><span class="pagenum"><a id="Page_129" name="Page_129">[Pg 129]</a></span> ALFONSO LOMBARDI OF FERRARA,
+  MICHELAGNOLO DA SIENA,
+  GIROLAMO SANTA CROCE OF NAPLES,
+  DOSSO AND BATTISTA DOSSI</h2>
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_ferrara" id="life_of_ferrara"></a><span class="pagenum"><a id="Page_131" name="Page_131">[Pg 131]</a></span> LIVES OF ALFONSO LOMBARDI OF FERRARA, MICHELAGNOLO DA SIENA,
+AND GIROLAMO SANTA CROCE OF NAPLES</h2>
+
+<h3>SCULPTORS</h3>
+
+<h3>AND DOSSO AND BATTISTA DOSSI</h3>
+
+<h3>PAINTERS OF FERRARA</h3>
+
+
+<p>Alfonso of Ferrara, working in his early youth with stucco and wax,
+made an endless number of portraits from life on little medallions for
+many nobles and gentlemen of his own country. Some of these are still
+to be seen, white in colour and made of wax or stucco, and bear
+witness to the fine intellect and judgment that he possessed; such as
+those of Prince Doria, of Duke Alfonso of Ferrara, of Clement VII, of
+the Emperor Charles V, of Cardinal Ippolito de' Medici, of Bembo, of
+Ariosto, and of other suchlike personages. Finding himself in Bologna
+at the coronation of Charles V, he executed the decorations of the
+door of S. Petronio as a part of the preparations for that festival;
+and he had come into such repute through being the first to introduce
+the good method of making portraits from life in the form of medals,
+as has been related, that there was not a single man of distinction in
+those Courts for whom he did not execute some work, to his own great
+profit and honour. But, not being content with the gain and the glory
+that came to him from making works in clay, in wax, and in stucco, he
+set himself to work in marble; and such was the proficience that he
+showed in some things that he made, although these were of little
+importance, that he was commissioned to execute the tomb of
+Ramazzotto, which brought him very great fame and honour, in S.
+Michele in Bosco, without Bologna. After that work he made some little
+scenes of marble in <span class="pagenum"><a id="Page_132" name="Page_132">[Pg 132]</a></span> half-relief on the predella of the altar
+at the tomb of S. Dominic, in the same city. And for the door of S.
+Petronio, also, on the left hand of the entrance into the church, he
+executed some little scenes in marble, containing a very beautiful
+Resurrection of Christ. But what pleased the people of Bologna most of
+all was the Death of Our Lady, wrought with a very hard mixture of
+clay and stucco, with figures in full-relief, in an upper room of the
+Della Vita Hospital; and marvellous, among other things in that work,
+is the Jew who leaves his hands fixed to the bier of the Madonna. With
+the same mixture, also, he made a large Hercules with the dead Hydra
+under his feet, for the upper room of the Governor in the Palazzo
+Pubblico of that city; which statue was executed in competition with
+Zaccaria da Volterra, who was greatly surpassed by the ability and
+excellence of Alfonso. For the Madonna del Baracane the same master
+made two Angels in stucco, who are upholding a canopy in half-relief;
+and in some medallions in the middle aisle of S. Giuseppe, between one
+arch and another, he made the twelve Apostles from the waist upwards,
+of terra-cotta and in full-relief. In terra-cotta, likewise, for the
+corners of the vaulting of the Madonna del Popolo in the same city, he
+executed four figures larger than life; namely, S. Petronio, S.
+Procolo, S. Francis, and S. Dominic, figures which are all very
+beautiful and grand in manner. And by the hand of the same man are
+some works in stucco at Castel Bolognese, and some others in the
+Company of S. Giovanni at Cesena.</p>
+
+<p>Let no one marvel that hitherto our account of this master has dealt
+with scarcely any work save in clay, wax, and stucco, and very little
+in marble, because&mdash;besides the fact that Alfonso was always inclined
+to that sort of work&mdash;after passing a certain age, being very handsome
+in person and youthful in appearance, he practised art more for
+pleasure and to satisfy his own vanity than with any desire to set
+himself to chisel stone. He used always to wear on his arms, on his
+neck, and in his clothing, ornaments of gold and suchlike fripperies,
+which showed him to be rather a courtier, vain and wanton, than a
+craftsman desirous of glory. Of a truth, just as such ornaments
+enhance the splendour of those to whom, on account of their wealth,
+high estate, and noble blood, <span class="pagenum"><a id="Page_133" name="Page_133">[Pg 133]</a></span> they are becoming, so are they
+worthy of reproach in craftsmen and others, who should not measure
+themselves, some for one reason and some for another, with the rich,
+seeing that such persons, in place of being praised, are held in less
+esteem by men of judgment, and often laughed to scorn. Now Alfonso,
+charmed with himself and indulging in expressions and wanton excesses
+little worthy of a good craftsman, on one occasion robbed himself
+through this behaviour of all the glory that he had won by labouring
+at his profession. For one evening, chancing to be at a wedding in the
+house of a Count in Bologna, and having made love for some time to a
+lady of quality, he had the luck to be invited by her to dance the
+torch-dance; whereupon, whirling round with her, and overcome by the
+frenzy of his passion, he said with a trembling voice, sighing deeply,
+and gazing at his lady with eyes full of tenderness: "S'amor non è,
+che dunque è quel ch' io sento?"<a id="FNanchor9" name="FNanchor9"></a><a href="#Footnote9" title="Go to footnote 9" class="fnanchor">[9]</a> Hearing this, the lady, who had a
+shrewd wit, answered, in order to show him his error: "A louse,
+perhaps." Which answer was heard by many, so that the saying ran
+through all Bologna, and he was held to scorn ever afterwards. Truly,
+if Alfonso had given his attention not to the vanities of the world,
+but to the labours of art, without a doubt he would have produced
+marvellous works; for if he achieved this in part without exerting
+himself much, what would he have done if he had faced the dust and
+heat?</p>
+
+<p>The aforesaid Emperor Charles V being in Bologna, and the most
+excellent Tiziano da Cadore having come to make a portrait of his
+Majesty, Alfonso likewise was seized with a desire to execute a
+portrait of that Sovereign. And having no other means of contriving to
+do that, he besought Tiziano, without revealing to him what he had in
+mind, that he should do him the favour of introducing him, in the
+place of one of those who used to carry his colours, into the presence
+of his Majesty. Wherefore Tiziano, who loved him much, like the truly
+courteous man that he has always been, took Alfonso with him into the
+apartments of the Emperor. Alfonso, as soon as Tiziano had settled
+down to work, took up a position behind him, in such a way that he
+could not be seen <span class="pagenum"><a id="Page_134" name="Page_134">[Pg 134]</a></span> by the other, who was wholly intent on his
+portrait; and, taking up a little box in the shape of a medallion, he
+made therein a portrait of the Emperor in stucco, and had it finished
+at the very moment when Tiziano had likewise brought his picture to
+completion. The Emperor then rising, Alfonso closed the box and had
+already hidden it in his sleeve, to the end that Tiziano might not see
+it, when his Majesty said to him: "Show me what you have done." He was
+thus forced to give his portrait humbly into the hand of the Emperor,
+who, having examined it and praised it highly, said to him: "Would you
+have the courage to do it in marble?" "Yes, your sacred Majesty,"
+answered Alfonso. "Do it, then," added the Emperor, "and bring it to
+me in Genoa." How unusual this proceeding must have seemed to Tiziano
+every man may imagine for himself. For my part, I believe that it must
+have appeared to him that he had compromised his credit. But what must
+have seemed to him most strange was this, that when his Majesty sent a
+present of a thousand crowns to Tiziano, he bade him give the half, or
+five hundred crowns, to Alfonso, keeping the other five hundred for
+himself, at which it is likely enough that Tiziano felt aggrieved.
+Alfonso, then, setting to work with the greatest zeal in his power,
+brought the marble head to completion with such diligence, that it was
+pronounced to be a very fine thing: which was the reason that, when he
+had taken it to the Emperor, his Majesty ordered that three hundred
+crowns more should be given to him.</p>
+
+<div class="figcenter">
+<a name="img037" id="img037"></a>
+<img src="images/img037-tb.jpg" width="450" height="274" alt="The Death of the Virgin." title="">
+<p class="caption">THE DEATH OF THE VIRGIN<br>
+(<i>After the terra-cotta by</i> Alfonso Lombardi.<br> <i>Bologna: S. Maria della
+Vita</i>)<br>
+<i>Poppi</i>
+<br><span class="link"><a href="images/img037.jpg">View larger image</a></span></p>
+</div>
+
+<p>Alfonso having come into great repute through the gifts and praises
+bestowed on him by the Emperor, Cardinal Ippolito de' Medici took him
+to Rome, where he kept many sculptors and painters about his person,
+in addition to a vast number of other men of ability; and he
+commissioned him to make a copy in marble of a very famous antique
+head of the Emperor Vitellius. In that work Alfonso justified the
+opinion held of him by the Cardinal and by all Rome, and he was
+charged by the same patron to make a portrait-bust in marble of Pope
+Clement VII, after the life, and shortly afterwards one of Giuliano
+de' Medici, father of the Cardinal; but the latter was left not quite
+finished. These heads were afterwards sold in Rome, and bought by me
+at the request of the <span class="pagenum"><a id="Page_135" name="Page_135">[Pg 135]</a></span> Magnificent Ottaviano de' Medici,
+together with some pictures; and in our own day they have been placed
+by the Lord Duke Cosimo de' Medici in that hall of the new apartments
+of his palace wherein I have painted, on the ceiling and the walls,
+all the stories of Pope Leo X; they have been placed, I say, in that
+hall, over the doors made of that red veined marble which is found
+near Florence, in company with the heads of other illustrious men of
+the house of Medici.</p>
+
+<p>But returning to Alfonso; he then went on to execute many works in
+sculpture for the same Cardinal, but these, being small things, have
+disappeared. After the death of Clement, when a tomb had to be made
+for him and also for Leo, the work was allotted by Cardinal de' Medici
+to Alfonso; whereupon he made a model with figures of wax, which was
+held to be very beautiful, after some sketches by Michelagnolo
+Buonarroti, and went off to Carrara with money to have the marble
+quarried. But not long afterwards the Cardinal, having departed from
+Rome on his way to Africa, died at Itri, and the work slipped out of
+the hands of Alfonso, because he was dismissed by its executors,
+Cardinals Salviati, Ridolfi, Pucci, Cibo, and Gaddi, and it was
+entrusted by the favour of Madonna Lucrezia Salviati, daughter of the
+great Lorenzo de' Medici, the elder, and sister of Leo, to Baccio
+Bandinelli, a sculptor of Florence, who had made models for it during
+the lifetime of Clement.</p>
+
+<p>For this reason Alfonso, thus knocked off his high horse and almost
+beside himself, determined to return to Bologna; and, having arrived
+in Florence, he presented to Duke Alessandro a most beautiful head in
+marble of the Emperor Charles V, which is now in Carrara, whither it
+was sent by Cardinal Cibo, who removed it after the death of Duke
+Alessandro from the guardaroba of that Prince. The Duke, when Alfonso
+arrived in Florence, was in the humour to have his portrait taken; for
+it had already been done on medals by Domenico di Polo, a
+gem-engraver, and by Francesco di Girolamo dal Prato, for the coinage
+by Benvenuto Cellini, and in painting by Giorgio Vasari of Arezzo and
+Jacopo da Pontormo, and he wished that Alfonso should likewise portray
+him. Wherefore he made a very beautiful portrait of him in relief,
+much better than the one executed by Danese da Carrara, and then,
+since he <span class="pagenum"><a id="Page_136" name="Page_136">[Pg 136]</a></span> was wholly set on going to Bologna, he was given
+the means to make one there in marble, after the model. And so, having
+received many gifts and favours from Duke Alessandro, Alfonso returned
+to Bologna, where, being still far from content on account of the
+death of the Cardinal, and sorely vexed by the loss of the tombs,
+there came upon him a pestilent and incurable disease of the skin,
+which wasted him away little by little, until, having reached the age
+of forty-nine, he passed to a better life, never ceasing to rail at
+Fortune, which had robbed him of a patron to whom he might have looked
+for all the blessings which could make him happy in this life, and
+saying that she should have closed his own eyes, since she had reduced
+him to such misery, rather than those of Cardinal Ippolito de' Medici.
+Alfonso died in the year 1536.</p>
+
+<div class="figcenter">
+<a name="img038" id="img038"></a>
+<img src="images/img038-tb.jpg" width="400" height="540" alt="Tomb of Adrian Vi." title="">
+<p class="caption">TOMB OF ADRIAN VI<br>
+(<i>After</i> Michelagnolo da Siena.<br> <i>Rome: S. Maria dell' Anima</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img038.jpg">View larger image</a></span></p>
+</div>
+
+<p>Michelagnolo, a sculptor of Siena, after he had spent the best years
+of his life in Sclavonia with other excellent sculptors, made his way
+to Rome on the following occasion. After the death of Pope Adrian,
+Cardinal Hincfort, who had been the friend and favourite of that
+Pontiff, determined, as one not ungrateful for the benefits received
+from him, to erect to him a tomb of marble; and he gave the charge of
+this to Baldassarre Peruzzi, the painter of Siena. And that master,
+having made the model, desired that the sculptor Michelagnolo, his
+friend and compatriot, should undertake the work on his own account.
+Michelagnolo, therefore, made on that tomb a lifesize figure of Pope
+Adrian, lying upon the sarcophagus and portrayed from nature, with a
+scene, also in marble, below him, showing his arrival in Rome and the
+Roman people going to meet him and to do him homage. Around the tomb,
+moreover, in four niches, are four Virtues in marble, Justice,
+Fortitude, Peace, and Prudence, all executed with much diligence by
+the hand of Michelagnolo after the counsel of Baldassarre. It is true,
+indeed, that some of the things that are in this work were wrought by
+the Florentine sculptor, Tribolo, then a very young man, and these
+were considered the best of all; but Michelagnolo executed the minor
+details of the work with supreme diligence and subtlety, and the
+little figures that are in it deserve to be extolled more than all the
+rest. Among other things, there are some variegated marbles wrought
+with a high finish, and put <span class="pagenum"><a id="Page_137" name="Page_137">[Pg 137]</a></span> together so well that nothing
+more could be desired. For these labours Michelagnolo received a just
+and honourable reward from the aforesaid Cardinal, and was treated
+with much favour by him for the rest of his life; and, in truth, with
+right good reason, seeing that this tomb and the Cardinal's gratitude
+have done as much to bring fame to him as did the work to give a name
+to Michelagnolo in his lifetime and renown after his death. This work
+finished, no long time elapsed before Michelagnolo passed from this
+life to the next, at about the age of fifty.</p>
+
+<p>Girolamo Santa Croce of Naples, although he was snatched from us by
+death in the very prime of life, at a time when greater things were
+looked for from him, yet showed in the works of sculpture that he made
+at Naples during his few years, what he would have done if he had
+lived longer; for the works that he executed in sculpture at Naples
+were wrought and finished with all the lovingness that could be
+desired in a young man who wishes to surpass by a great measure those
+who for many years before his day have held the sovereignty in some
+noble profession. In S. Giovanni Carbonaro at Naples he built the
+Chapel of the Marchese di Vico, which is a round temple, partitioned
+by columns and niches, with some tombs carved with much diligence. And
+because the altar-piece of this chapel, made of marble in half-relief
+and representing the Magi bringing their offerings to Christ, is by
+the hand of a Spaniard, Girolamo executed in emulation of this work a
+S. John in a niche, so beautifully wrought in full-relief, that it
+showed that he was not inferior to the Spaniard either in courage or
+in judgment; on which account he won such a name, that, although
+Giovanni da Nola was held in Naples to be a marvellous sculptor and
+better than any other, nevertheless Girolamo worked in competition
+with him as long as he lived, notwithstanding that his rival was now
+old and had executed a vast number of works in that city, where it is
+much the custom to make chapels and altar-pieces of marble. Competing
+with Giovanni, then, Girolamo undertook to execute a chapel in Monte
+Oliveto at Naples, just within the door of the church, on the left
+hand, while Giovanni executed another opposite to his, on the other
+side, in the same style. In his chapel Girolamo made a lifesize
+Madonna in the round, which is <span class="pagenum"><a id="Page_138" name="Page_138">[Pg 138]</a></span> held to be a very beautiful
+figure; and since he took infinite pains in executing the draperies
+and the hands, and in giving bold relief to the marble by
+undercutting, he brought it to such perfection that it was the general
+opinion that he had surpassed all those who had handled tools for
+working marble at Naples in his time. This Madonna he placed between a
+S. John and a S. Peter, figures very well conceived and executed, and
+finished in a beautiful manner, as are also some children which are
+placed above them.</p>
+
+<p>In addition to these, he made two large and most beautiful statues in
+full-relief for the Church of Capella, a seat of the Monks of Monte
+Oliveto. He then began a statue of the Emperor Charles V, at the time
+of his return from Tunis; but after he had blocked it and carved it
+with the pointed chisel, and even in some places with the
+broad-toothed chisel, it remained unfinished, because fortune and
+death, envying the world such excellence, snatched him from us at the
+age of thirty-five. It was confidently expected that Girolamo, if he
+had lived, even as he had outstripped all his compatriots in his
+profession, would also have surpassed all the craftsmen of his time.
+Wherefore his death was a grievous blow to the Neapolitans, and all
+the more because he had been endowed by nature not only with a most
+beautiful genius, but also with as much modesty, sweetness, and
+gentleness as could be looked for in mortal man; so that it is no
+marvel if all those who knew him are not able to restrain their tears
+when they speak of him. His last sculptures were executed in 1537, in
+which year he was buried at Naples with most honourable obsequies.</p>
+
+<div class="figcenter">
+<a name="img039" id="img039"></a>
+<img src="images/img039-tb.jpg" width="400" height="539" alt="Madonna and Child, with SS. Peter and John." title="">
+<p class="caption">MADONNA AND CHILD, WITH SS. PETER AND JOHN<br>
+(<i>After the altar-piece</i> by Girolamo Santa Croce.<br> <i>Naples: Monte
+Oliveto</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img039.jpg">View larger image</a></span></p>
+</div>
+
+<p>Old as he was, Giovanni da Nola, who was a well-practised sculptor, as
+may be seen from many works made by him at Naples with good skill of
+hand, but not with much design, still remained alive. Him Don Pedro di
+Toledo, Marquis of Villafranca, and at that time Viceroy of Naples,
+commissioned to execute a tomb of marble for himself and his wife; and
+therein Giovanni made a great number of scenes of the victories
+obtained by that lord over the Turks, with many statues for the same
+work, which stands quite by itself, and was executed with much
+diligence. This tomb was to have been taken to Spain; but, since
+<span class="pagenum"><a id="Page_139" name="Page_139">[Pg 139]</a></span> that nobleman did not do this while he was alive, it
+remained in Naples. Giovanni died at the age of seventy, and was
+buried in Naples, in the year 1558.</p>
+
+<p>About the same time that Heaven presented to Ferrara, or rather, to
+the world, the divine Lodovico Ariosto, there was born in the same
+city the painter Dosso, who, although he was not as rare among
+painters as Ariosto among poets, nevertheless acquitted himself in his
+art in such a manner, that, besides the great esteem wherein his works
+were held in Ferrara, his merits caused the learned poet, his intimate
+friend, to honour his memory by mentioning him in his most celebrated
+writings; so that the pen of Messer Lodovico has given more renown to
+the name of Dosso than did all the brushes and colours that he used in
+the whole of his life. Wherefore I, for my part, declare that there
+could be no greater good-fortune than that of those who are celebrated
+by such great men, since the might of the pen forces most of mankind
+to accept their fame, even though they may not wholly deserve it.</p>
+
+<p>Dosso was much beloved by Duke Alfonso of Ferrara: first for his good
+abilities in the art of painting, and then because he was a very
+pleasant and amiable person&mdash;a manner of man in whom the Duke greatly
+delighted. Dosso had the reputation in Lombardy of executing
+landscapes better than any other painter engaged in that branch of the
+profession, whether in mural painting, in oils, or in gouache; and all
+the more after the German manner became known. In Ferrara, for the
+Cathedral Church, he executed a panel-picture with figures in oils,
+which was held to be passing beautiful; and in the Duke's Palace he
+painted many rooms, in company with a brother of his, called Battista.
+These two were always enemies, one against the other, although they
+worked together by the wish of the Duke. In the court of the said
+palace they executed stories of Hercules in chiaroscuro, with an
+endless number of nudes on those walls; and in like manner they
+painted many works on panel and in fresco throughout all Ferrara. By
+their hands is a panel in the Duomo of Modena; and they painted many
+things in the Cardinal's Palace at Trento, in company with other
+painters.</p>
+
+<p><span class="pagenum"><a id="Page_140" name="Page_140">[Pg 140]</a></span> At this same time the painter and architect, Girolamo Genga,
+was executing various decorations in the Imperiale Palace, above
+Pesaro, as will be related in the proper place, for Duke Francesco
+Maria of Urbino; and among the number of painters who were summoned to
+that work by order of the same Signor Francesco Maria, invitations
+were sent to Dosso and Battista of Ferrara, principally for the
+painting of landscapes; many paintings having been executed long
+before in that palace by Francesco di Mirozzo<a id="FNanchor10" name="FNanchor10"></a><a href="#Footnote10" title="Go to footnote 10" class="fnanchor">[10]</a> of Forlì, Raffaello
+dal Colle of Borgo a San Sepolcro, and many others. Now, having
+arrived at the Imperiale, Dosso and Battista, according to the custom
+of men of their kidney, found fault with most of the paintings that
+they saw, and promised the Duke that they would do much better work;
+and Genga, who was a shrewd person, seeing how the matter was likely
+to end, gave them an apartment to paint by themselves. Thereupon,
+setting to work, they strove with all labour and diligence to display
+their worth; but, whatever may have been the reason, never in all the
+course of their lives did they do any work less worthy of praise, or
+rather, worse, than that one. It seems often to happen, indeed, that
+in their greatest emergencies, when most is expected of them, men
+become blinded and bewildered in judgment, and do worse work than at
+any other time; which may result, perchance, from their own malign and
+evil disposition to be always finding fault with the works of others,
+or from their seeking to force their genius overmuch, seeing that to
+proceed step by step according to the ruling of nature, yet without
+neglecting diligence and study, appears to be a better method than
+seeking to wrest from the brain, as it were by force, things that are
+not there; and it is a fact that in the other arts as well, but above
+all in that of writing, lack of spontaneity is only too easily
+recognized, and also, so to speak, over-elaboration in everything.</p>
+
+<div class="figcenter">
+<a name="img040" id="img040"></a>
+<img src="images/img040-tb.jpg" width="450" height="312" alt="A Nymph with a Satyr." title="">
+<p class="caption">DOSSO DOSSI: A NYMPH WITH A SATYR<br>
+(<i>Florence: Pitti</i>, 147. <i>Canvas</i>)
+<br><span class="link"><a href="images/img040.jpg">View larger image</a></span></p>
+</div>
+
+<p>Now, when the work of the Dossi was unveiled, it proved to be so
+ridiculous that they left the service of the Duke in disgrace; and he
+was forced to throw to the ground all that they had executed, and to
+have it repainted by others after the designs of Genga.</p>
+
+<div class="figcenter">
+<a name="img041" id="img041"></a>
+<img src="images/img041-tb.jpg" width="350" height="561" alt="Madonna and Child, with SS. George and Michael." title="">
+<p class="caption">MADONNA AND CHILD, WITH SS. GEORGE AND MICHAEL<br>
+(<i>After the painting by</i> Dosso Dossi.<br> <i>Modena: Pinacoteca, 437</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_141" name="Page_141">[Pg 141]</a></span> Finally, they painted a very beautiful panel-picture in the
+Duomo of Faenza for the Chevalier, M. Giovan Battista de' Buosi, of
+Christ disputing in the Temple; in which work they surpassed
+themselves, by reason of the new manner that they used, and
+particularly in the portraits of that Chevalier and of others. That
+picture was set up in that place in the year 1536. Ultimately Dosso,
+having grown old, spent his last years without working, being
+pensioned until the close of his life by Duke Alfonso. And in the end
+Battista survived him, executing many works by himself, and
+maintaining himself in a good condition. Dosso was buried in his
+native city of Ferrara.</p>
+
+<p>There lived in the same times the Milanese Bernazzano, a very
+excellent painter of landscapes, herbage, animals, and other things of
+earth, air, and water. And since, as one who knew himself to have
+little aptitude for figures, he did not give much attention to them,
+he associated himself with Cesare da Sesto, who painted them very well
+and in a beautiful manner. It is said that Bernazzano executed in a
+courtyard some very beautiful landscapes in fresco, in which he
+painted a strawberry-bed full of strawberries, ripe, green, and in
+blossom, and so well imitated, that some peacocks, deceived by their
+natural appearance, were so persistent in picking at them as to make
+holes in the plaster.</p>
+
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="licinio" id="licinio"></a><span class="pagenum"><a id="Page_143" name="Page_143">[Pg 143]</a></span> GIOVANNI ANTONIO LICINIO OF PORDENONE, AND OTHER PAINTERS OF
+FRIULI</h2>
+
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_licinio" id="life_of_licinio"></a><span class="pagenum"><a id="Page_145" name="Page_145">[Pg 145]</a></span> LIVES OF GIOVANNI ANTONIO LICINIO OF PORDENONE, AND OF OTHER
+PAINTERS OF FRIULI</h2>
+
+
+<p>It would seem, as has been remarked already in the same connection,
+that Nature, the kindly mother of the universe, sometimes presents the
+rarest things to certain places that never had any knowledge of such
+gifts, and that at times she creates in some country men so much
+inclined to design and to painting, that, without masters, but only by
+imitating living and natural objects, they become most excellent. And
+it also happens very often that when one man has begun, many set
+themselves to work in competition with him, and labour to such
+purpose, without seeing Rome, Florence, or any other place full of
+notable pictures, but merely through rivalry one with another, that
+marvellous works are seen to issue from their hands. All this may be
+seen to have happened more particularly in Friuli, where, in our own
+day, in consequence of such a beginning, there has been a vast number
+of excellent painters&mdash;a thing which had not occurred in those parts
+for many centuries.</p>
+
+<p>While Giovanni Bellini was working in Venice and teaching his art to
+many, as has been related, he had two disciples who were rivals one
+with another&mdash;Pellegrino da Udine, who, as will be told, was
+afterwards called Da San Daniele, and Giovanni Martini of Udine. Let
+us begin, then, by speaking of Giovanni. He always imitated the manner
+of Bellini, which was somewhat crude, hard, and dry; nor was he ever
+able to give it sweetness or softness, although he was a diligent and
+finished painter. This may have happened because he was always making
+trial of certain reflections, half-lights, and shadows, with which,
+cutting the relief in the middle, he contrived to define light and
+shade very abruptly, in such a way that the colouring of all his works
+was <span class="pagenum"><a id="Page_146" name="Page_146">[Pg 146]</a></span> always crude and unpleasant, although he strove
+laboriously with his art to imitate Nature. By the hand of this master
+are numerous works in many places in Friuli, particularly in the city
+of Udine, in the Duomo of which there is a panel-picture executed in
+oils, of S. Mark seated with many figures round him, which is held to
+be the best of all that he ever painted. There is another on the altar
+of S. Ursula in the Church of the Friars of S. Pietro Martire, wherein
+the first-mentioned Saint is standing with some of her virgins round
+her, all painted with much grace and beautiful expressions of
+countenance. This Giovanni, besides being a passing good painter, was
+endowed by Nature with beauty and grace of features and an excellent
+character, and, what is most desirable, with such foresight and power
+of management, that, after his death, in default of heirs male, he
+left an inheritance of much property to his wife. And she, being, so I
+have heard, a lady as shrewd as she was beautiful, knew so well how to
+manage her life after the death of her husband, that she married two
+very beautiful daughters into the richest and most noble houses of
+Udine.</p>
+
+<p>Pellegrino da San Daniele, who was a rival of Giovanni, as has been
+related, and a man of greater excellence in painting, received at
+baptism the name of Martino. But Giovanni Bellini, judging that he was
+destined to become, as he afterwards did, a truly rare master of art,
+changed his name from Martino to Pellegrino.<a id="FNanchor11" name="FNanchor11"></a><a href="#Footnote11" title="Go to footnote 11" class="fnanchor">[11]</a> And even as his name
+was changed, so he may be said by chance to have changed his country,
+since, living by preference at San Daniele, a township ten miles
+distant from Udine, and spending most of his time in that place, where
+he had taken a wife, he was called ever afterwards not Martino da
+Udine, but Pellegrino da San Daniele. He painted many pictures in
+Udine, and some may still be seen on the doors of the old organ, on
+the outer side of which is painted a sunken arch in perspective,
+containing a S. Peter seated among a multitude of figures and handing
+a pastoral staff to S. Ermacora the Bishop. On the inner side of the
+same doors, likewise, in some niches, he painted the four Doctors of
+the Church in the act of studying. For the Chapel of S. Giuseppe he
+executed a panel-picture <span class="pagenum"><a id="Page_147" name="Page_147">[Pg 147]</a></span> in oils, drawn and coloured with
+much diligence, in the middle of which is S. Joseph standing in a
+beautiful attitude, with an air of dignity, and beside him is Our Lord
+as a little Child, while S. John the Baptist is below in the garb of a
+little shepherd-boy, gazing intently on his Master. And since this
+picture is much extolled, we may believe what is said of it&mdash;namely,
+that he painted it in competition with the aforesaid Giovanni, and
+that he put forward every effort to make it, as it proved to be, more
+beautiful than that which Giovanni painted of S. Mark, as has been
+related above. Pellegrino also painted at Udine, for the house of
+Messer Pre Giovanni, intendant to the illustrious Signori della Torre,
+a picture of Judith from the waist upwards, with the head of
+Holofernes in one hand, which is a very beautiful work. By the hand of
+the same man is a large panel in oils, divided into several pictures,
+which may be seen on the high-altar of the Church of S. Maria in the
+town of Civitale, at a distance of eight miles from Udine; and in it
+are some heads of virgins and other figures with great beauty of
+expression. And in his township of San Daniele, in a chapel of S.
+Antonio, he painted in fresco scenes of the Passion of Jesus Christ,
+and that so finely that he well deserved to be paid more than a
+thousand crowns for the work. He was much beloved for his talents by
+the Dukes of Ferrara, and, in addition to other favours and many
+gifts, he obtained through their good offices two Canonicates in the
+Duomo of Udine for two of his relatives.</p>
+
+<p>Among his pupils, of whom he had many, making much use of them and
+rewarding them liberally, was one of Greek nationality, a man of no
+little ability, who had a very beautiful manner and imitated
+Pellegrino closely. But Luca Monverde of Udine, who was much beloved
+by Pellegrino, would have been superior to the Greek, if he had not
+been snatched from the world prematurely when still a mere lad;
+although one work by his hand was left on the high-altar of S. Maria
+delle Grazie in Udine, a panel-picture in oils, his first and last, in
+which, in a recess in perspective, there is a Madonna seated on high
+with the Child in her arms, painted by him with a soft gradation of
+shadow, while on the level surface below there are two figures on
+either side, so beautiful that <span class="pagenum"><a id="Page_148" name="Page_148">[Pg 148]</a></span> they show that if he had
+lived longer he would have become truly excellent.</p>
+
+<p>Another disciple of the same Pellegrino was Bastianello Florigorio,
+who painted a panel-picture that is over the high-altar of S. Giorgio
+in Udine, of a Madonna in the sky surrounded by an endless number of
+little angels in various attitudes, all adoring the Child that she
+holds in her arms; while below there is a very well executed
+landscape. There is also a very beautiful S. John, and a S. George in
+armour and on horseback, who, foreshortened in a spirited attitude, is
+slaying the Dragon with his lance; while the Maiden, who is there on
+one side, appears to be thanking God and the glorious Virgin for the
+succour sent to her. In the head of the S. George Bastianello is said
+to have made his own portrait. He also painted two pictures in fresco
+in the Refectory of the Friars of S. Pietro Martire: in one is Christ
+seated at table with the two disciples at Emmaus, and breaking the
+bread with a benediction, and in the other is the death of S. Peter
+Martyr. The same master painted in fresco in a niche on a corner of
+the Palace of M. Marguando, an excellent physician, a nude man in
+foreshortening, representing a S. John, which is held to be a good
+painting. Finally, he was forced through some dispute to depart from
+Udine, for the sake of peace, and to live like an exile in Civitale.</p>
+
+<p>Bastianello had a crude and hard manner, because he much delighted in
+drawing works in relief and objects of Nature by candle-light. He had
+much beauty of invention, and he took great pleasure in executing
+portraits from life, making them truly beautiful and very like; and at
+Udine, among others, he made one of Messer Raffaello Belgrado, and one
+of the father of M. Giovan Battista Grassi, an excellent painter and
+architect, from whose loving courtesy we have received much particular
+information touching our present subject of Friuli. Bastianello lived
+about forty years.</p>
+
+<p>Another disciple of Pellegrino was Francesco Floriani of Udine, who is
+still alive and is a very good painter and architect, like his younger
+brother, Antonio Floriani, who, thanks to his rare abilities in his
+profession, is now in the service of his glorious Majesty the Emperor
+<span class="pagenum"><a id="Page_149" name="Page_149">[Pg 149]</a></span> Maximilian. Some of the pictures of that same Francesco were
+to be seen two years ago in the possession of the Emperor, who was
+then a King; one of these being a Judith who has cut off the head of
+Holofernes, painted with admirable judgment and diligence. And in the
+collection of that monarch there is a book of pen-drawings by the same
+master, full of lovely inventions, buildings, theatres, arches,
+porticoes, bridges, palaces, and many other works of architecture, all
+useful and very beautiful.</p>
+
+<p>Gensio Liberale was also a disciple of Pellegrino, and in his
+pictures, among other things, he imitated every sort of fish
+excellently well. This master is now in the service of the Archduke
+Ferdinand of Austria, a splendid position, which he deserves, for he
+is a very good painter.</p>
+
+<p>But among the most illustrious and renowned painters of the territory
+of Friuli, the rarest and most famous in our day&mdash;since he has
+surpassed those mentioned above by a great measure in the invention of
+scenes, in draughtsmanship, in boldness, in mastery over colour, in
+fresco work, in swiftness of execution, in strength of relief, and in
+every other department of our arts&mdash;is Giovanni Antonio Licinio,
+called by some Cuticello. This master was born at Pordenone, a
+township in Friuli, twenty-five miles from Udine; and since he was
+endowed by nature with a beautiful genius and an inclination for
+painting, he devoted himself without any teacher to the study of
+natural objects, imitating the style of Giorgione da Castelfranco,
+because that manner, seen by him many times in Venice, had pleased him
+much. Now, having learnt the rudiments of art, he was forced, in order
+to save his life from a pestilence that had fallen upon his native
+place, to take to flight; and thus, passing many months in the
+surrounding country, he executed various works in fresco for a number
+of peasants, gaining at their expense experience of using colour on
+plaster. Wherefore, since the surest and best method of learning is
+practice and a sufficiency of work, it came to pass that he became a
+well-practised and judicious master of that kind of painting, and
+learned to make colours produce the desired effect when used in a
+fluid state, which is done on account of the white, which dries the
+plaster and produces a brightness that ruins all softness. <span class="pagenum"><a id="Page_150" name="Page_150">[Pg 150]</a></span>
+And so, having mastered the nature of colours, and having learnt by
+long practice to work very well in fresco, he returned to Udine, where
+he painted for the altar of the Nunziata, in the Convent of S. Pietro
+Martire, a panel-picture in oils containing the Madonna at the moment
+of receiving the Salutation from the Angel Gabriel; and in the sky he
+made a God the Father surrounded by many little boys, who is sending
+down the Holy Spirit. This work, which is executed with good drawing,
+grace, vivacity, and relief, is held by all craftsmen of judgment to
+be the best that he ever painted.</p>
+
+<p>In the Duomo of the same city, on the balustrade of the organ, below
+the doors already painted by Pellegrino, he painted a story of S.
+Ermacora and Fortunatus, also in oils, graceful and well designed. In
+the same city, in order to gain the friendship of the Signori Tinghi,
+he painted in fresco the façade of their palace; in which work,
+wishing to make himself known and to prove what a master he was of
+architectural invention and of working in fresco, he made a series of
+compartments and groups of varied ornaments full of figures in niches;
+and in three great spaces in the centre of the work he painted scenes
+with figures in colours, two spaces, high and narrow, being on either
+side, and one square in shape in the middle; and in the latter he
+painted a Corinthian column planted with its base in the sea, with a
+Siren on the right hand, holding the column upright, and a nude
+Neptune on the left supporting it on the other side; while above the
+capital of the column there is a Cardinal's hat, the device, so it is
+said, of Pompeo Colonna, who was much the friend of the owners of that
+palace. In one of the two other spaces are the Giants being slain with
+thunderbolts by Jove, with some dead bodies on the ground very well
+painted and most beautifully foreshortened. On the other side is a
+Heaven full of Gods, and on the earth two Giants who, club in hand,
+are in the act of striking at Diana, who, defending herself in a bold
+and spirited attitude, is brandishing a blazing torch as if to burn
+the arms of one of them.</p>
+
+<div class="figcenter">
+<a name="img042" id="img042"></a>
+<img src="images/img042-tb.jpg" width="400" height="512" alt="The Disputation of S. Catharine." title="">
+<p class="caption">THE DISPUTATION OF S. CATHARINE<br>
+(<i>After the fresco by</i> Giovanni Antonio Licinio of Pordenone.<br>
+<i>Piacenza: S. Maria di Campagna</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img042.jpg">View larger image</a></span></p>
+</div>
+
+<p>At Spelimbergo, a large place fifteen miles above Udine, the
+balustrade and the doors of the organ in the great church are painted
+by the hand of the same master; on the outer side of one door is the
+Assumption <span class="pagenum"><a id="Page_151" name="Page_151">[Pg 151]</a></span> of Our Lady, and on the inner side S. Peter and
+S. Paul before Nero, gazing at Simon Magus in the air above; while on
+the other door there is the Conversion of S. Paul, and on the
+balustrade the Nativity of Christ.</p>
+
+<p>Through this work, which is very beautiful, and many others, Pordenone
+came into repute and fame, and was summoned to Vicenza, whence, after
+having executed some works there, he made his way to Mantua, where he
+coloured a façade in fresco with marvellous grace for M. Paris, a
+gentleman of that city. Among other beautiful inventions which are in
+that work, much praise is due to a frieze of antique letters, one
+braccio and a half in height, at the top, below the cornice, among
+which, passing in and out of them, are many little children in various
+attitudes, all most beautiful.</p>
+
+<p>That work finished, he returned in great credit to Vicenza, and there,
+besides many other works, he painted the whole of the tribune of S.
+Maria di Campagna, although by reason of his departure a part remained
+unfinished, which was afterwards finished with great diligence by
+Maestro Bernardo da Vercelli. In the same church he painted two
+chapels in fresco: one with stories of S. Catherine, and the other
+with the Nativity of Christ and the Adoration of the Magi, both being
+worthy of the highest praise. He then painted some poetical pictures
+in the beautiful garden of M. Barnaba dal Pozzo, a doctor; and, in the
+said Church of S. Maria di Campagna, the picture of S. Augustine,
+which is on the left hand as one enters the church. All these most
+beautiful works brought it about that the gentlemen of that city
+persuaded him to take a wife there, and always held him in vast
+veneration.</p>
+
+<p>Going afterwards to Venice, where he had formerly executed some works,
+he painted a wall of S. Geremia, on the Grand Canal, and a
+panel-picture in oils for the Madonna del Orto, with many figures,
+making a particular effort to prove his worth in the S. John the
+Baptist. He also painted many scenes in fresco on the façade of the
+house of Martin d'Anna on the same Grand Canal; in particular, a
+Curtius on horseback in foreshortening, which has the appearance of
+being wholly in the round, like the Mercury flying freely through the
+air, not to speak of many other things that all prove his ability.
+That work pleased the whole city <span class="pagenum"><a id="Page_152" name="Page_152">[Pg 152]</a></span> of Venice beyond measure,
+and Pordenone was therefore extolled more highly than any other man
+who had ever worked in the city up to that time.</p>
+
+<p>Among other reasons that caused him to give an incredible amount of
+effort to all his works, was his rivalry with the most excellent
+Tiziano; since, setting himself to compete with him, he hoped by means
+of continual study and by a bold and resolute method of working in
+fresco to wrest from the hands of Tiziano that sovereignty which he
+had gained with so many beautiful works; employing, also, unusual
+methods outside the field of art, such as that of being obliging and
+courteous and associating continually and of set purpose with great
+persons, making his interests universal, and taking a hand in
+everything. And, in truth, this rivalry was a great assistance to him,
+for it caused him to devote the greatest zeal and diligence in his
+power to all his works, so that they proved worthy of eternal praise.</p>
+
+<p>For these reasons, then, he was commissioned by the Wardens of S.
+Rocco to paint in fresco the chapel of that church, with all the
+tribune. Setting his hand, therefore, to this work, he painted a God
+the Father in the tribune, with a vast number of children in various
+beautiful attitudes, radiating from Him. In the frieze of the same
+tribune he painted eight figures from the Old Testament, with the four
+Evangelists in the angles, and the Transfiguration of Christ over the
+high-altar; and in the two lunettes at the sides are the four Doctors
+of the Church. By the hand of the same master are two large pictures
+in the middle of the church: in one is Christ healing an endless
+number of the sick, all very well painted, and in the other is S.
+Christopher carrying Jesus Christ on his shoulders. On the wooden
+tabernacle of the same church, wherein the vessels of silver are kept,
+he painted a S. Martin on horseback, with many beggars who are
+bringing votive offerings, in a building in perspective.</p>
+
+<div class="figcenter">
+<a name="img043" id="img043"></a>
+<img src="images/img043-tb.jpg" width="450" height="260" alt="The Adoration of the Magi." title="">
+<p class="caption">THE ADORATION OF THE MAGI<br>
+(<i>After the fresco by</i> Giovanni Antonio Licinio of Pordenone.<br>
+<i>Treviso: Duomo</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img043.jpg">View larger image</a></span></p>
+</div>
+
+<p>This work, which was much extolled and brought him honour and profit,
+was the reason that M. Jacopo Soranzo, having become his intimate
+friend, caused him to be commissioned to paint the Sala de' Pregai in
+competition with Tiziano; and there he executed many pictures
+<span class="pagenum"><a id="Page_153" name="Page_153">[Pg 153]</a></span> with figures seen foreshortened from below, which are very
+beautiful, together with a frieze of marine monsters painted in oils
+round that hall. These works made him so dear to the Senate, that as
+long as he lived he always received an honourable salary from them.
+And since, out of rivalry, he always sought to do work in places where
+Tiziano had also worked, he painted for S. Giovanni di Rialto a S.
+John, as Almoner, giving alms to beggars, and also placed on an altar
+a picture of S. Sebastian, S. Rocco, and other saints, which was very
+beautiful, but yet not equal to the work of Tiziano, although many,
+more out of malignity than out of a love for the truth, exalted that
+of Giovanni Antonio. The same master painted in the cloister of S.
+Stefano many scenes in fresco from the Old Testament, and one from the
+New, divided one from another by various Virtues; and in these figures
+he displayed amazing foreshortenings, in which method of painting he
+always delighted, seeking to introduce them into his every composition
+with no fear of difficulties, and making them more ornate than any
+other painter.</p>
+
+<p>Prince Doria had built a palace on the seashore in Genoa, and had
+commissioned Perino del Vaga, a very celebrated painter, to paint
+halls, apartments, and ante-chambers both in oils and in fresco, which
+are quite marvellous for the richness and beauty of the paintings. But
+seeing that Perino was not then giving much attention to the work, and
+wishing to make him do by the spur of emulation what he was not doing
+by himself, he sent for Pordenone, who began with an open terrace,
+wherein, following his usual manner, he executed a frieze of children,
+who are hurrying about in very beautiful attitudes and unloading a
+barque full of merchandise. He also painted a large scene of Jason
+asking leave from his uncle to go in search of the Golden Fleece. But
+the Prince, seeing the difference that there was between the work of
+Perino and that of Pordenone, dismissed the latter, and summoned in
+his place Domenico Beccafumi of Siena, an excellent painter and a
+rarer master than Pordenone. And he, glad to serve so great a Prince,
+did not scruple to leave his native city of Siena, where there are so
+many marvellous works by his hand; but he did not paint more than one
+single scene in that palace, because Perino brought everything to
+completion by himself.</p>
+
+<p><span class="pagenum"><a id="Page_154" name="Page_154">[Pg 154]</a></span> Giovanni Antonio then returned to Venice, where he was given
+to understand that Ercole, Duke of Ferrara, had brought a great number
+of masters from Germany, and had caused them to begin to make fabrics
+in silk, gold, floss-silk, and wool, for his own use and pleasure, but
+that he had no good designers of figures in Ferrara, since Girolamo da
+Ferrara had more ability for portraits and separate things than for
+difficult and complicated scenes, which called for great power of art
+and design; and that he should enter the service of that Prince.
+Whereupon, desiring to gain fame no less than riches, he departed from
+Venice, and on reaching Ferrara was received with great warmth by the
+Duke. But a little time after his arrival, being attacked by a most
+grievous affliction of the chest, he took to his bed with the doom of
+death upon him, and, growing continually worse and finding no remedy,
+within three days or little more he finished the course of his life,
+at the age of fifty-six. This seemed a strange thing to the Duke, and
+also to Pordenone's friends; and there were not wanting men who for
+many months believed that he had died of poison. The body of Giovanni
+Antonio was buried with honour, and his death was a grief to many,
+particularly in Venice, for the reason that he was ready of speech and
+the friend and companion of many, and delighted in music; and his
+readiness and grace of speech came from his having given attention to
+the study of Latin. He always made his figures grand, and was very
+rich in invention, and so versatile that he could imitate everything
+very well; but he was, above all, resolute and most facile in works in
+fresco.</p>
+
+<p>A disciple of Pordenone was Pomponio Amalteo of San Vito, who won by
+his good qualities the honour of becoming the son-in-law of his
+master. This Pomponio, always following that master in matters of art,
+has acquitted himself very well in all his works, as may be seen at
+Udine from the doors of the new organ, painted in oils, on the outer
+side of which is Christ driving the traders from the Temple, and on
+the inner side the story of the Pool of Bethesda and the Resurrection
+of Lazarus. In the Church of S. Francesco, in the same city, there is
+a panel-picture in oils by the hand of the same man, of S. Francis
+receiving the Stigmata, with some very beautiful landscapes, and with
+a sunrise from which, <span class="pagenum"><a id="Page_155" name="Page_155">[Pg 155]</a></span> in the midst of some rays of the
+greatest splendour, there radiates the celestial light, which pierces
+the hands, feet, and side of S. Francis, who, kneeling devoutly and
+full of love, receives it, while his companion lies on the ground, in
+foreshortening, all overcome with amazement. Pomponio also painted in
+fresco for the Friars of La Vigna, at the end of their refectory,
+Jesus Christ between the two disciples at Emmaus. In the township of
+San Vito, his native place, twenty miles distant from Udine, he
+painted in fresco the Chapel of the Madonna in the Church of S. Maria,
+in so beautiful a manner, and so much to the satisfaction of all, that
+he has won from the most reverend Cardinal Maria Grimani, Patriarch of
+Aquileia and Lord of San Vito, the honour of being enrolled among the
+nobles of that place.</p>
+
+<p>I have thought it right in this Life of Pordenone to make mention of
+these excellent craftsmen of Friuli, both because it appears to me
+that their talents deserve it, and to the end that it may be
+recognized in the account to be given later how much more excellent
+are those who, after such a beginning, have lived since that day, as
+will be related in the Life of Giovanni Ricamatori of Udine, to whom
+our age owes a very great obligation for his works in stucco and his
+grotesques.</p>
+
+<p>But returning to Pordenone; after the works mentioned above as having
+been executed by him at Venice in the time of the most illustrious
+Gritti, he died, as has been related, in the year 1540. And because he
+was one of the most able men that our age has possessed, and for the
+reason, above all, that his figures seem to be in the round and
+detached from their walls, and almost in relief, he can be numbered
+among those who have rendered assistance to art and benefit to the
+world.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="sogliani" id="sogliani"></a><span class="pagenum"><a id="Page_157" name="Page_157">[Pg 157]</a></span> GIOVANNI ANTONIO SOGLIANI</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_sogliani" id="life_of_sogliani"></a><span class="pagenum"><a id="Page_159" name="Page_159">[Pg 159]</a></span> LIFE OF GIOVANNI ANTONIO SOGLIANI</h2>
+
+<h3>PAINTER OF FLORENCE</h3>
+
+
+<p>Very often do we see in the sciences of learning and in the more
+liberal of the manual arts, that those men who are melancholy are the
+most assiduous in their studies and show the greatest patience in
+supporting the burden of their labours; so that there are few of that
+disposition who do not become excellent in such professions. Even so
+did Giovanni Antonio Sogliani, a painter of Florence, whose cast of
+countenance was so cold and woeful that he looked like the image of
+melancholy; and such was the power of this humour over him that he
+gave little thought to anything but matters of art, with the exception
+of his household cares, through which he endured most grievous
+anxieties, although he had enough to live in comfort. He worked at the
+art of painting under Lorenzo di Credi for four-and-twenty years,
+living with him, honouring him always, and rendering him every sort of
+service. Having become during that time a very good painter, he showed
+afterwards in all his works that he was a most faithful disciple of
+his master and a close imitator of his manner. This was seen from his
+first paintings, in the Church of the Osservanza on the hill of San
+Miniato without Florence, for which he painted a panel-picture copied
+from the one that Lorenzo had executed for the Nuns of S. Chiara,
+containing the Nativity of Christ, and no less excellent than the one
+of Lorenzo.</p>
+
+<p>Afterwards, having left his master, he painted for the Church of S.
+Michele in Orto, at the commission of the Guild of Vintners, a S.
+Martin in oils, robed as a Bishop, which gave him the name of a very
+good master. And since Giovanni Antonio had a vast veneration for the
+works and the manner of Fra Bartolommeo di San Marco, and made great
+efforts to approach that manner in his colouring, it may be seen from
+a panel <span class="pagenum"><a id="Page_160" name="Page_160">[Pg 160]</a></span> which he began but did not finish, not being
+satisfied with it, how much he imitated that painter. This panel
+remained in his house during his lifetime as worthless: but after his
+death it was sold as a piece of old rubbish to Sinibaldo Gaddi, and he
+had it finished by Santi Titi dal Borgo, then a mere boy, and placed
+it in a chapel of his own in S. Domenico da Fiesole. In this work are
+the Magi adoring Jesus Christ, who is in the lap of His Mother, and in
+one corner is his own portrait from life, which is a passing good
+likeness.</p>
+
+<p>He then painted for Madonna Alfonsina, the wife of Piero de' Medici, a
+panel-picture that was placed as a votive offering over the altar of
+the Chapel of the Martyrs in the Camaldolite Church at Florence: in
+which picture he painted the Crucifixion of S. Arcadio and other
+martyrs with their crosses in their arms, and two figures, half
+covered with draperies and half naked, kneeling with their crosses on
+the ground, while in the sky are some little angels with palms in
+their hands. This work, which was painted with much diligence, and
+executed with good judgment in the colouring and in the heads, which
+are very lifelike, was placed in the above-mentioned Camaldolite
+Church; but that monastery was taken on account of the siege of
+Florence from those Eremite Fathers, who used devoutly to celebrate
+the Divine offices in the church, and was afterwards given to the Nuns
+of S. Giovannino, of the Order of the Knights of Jerusalem, and
+finally destroyed; and the picture, being one which may be numbered
+among the best works that Sogliani painted, was placed by order of the
+Lord Duke Cosimo in one of the chapels of the Medici family in S.
+Lorenzo.</p>
+
+<p>The same master executed for the Nuns of the Crocetta a Last Supper
+coloured in oils, which was much extolled at that time. And in a
+shrine in the Via de' Ginori, he painted in fresco for Taddeo Taddei a
+Crucifix with Our Lady and S. John at the foot, and in the sky some
+angels lamenting Christ, very lifelike&mdash;a picture truly worthy of
+praise, and a well-executed example of work in fresco. By the hand of
+Sogliani, also, is a Crucifix in the Refectory of the Abbey of the
+Black Friars in Florence, with angels flying about and weeping with
+much grace; and at the foot the Madonna, S. John, S. Benedict, S.
+Scholastica, and other <span class="pagenum"><a id="Page_161" name="Page_161">[Pg 161]</a></span> figures. For the Nuns of the Spirito
+Santo, on the hill of San Giorgio, he painted two pictures that are in
+their church, one of S. Francis, and the other of S. Elizabeth, Queen
+of Hungary and a sister of that Order. For the Company of the Ceppo he
+painted the banner for carrying in processions, which is very
+beautiful, representing on the front of it the Visitation of Our Lady,
+and on the other side S. Niccolò the Bishop, with two children dressed
+as Flagellants, one of whom holds his book and the other the three
+balls of gold. On a panel in S. Jacopo sopra Arno he painted the
+Trinity, with an endless number of little boys, S. Mary Magdalene
+kneeling, S. Catherine, S. James, and two figures in fresco standing
+at the sides, S. Jerome in Penitence and S. John; and in the predella
+he made his assistant, Sandrino del Calzolaio, execute three scenes,
+which won no little praise.</p>
+
+<p>On the end wall of the Oratory of a Company in the township of
+Anghiari, he executed on panel a Last Supper in oils, with figures of
+the size of life; and on one of the two adjoining walls (namely, the
+sides) he painted Christ washing the feet of the Apostles, and on the
+other a servant bringing two vessels of water. The work is held in
+great veneration in that place, for it is indeed a rare thing, and one
+that brought him both honour and profit. A picture that he executed of
+a Judith who had cut off the head of Holofernes, being a very
+beautiful work, was sent to Hungary. And likewise another, in which
+was the Beheading of S. John the Baptist, with a building in
+perspective for which he had copied the exterior of the Chapter-house
+of the Pazzi, which is in the first cloister of S. Croce, was sent as
+a most beautiful work to Naples by Paolo da Terrarossa, who had given
+the commission for it. For one of the Bernardi, also, Sogliani
+executed two other pictures, which were placed in a chapel in the
+Church of the Osservanza at San Miniato, containing two lifesize
+figures in oils&mdash;S. John the Baptist and S. Anthony of Padua. But as
+for the panel that was to stand between them, Giovanni Antonio, being
+dilatory by nature and leisurely over his work, lingered over it so
+long that he who had given the commission died: wherefore that panel,
+which was to contain a Christ lying dead in the lap of His Mother,
+remained unfinished.</p>
+
+<div class="figcenter">
+<a name="img044" id="img044"></a>
+<img src="images/img044-tb.jpg" width="450" height="305" alt="The Legend of S. Dominic." title="">
+<p class="caption">THE LEGEND OF S. DOMINIC<br>
+(<i>After the fresco by</i> Giovanni Antonio Sogliani.<br> <i>Florence: S.
+Marco</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img044.jpg">View larger image</a></span></p>
+</div>
+
+<p><span class="pagenum"><a id="Page_162" name="Page_162">[Pg 162]</a></span> After these things, when Perino del Vaga, having departed
+from Genoa on account of his resentment against Prince Doria, was
+working at Pisa, where the sculptor Stagio da Pietrasanta had begun
+the execution of the new chapels in marble at the end of the nave of
+the Duomo, together with that space behind the high-altar, which
+serves as a sacristy, it was ordained that the said Perino, as will be
+related in his Life, with other masters, should begin to fill up those
+adornments of marble with pictures. But Perino being recalled to
+Genoa, Giovanni Antonio was commissioned to set his hand to the
+pictures that were to adorn the aforesaid recess behind the
+high-altar, and to deal in his works with the sacrifices of the Old
+Testament, as symbols of the Sacrifice of the Most Holy Sacrament,
+which was there over the centre of the high-altar. Sogliani, then,
+painted in the first picture the sacrifice that Noah and his sons
+offered when they had gone forth from the Ark, and afterwards those of
+Cain and of Abel; which were all highly extolled, but above all that
+of Noah, because some of the heads and parts of the figures in it were
+very beautiful. The picture of Abel is charming for its landscapes,
+which are very well executed, and the head of Abel himself, which is
+the very presentment of goodness; but quite the opposite is that of
+Cain, which has the mien of a truly sorry villain. And if Sogliani had
+pursued the work with energy instead of being dilatory, he would have
+been charged by the Warden, who had given him his commission and was
+much pleased with his manner and character, to execute all the work in
+that Duomo, whereas at that time, in addition to the pictures already
+mentioned, he painted no more than one panel, which was destined for
+the chapel wherein Perino had begun to work; and this he finished in
+Florence, but in such wise that it pleased the Pisans well enough and
+was held to be very beautiful. In it are the Madonna, S. John the
+Baptist, S. George, S. Mary Magdalene, S. Margaret, and other saints.
+His picture, then, having given satisfaction, Sogliani received from
+the Warden a commission for three other panels, to which he set his
+hand, but did not finish them in the lifetime of that Warden, in whose
+place Bastiano della Seta was elected; and he, perceiving that the
+business was moving but slowly, allotted four pictures for the
+aforesaid sacristy behind the high-altar <span class="pagenum"><a id="Page_163" name="Page_163">[Pg 163]</a></span> to Domenico
+Beccafumi of Siena, an excellent painter, who dispatched them very
+quickly, as will be told in the proper place, and also painted a panel
+there, and other painters executed the rest. Giovanni Antonio, then,
+working at his leisure, finished two other panels with much diligence,
+painting in each a Madonna surrounded by many saints. And finally,
+having made his way to Pisa, he there painted the fourth and last, in
+which he acquitted himself worse than in any other, either through old
+age, or because he was competing with Beccafumi, or for some other
+reason.</p>
+
+<p>But the Warden Bastiano, perceiving the slowness of the man, and
+wishing to bring the work to an end, allotted the three other panels
+to Giorgio Vasari of Arezzo, who finished two of them, those that are
+beside the door of the façade. In the one nearer the Campo Santo is
+Our Lady with the Child in her arms, with S. Martha caressing Him.
+There, also, on their knees, are S. Cecilia, S. Augustine, S. Joseph,
+and S. Guido the Hermit, and in the foreground a nude S. Jerome, with
+S. Luke the Evangelist, and some little boys uplifting a piece of
+drapery, and others holding flowers. In the other, by the wish of the
+Warden, he painted another Madonna with her Son in her arms, S. James
+the Martyr, S. Matthew, S. Sylvester the Pope, and S. Turpè the
+Chevalier. Having to paint the Madonna, and not wishing to repeat the
+same composition (although he had varied it much in other respects),
+he made her with Christ dead in her arms, and those saints as it were
+round a Deposition from the Cross; and on the crosses, planted on high
+and made of tree-trunks, are fixed two naked Thieves, surrounded by
+horses and ministers of the crucifixion, with Joseph, Nicodemus, and
+the Maries; all for the satisfaction of the Warden, who wished that in
+those new pictures there should be included all the saints that there
+had been in the past in the various dismantled chapels, in order to
+renew their memory in the new works. One picture was still wanting to
+complete the whole, and this was executed by Bronzino, who painted a
+nude Christ and eight saints. And in this manner were those chapels
+brought to completion, all of which Giovanni Antonio could have done
+with his own hand if he had not been so slow.</p>
+
+<p><span class="pagenum"><a id="Page_164" name="Page_164">[Pg 164]</a></span> And since Sogliani had won much favour with the Pisans, after
+the death of Andrea del Sarto he was commissioned to finish a panel
+for the Company of S. Francesco, which the said Andrea left only
+sketched; which panel is now in the building of that Company on the
+Piazza di S. Francesco at Pisa. The same master executed some rows of
+cloth-hangings for the Wardens of Works of the aforesaid Duomo, and
+many others in Florence, because he took pleasure in doing that sort
+of work, and above all in company with his friend Tommaso di Stefano,
+a painter of Florence.</p>
+
+<p>Being summoned by the Friars of S. Marco in Florence to paint a work
+in fresco at the head of their refectory, at the expense of one of
+their number, a lay-brother of the Molletti family, who had possessed
+a rich patrimony when in the world, Giovanni Antonio wished to paint
+there the scene of Jesus Christ feeding five thousand persons with
+five loaves and two fishes, in order to make the most of his powers;
+and he had already made the design for it, with many women and
+children and a great multitude of other people, when the friars
+refused to have that story, saying that they wanted something
+definite, simple, and familiar. Whereupon, to please them, he painted
+the scene when S. Dominic, being in the refectory with his friars and
+having no bread, made a prayer to God, when the table was miraculously
+covered with bread, brought by two angels in human form. In this work
+he made portraits of many friars who were then in the convent, which
+have the appearance of life, and particularly that of the lay-brother
+of the Molletti family, who is serving at table. Then, in the lunette
+above the table, he painted S. Dominic at the foot of a Crucifix, with
+Our Lady and S. John the Evangelist, who are weeping, and at the sides
+S. Catherine of Siena and S. Antonino, Archbishop of Florence, a
+brother of their Order. All this, for a work in fresco, was executed
+with much diligence and a high finish; but Sogliani would have been
+much more successful if he had executed what he had designed, because
+painters express the conceptions of their own minds better than those
+of others. On the other hand, it is only right that he who pays the
+piper should call the tune. The design for the Miracle of the Loaves
+and Fishes is in the hands of Bartolommeo <span class="pagenum"><a id="Page_165" name="Page_165">[Pg 165]</a></span> Gondi, who, in
+addition to a large picture that he has by the hand of Sogliani, also
+possesses many drawings and heads painted from life on tinted paper,
+which he received from the wife of the painter, who had been very much
+his friend, after his death. And we, also, have in our book some
+drawings by the same hand, which are beautiful to a marvel.</p>
+
+<p>Sogliani began for Giovanni Serristori a large panel-picture which was
+to be placed in S. Francesco dell' Osservanza, without the Porta a S.
+Miniato, with a vast number of figures, among which are some
+marvellous heads, the best that he ever made; but it was left
+unfinished at the death of the said Giovanni Serristori. Nevertheless,
+since Giovanni Antonio had received full payment, he finished it
+afterwards little by little, and gave it to Messer Alamanno di Jacopo
+Salviati, the son-in-law and heir of Giovanni Serristori; and he
+presented it, frame and all, to the Nuns of S. Luca, who have it over
+their high-altar in the Via di S. Gallo.</p>
+
+<p>Giovanni Antonio executed many other works in Florence, some of which
+are in the houses of citizens, and some were sent to various
+countries; but of these there is no need to make mention, for we have
+spoken of the most important. Sogliani was an upright person, very
+religious, always occupied with his own business, and never
+interfering with his fellow-craftsmen.</p>
+
+<p>One of his disciples was Sandrino del Calzolaio, who painted the
+shrine that is on the Canto delle Murate, and, in the Hospital of the
+Temple, a S. John the Baptist who is assigning shelter to the poor;
+and he would have done more work, and good work, if he had not died as
+young as he did. Another of his disciples was Michele, who afterwards
+went to work with Ridolfo Ghirlandajo, whose name he took; and
+likewise Benedetto, who went with Antonio Mini, a disciple of
+Michelagnolo Buonarroti, to France, where he has executed many
+beautiful works. And another, finally, was Zanobi di Poggino, who has
+painted many works throughout the city.</p>
+
+<p>In the end, being weary and broken in health after having been long
+tormented by the stone, Giovanni Antonio rendered up his soul to God
+at the age of fifty-two. His death was much lamented, for he had been
+<span class="pagenum"><a id="Page_166" name="Page_166">[Pg 166]</a></span> an excellent man, and his manner had been much in favour,
+since he gave an air of piety to his figures, in such a fashion as
+pleases those who, delighting little in the highest and most difficult
+flights of art, love things that are seemly, simple, gracious, and
+sweet. His body was opened after his death, and in it were found three
+stones, each as big as an egg; but as long as he lived he would never
+consent to have them extracted, or to hear a word about them.</p>
+
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="treviso" id="treviso"></a><span class="pagenum"><a id="Page_167" name="Page_167">[Pg 167]</a></span> GIROLAMO DA TREVISO</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_treviso" id="life_of_treviso"></a><span class="pagenum"><a id="Page_169" name="Page_169">[Pg 169]</a></span> LIFE OF GIROLAMO DA TREVISO</h2>
+
+<h3>PAINTER</h3>
+
+
+<p>Rarely does it happen that those who persist in working in the country
+in which they were born, are exalted by Fortune to that height of
+prosperity which their talents deserve; whereas, if a man tries many,
+he must in the end find one wherein sooner or later he succeeds in
+being recognized. And it often comes to pass that one who attains to
+the reward of his labours late in life, is prevented by the venom of
+death from enjoying it for long, even as we shall see in the case of
+Girolamo da Treviso.</p>
+
+<p>This painter was held to be a very good master; and although he was no
+great draughtsman, he was a pleasing colourist both in oils and in
+fresco, and a close imitator of the methods of Raffaello da Urbino. He
+worked much in his native city of Treviso; and he also executed many
+works in Venice, such as, in particular, the façade of the house of
+Andrea Udoni, which he painted in fresco, with some friezes of
+children in the courtyard, and one of the upper apartments: all of
+which he executed in colour, and not in chiaroscuro, because the
+Venetians like colour better than anything else. In a large scene in
+the middle of this façade is a Juno, seen from the thighs upwards,
+flying on some clouds with the moon on her head, over which are raised
+her arms, one holding a vase and the other a bowl. He also painted
+there a Bacchus, fat and ruddy, with a vessel that he is upsetting,
+and holding with one arm a Ceres who has many ears of corn in her
+hands. There, too, are the Graces, with five little boys who are
+flying below and welcoming them, in order, so they signify, to make
+the house of the Udoni abound with their gifts; and to show that the
+same house was a friendly haven for men of talent, <span class="pagenum"><a id="Page_170" name="Page_170">[Pg 170]</a></span> he
+painted Apollo on one side and Pallas on the other. This work was
+executed with great freshness, so that Girolamo gained from it both
+honour and profit.</p>
+
+<p>The same master painted a picture for the Chapel of the Madonna in S.
+Petronio, in competition with certain painters of Bologna, as will be
+related in the proper place. And continuing to live in Bologna, he
+executed many pictures there; and in S. Petronio, in the Chapel of S.
+Antonio da Padova, he depicted in oils, in imitation of marble, all
+the stories of the life of the latter Saint, in which, without a
+doubt, there may be perceived grace, judgment, excellence, and a great
+delicacy of finish. He painted a panel-picture for S. Salvatore, of
+the Madonna ascending the steps of the Temple, with some saints; and
+another of the Madonna in the sky, with some children, and S. Jerome
+and S. Catherine beneath, which is certainly the weakest work by his
+hand that is to be seen in Bologna. Over a great portal, also, in
+Bologna, he painted in fresco a Crucifix with Our Lady and S. John,
+all worthy of the highest praise. For S. Domenico, at Bologna, he
+executed a panel-picture in oils of Our Lady with some saints, which
+is the best of his works; it is near the choir, as one ascends to the
+tomb of S. Dominic, and in it is the portrait of the patron who had it
+painted. In like manner, he painted a picture for Count Giovanni
+Battista Bentivogli, who had the cartoon by the hand of Baldassarre of
+Siena, representing the story of the Magi: a work which he carried to
+a very fine completion, although it contained more than a hundred
+figures. There are also many other works by the hand of Girolamo in
+Bologna, both in private houses and in the churches. In Galiera he
+painted in chiaroscuro the façade of the Palace of the Teofamini, with
+another façade behind the house of the Dolfi, which is considered in
+the judgment of many craftsmen to be the best work that he ever
+executed in that city.</p>
+
+<p>He went to Trento, and, in company with other painters, painted the
+palace of the old Cardinal, from which he gained very great fame.
+Then, returning to Bologna, he gave his attention to the works that he
+had begun. Now it happened that there was much talk throughout Bologna
+about having a panel-picture painted for the Della Morte Hospital,
+<span class="pagenum"><a id="Page_171" name="Page_171">[Pg 171]</a></span> for which various designs were made by way of competition,
+some in drawing and some in colour. And since many thought that they
+had the first claim, some through interest and others because they
+held themselves to be most worthy of such a commission, Girolamo was
+left in the lurch; and considering that he had been wronged, not long
+afterwards he departed from Bologna. And thus the envy of others
+raised him to such a height of prosperity as he had never thought of;
+since, if he had been chosen for the work, it would have impeded the
+blessings that his good fortune had prepared for him. For, having made
+his way to England, he was recommended by some friends, who favoured
+him, to King Henry; and presenting himself before him, he entered into
+his service, although not as painter, but as engineer. Then, making
+trial of his skill in various edifices, copied from some in Tuscany
+and other parts of Italy, that King pronounced them marvellous,
+rewarded him with a succession of presents, and decreed him a
+provision of four hundred crowns a year; and he was given the means to
+build an honourable abode for himself at the expense of the King.
+Thereupon Girolamo, raised from one extreme of distress to the other
+extreme of grandeur, lived a most happy and contented life, thanking
+God and Fortune for having turned his steps to a country where men
+were so favourable to his talents. But this unwonted happiness was not
+destined to last long, for the war between the French and the English
+being continued, and Girolamo being charged with superintending all
+the work of the bastions and fortifications, the artillery, and the
+defences of the camp, it happened one day, when the city of Boulogne
+in Picardy was being bombarded, that a ball from a demi-cannon came
+with horrid violence and cut him in half on his horse's back. And
+thus, Girolamo being at the age of thirty-six, his life, his earthly
+honours, and all his greatness were extinguished at one and the same
+moment, in the year 1544.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="caravaggio" id="caravaggio"></a><span class="pagenum"><a id="Page_173" name="Page_173">[Pg 173]</a></span> POLIDORO DA CARAVAGGIO AND MATURINO</h2>
+
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_caravaggio" id="life_of_caravaggio"></a><span class="pagenum"><a id="Page_175" name="Page_175">[Pg 175]</a></span> LIVES OF POLIDORO DA CARAVAGGIO AND THE FLORENTINE MATURINO</h2>
+
+<h3>PAINTERS</h3>
+
+
+<p>In the last age of gold, as the happy age of Leo X might have been
+called for all noble craftsmen and men of talent, an honoured place
+was held among the most exalted spirits by Polidoro da Caravaggio, a
+Lombard, who had not become a painter after long study, but had been
+created and produced as such by Nature. This master, having come to
+Rome at the time when the Loggie of the Papal Palace were being built
+for Leo under the direction of Raffaello da Urbino, carried the pail,
+or we should rather say the hod, full of lime, for the masons who were
+doing the work, until he had reached the age of eighteen. But, when
+Giovanni da Udine had begun to paint there, the building and the
+painting proceeding together, Polidoro, whose will and inclination
+were much drawn to painting, could not rest content until he had
+become intimate with all the most able of the young men, in order to
+study their methods and manners of art, and to set himself to draw.
+And out of their number he chose as his companion the Florentine
+Maturino, who was then working in the Papal Chapel, and was held to be
+an excellent draughtsman of antiquities. Associating with him,
+Polidoro became so enamoured of that art, that in a few months, having
+made trial of his powers, he executed works that astonished every
+person who had known him in his former condition. On which account,
+the work of the Loggie proceeding, he exercised his hand to such
+purpose in company with those young painters, who were well-practised
+and experienced in painting, and learned the art so divinely well,
+that he did not leave that work without carrying away the true glory
+of being considered the most noble and <span class="pagenum"><a id="Page_176" name="Page_176">[Pg 176]</a></span> most beautiful
+intellect that was to be found among all their number. Thereupon the
+love of Maturino for Polidoro, and of Polidoro for Maturino, so
+increased, that they determined like brothers and true companions to
+live and die together; and, uniting their ambitions, their purses, and
+their labours, they set themselves to work together in the closest
+harmony and concord. But since there were in Rome many who had great
+fame and reputation, well justified by their works, for making their
+paintings more lively and vivacious in colour and more worthy of
+praise and favour, there began to enter into their minds the idea of
+imitating the methods of Baldassarre of Siena, who had executed
+several façades of houses in chiaroscuro, and of giving their
+attention thenceforward to that sort of work, which by that time had
+come into fashion.</p>
+
+<p>They began one, therefore, on Montecavallo, opposite to S. Silvestro,
+in company with Pellegrino da Modena, which encouraged them to make
+further efforts to see whether this should be their profession; and
+they went on to execute another opposite to the side-door of S.
+Salvatore del Lauro, and likewise painted a scene by the side-door of
+the Minerva, with another, which is a frieze of marine monsters, above
+S. Rocco a Ripetta. And during this first period they painted a vast
+number of them throughout all Rome, but not so good as the others; and
+there is no need to mention them here, since they afterwards did
+better work of that sort. Gaining courage, therefore, from this, they
+began to study the antiquities of Rome, counterfeiting the ancient
+works of marble in their works in chiaroscuro, so that there remained
+no vase, statue, sarcophagus, scene, or any single thing, whether
+broken or entire, which they did not draw and make use of. And with
+such constancy and resolution did they give their minds to this
+pursuit, that they both acquired the ancient manner, the work of the
+one being so like that of the other, that, even as their minds were
+guided by one and the same will, so their hands expressed one and the
+same knowledge. And although Maturino was not as well assisted by
+Nature as Polidoro, so potent was the faithful imitation of one style
+by the two in company, that, wherever either of them placed his hand,
+the work of both one and the other, whether in composition,
+expression, or manner, appeared to be the same.</p>
+
+<p><span class="pagenum"><a id="Page_177" name="Page_177">[Pg 177]</a></span> In the Piazza di Capranica, on the way to the Piazza Colonna,
+they painted a façade with the Theological Virtues, and a frieze of
+very beautiful invention beneath the windows, including a draped
+figure of Rome representing the Faith, and holding the Chalice and the
+Host in her hands, who has taken captive all the nations of the earth;
+and all mankind is flocking up to bring her tribute, while the Turks,
+overcome at the last, are shooting arrows at the tomb of Mahomet; all
+ending in the words of Scripture, "There shall be one fold and one
+Shepherd." And, indeed, they had no equals in invention; of which we
+have witness in all their works, abounding in personal ornaments,
+vestments, foot-wear, and things bizarre and strange, and executed
+with an incredible beauty. And another proof is that their works are
+continually being drawn by all the foreign painters; wherefore they
+conferred greater benefits on the art of painting with the beautiful
+manner that they displayed and with their marvellous facility, than
+have all the others together who have lived from Cimabue downwards. It
+has been seen continually, therefore, in Rome, and is still seen, that
+all the draughtsmen are inclined more to the works of Polidoro and
+Maturino than to all the rest of our modern pictures.</p>
+
+<p>In the Borgo Nuovo they executed a façade in sgraffito, and on the
+Canto della Pace another likewise in sgraffito; with a façade of the
+house of the Spinoli, not far from that last-mentioned, on the way to
+the Parione, containing athletic contests according to the custom of
+the ancients, and their sacrifices, and the death of Tarpeia. Near the
+Torre di Nona, on the side towards the Ponte S. Angelo, may be seen a
+little façade with the Triumph of Camillus and an ancient sacrifice.
+In the road that leads to the Imagine di Ponte, there is a most
+beautiful façade with the story of Perillus, showing him being placed
+in the bronze bull that he had made; wherein great effort may be seen
+in those who are thrusting him into that bull, and terror in those who
+are waiting to behold a death so unexampled, besides which there is
+the seated figure of Phalaris (so I believe), ordaining with an
+imperious air of great beauty the punishment of the inhuman spirit
+that had invented a device so novel and so cruel in order to put men
+to death with greater suffering. In this work, also, <span class="pagenum"><a id="Page_178" name="Page_178">[Pg 178]</a></span> may be
+perceived a very beautiful frieze of children, painted to look like
+bronze, and other figures. Higher up than this they painted the façade
+of the house where there is the image which is called the Imagine di
+Ponte, wherein are seen several stories illustrated by them, with the
+Senatorial Order dressed in the garb of ancient Rome. And in the
+Piazza della Dogana, beside S. Eustachio, there is a façade of
+battle-pieces; and within that church, on the right as one enters, may
+be perceived a little chapel with figures painted by Polidoro.</p>
+
+<p>They also executed another above the Farnese Palace for the
+Cepperelli, and a façade behind the Minerva in the street that leads
+to the Maddaleni; and in the latter, which contains scenes from Roman
+history, may be seen, among other beautiful things, a frieze of
+children in triumph, painted to look like bronze, and executed with
+supreme grace and extraordinary beauty. On the façade of the Buoni
+Auguri, near the Minerva, are some very beautiful stories of Romulus,
+showing him when he is marking out the site of his city with the
+plough, and when the vultures are flying over him; wherein the
+vestments, features, and persons of the ancients are so well imitated,
+that it truly appears as if these were the very men themselves.
+Certain it is that in that field of art no man ever had such power of
+design, such practised mastery, a more beautiful manner, or greater
+facility. And every craftsman is so struck with wonder every time that
+he sees these works, that he cannot but be amazed at the manner in
+which Nature has been able in this age to present her marvels to us by
+means of these men.</p>
+
+<p>Below the Corte Savella, also, on the house bought by Signora
+Costanza, they painted the Rape of the Sabines, a scene which reveals
+the raging desire of the captors no less clearly than the terror and
+panic of the wretched women thus carried off by various soldiers, some
+on horseback and others in other ways. And not only in this one scene
+are there such conceptions, but also (and even more) in the stories of
+Mucius and Horatius, and in the Flight of Porsena, King of Tuscany. In
+the garden of M. Stefano dal Bufalo, near the Fountain of Trevi, they
+executed some most beautiful scenes of the Fount of Parnassus, in
+which they made grotesques and little figures, painted very well in
+colour. On the <span class="pagenum"><a id="Page_179" name="Page_179">[Pg 179]</a></span> house of Baldassini, also, near S. Agostino,
+they executed scenes and sgraffiti, with some heads of Emperors over
+the windows in the court. On Montecavallo, near S. Agata, they painted
+a façade with a vast number of different stories, such as the Vestal
+Tuccia bringing water from the Tiber to the Temple in a sieve, and
+Claudia drawing the ship with her girdle; and also the rout effected
+by Camillus while Brennus is weighing the gold. On another wall, round
+the corner, are Romulus and his brother being suckled by the wolf, and
+the terrible combat of Horatius, who is defending the head of the
+bridge, alone against a thousand swords, while behind him are many
+very beautiful figures in various attitudes, working with might and
+main to hew away the bridge with pickaxes. There, also, is Mucius
+Scævola, who, before the eyes of Porsena, is burning his own hand,
+which had erred in slaying the King's minister in place of the King;
+and in the King's face may be seen disdain and a desire for vengeance.
+And within that house they executed a number of landscapes.</p>
+
+<p>They decorated the façade of S. Pietro in Vincula, painting therein
+stories of S. Peter, with some large figures of Prophets. And so
+widespread was the fame of these masters by reason of the abundance of
+their work, that the pictures painted by them with such beauty in
+public places enabled them to win extraordinary praise in their
+lifetime, with glory infinite and eternal through the number of their
+imitators after death. On a façade, also, in the square where stands
+the Palace of the Medici, behind the Piazza Navona, they painted the
+Triumphs of Paulus Emilius, with a vast number of other Roman stories.
+And at S. Silvestro di Montecavallo they executed some little things
+for Fra Mariano, both in the house and in the garden; and in the
+church they painted his chapel, with two scenes in colour from the
+life of S. Mary Magdalene, in which the disposition of the landscapes
+is executed with supreme grace and judgment. For Polidoro, in truth,
+executed landscapes and groups of trees and rocks better than any
+other painter, and it is to him that art owes that facility which our
+modern craftsmen show in their works.</p>
+
+<p>They also painted many apartments and friezes in various houses at
+Rome, executing them with colours in fresco and in distemper; but
+<span class="pagenum"><a id="Page_180" name="Page_180">[Pg 180]</a></span> these works were attempted by them as trials, because they
+were never able to achieve with colours that beauty which they always
+displayed in their works in chiaroscuro, in their imitations of
+bronze, or in terretta. This may still be seen in the house of Torre
+Sanguigna, which once belonged to the Cardinal of Volterra, on the
+façade of which they painted a most beautiful decoration in
+chiaroscuro, and in the interior some figures in colour, the painting
+of which is so badly executed, that in it they diverted from its true
+excellence the good design which they always had. And this appeared
+all the more strange because of there being beside them an escutcheon
+of Pope Leo, with nude figures, by the hand of Giovan Francesco
+Vetraio, who would have done extraordinary things if death had not
+taken him from our midst. However, not cured by this of their insane
+confidence, they also painted some children in colour for the altar of
+the Martelli in S. Agostino at Rome, a work which Jacopo Sansovino
+completed by making a Madonna of marble; and these children appear to
+be by the hands, not of illustrious masters, but of simpletons just
+beginning to learn. Whereas, on the side where the altar-cloth covers
+the altar, Polidoro painted a little scene of a Dead Christ with the
+Maries, which is a most beautiful work, showing that in truth that
+sort of work was more their profession than the use of colours.</p>
+
+<p>Returning, therefore, to their usual work, they painted two very
+beautiful façades in the Campo Marzio; one with the stories of Ancus
+Martius, and the other with the Festivals of the Saturnalia, formerly
+celebrated in that place, with all the two-horse and four-horse
+chariots circling round the obelisks, which are held to be most
+beautiful, because they are so well executed both in design and in
+nobility of manner, that they reproduce most vividly those very
+spectacles as representations of which they were painted. On the Canto
+della Chiavica, on the way to the Corte Savella, they painted a façade
+which is a divine thing, and is held to be the most beautiful of all
+the beautiful works that they executed; for, in addition to the story
+of the maidens passing over the Tiber, there is at the foot, near the
+door, a Sacrifice painted with marvellous industry and art, wherein
+may be seen duly represented all the instruments and all those ancient
+customs that used to have a place in sacrifices of that <span class="pagenum"><a id="Page_181" name="Page_181">[Pg 181]</a></span>
+kind. Near the Piazza del Popolo, below S. Jacopo degli Incurabili,
+they painted a façade with stories of Alexander the Great, which is
+held to be very fine; and there they depicted the ancient statues of
+the Nile and the Tiber from the Belvedere. Near S. Simeone they
+painted the façade of the Gaddi Palace, which is truly a cause of
+marvel and amazement, when one observes the lovely vestments in it, so
+many and so various, and the vast number of ancient helmets, girdles,
+buskins, and barques, adorned with all the delicacy and abundance of
+detail that an inventive imagination could conceive. There, with a
+multitude of beautiful things which overload the memory, are
+represented all the ways of the ancients, the statues of sages, and
+most lovely women: and there are all the sorts of ancient sacrifices
+with their ritual, and an army in the various stages between embarking
+and fighting with an extraordinary variety of arms and implements, all
+executed with such grace and finished with such masterly skill, that
+the eye is dazzled by the vast abundance of beautiful inventions.
+Opposite to this is a smaller façade, which could not be improved in
+beauty and variety; and there, in the frieze, is the story of Niobe
+causing herself to be worshipped, with the people bringing tribute,
+vases, and various kinds of gifts; which story was depicted by them
+with such novelty, grace, art, force of relief and genius in every
+part, that it would certainly take too long to describe the whole.
+Next, there follows the wrath of Latona, and her terrible vengeance on
+the children of the over-proud Niobe, whose seven sons are slain by
+Ph&oelig;bus and the seven daughters by Diana; with an endless number of
+figures in imitation of bronze, which appear to be not painted but
+truly of metal. Above these are executed other scenes, with some vases
+in imitation of gold, innumerable things of fancy so strange that
+mortal eye could not picture anything more novel or more beautiful,
+and certain Etruscan helmets; but one is left confused by the variety
+and abundance of the conceptions, so beautiful and so fanciful, which
+issued from their minds. These works have been imitated by a vast
+number of those who labour at that branch of art. They also painted
+the courtyard of that house, and likewise the loggia, which they
+decorated with little grotesques in colour that are held to be divine.
+In short, all that they touched they brought to <span class="pagenum"><a id="Page_182" name="Page_182">[Pg 182]</a></span> perfection
+with infinite grace and beauty; and if I were to name all their works,
+I should fill a whole book with the performances of these two masters
+alone, since there is no apartment, palace, garden, or villa in Rome
+that does not contain some work by Polidoro and Maturino.</p>
+
+<p>Now, while Rome was rejoicing and clothing herself in beauty with
+their labours, and they were awaiting the reward of all their toil,
+the envy of Fortune, in the year 1527, sent Bourbon to Rome; and he
+gave that city over to sack. Whereupon was divided the companionship
+not only of Polidoro and Maturino, but of all the thousands of friends
+and relatives who had broken bread together for so many years in Rome.
+Maturino took to flight, and no long time passed before he died, so it
+is believed in Rome, of plague, in consequence of the hardships that
+he had suffered in the sack, and was buried in S. Eustachio. Polidoro
+turned his steps to Naples; but on his arrival, the noblemen of that
+city taking but little interest in fine works of painting, he was like
+to die of hunger. Working, therefore, at the commission of certain
+painters, he executed a S. Peter in the principal chapel of S. Maria
+della Grazia; and in this way he assisted those painters in many
+things, more to save his life than for any other reason. However, the
+fame of his talents having spread abroad, he executed for Count ... a
+vault painted in distemper, together with some walls, all of which is
+held to be very beautiful work. In like manner, he executed a
+courtyard in chiaroscuro for Signor ..., with some loggie, which are
+very beautiful, rich in ornaments, and well painted. He also painted
+for S. Angelo, beside the Pescheria at Naples, a little panel in oils,
+containing a Madonna and some naked figures of souls in torment, which
+is held to be most beautiful, but more for the drawing than for the
+colouring; and likewise some pictures for the Chapel of the
+High-Altar, each with a single full-length figure, and all executed in
+the same manner.</p>
+
+<p>It came to pass that Polidoro, living in Naples and seeing his talents
+held in little esteem, determined to take his leave of men who thought
+more of a horse that could jump than of a master whose hands could
+give to painted figures the appearance of life. Going on board ship,
+therefore, he made his way to Messina, where, finding more
+consideration <span class="pagenum"><a id="Page_183" name="Page_183">[Pg 183]</a></span> and more honour, he set himself to work; and
+thus, working continually, he acquired good skill and mastery in the
+use of colour. Thereupon he executed many works, which are dispersed
+in various places; and turning his attention to architecture, he gave
+proof of his worth in many buildings that he erected. After a time,
+Charles V passing through Messina on his return from victory in Tunis,
+Polidoro made in his honour most beautiful triumphal arches, from
+which he gained vast credit and rewards. And then this master, who was
+always burning with desire to revisit Rome, which afflicts with an
+unceasing yearning those who have lived there many years, when making
+trial of other countries, painted as his last work in Messina a
+panel-picture of Christ bearing the Cross, executed in oils with much
+excellence and very pleasing colour. In it he made a number of figures
+accompanying Christ to His Death&mdash;soldiers, pharisees, horses, women,
+children, and the Thieves in front; and he kept firmly before his mind
+the consideration of how such an execution must have been marshalled,
+insomuch that his nature seemed to have striven to show its highest
+powers in this work, which is indeed most excellent. After this he
+sought many times to shake himself free of that country, although he
+was looked upon with favour there; but he had a reason for delay in a
+woman, beloved by him for many years, who detained him with her sweet
+words and cajoleries. However, so mightily did his desire to revisit
+Rome and his friends work in him, that he took from his bank a good
+sum of money that he possessed, and, wholly determined, prepared to
+depart.</p>
+
+<p>Polidoro had employed as his assistant for a long time a lad of the
+country, who bore greater love to his master's money than to his
+master; but, the money being kept, as has been said, in the bank, he
+was never able to lay his hands upon it and carry it off. Wherefore,
+an evil and cruel thought entering his head, he resolved to put his
+master to death with the help of some accomplices, on the following
+night, while he was sleeping, and then to divide the money with them.
+And so, assisted by his friends, he set upon Polidoro in his first
+sleep, while he was slumbering deeply, and strangled him with a cloth.
+Then, giving him several wounds, they made sure of his death; and in
+order to prove that it was <span class="pagenum"><a id="Page_184" name="Page_184">[Pg 184]</a></span> not they who had done it, they
+carried him to the door of the woman whom he had loved, making it
+appear that her relatives or other persons of the house had killed
+him. The assistant gave a good part of the money to the villains who
+had committed so hideous an outrage, and bade them be off. In the
+morning he went in tears to the house of a certain Count, a friend of
+his dead master, and related the event to him; but for all the
+diligence that was used for many days in seeking for the perpetrator
+of the crime, nothing came to light. By the will of God, however,
+nature and virtue, in disdain at being wounded by the hand of fortune,
+so worked in one who had no interest in the matter, that he declared
+it to be impossible that any other but the assistant himself could
+have committed the murder. Whereupon the Count had him seized and put
+to the torture, and without the application of any further torment he
+confessed the crime and was condemned by the law to the gallows; but
+first he was torn with red-hot pincers on the way to execution, and
+finally quartered.</p>
+
+<p>For all this, however, life was not restored to Polidoro, nor was
+there given back to the art of painting a genius so resolute and so
+extraordinary, such as had not been seen in the world for many an age.
+If, indeed, at the time when he died, invention, grace, and boldness
+in the painting of figures could have laid down their lives, they
+would have died with him. Happy was the union of nature and art which
+embodied a spirit so noble in human form; and cruel was the envy and
+hatred of his fate and fortune, which robbed him of life with so
+strange a death, but shall never through all the ages rob him of his
+name. His obsequies were performed with full solemnity, and he was
+given burial in the Cathedral Church, lamented bitterly by all
+Messina, in the year 1543.</p>
+
+<p>Great, indeed, is the obligation owed by craftsmen to Polidoro, in
+that he enriched art with a great abundance of vestments, all
+different and most strange, and of varied ornaments, and gave grace
+and adornment to all his works, and likewise made figures of every
+sort, animals, buildings, grotesques, and landscapes, all so
+beautiful, that since his day whosoever has aimed at catholicity has
+imitated him. It is a marvellous thing and a fearsome to see from the
+example of this master the instability <span class="pagenum"><a id="Page_185" name="Page_185">[Pg 185]</a></span> of Fortune and what
+she can bring to pass, causing men to become excellent in some
+profession from whom something quite different might have been
+expected, to the no small vexation of those who have laboured in vain
+for many years at the same art. It is a marvellous thing, I repeat, to
+see those same men, after much travailing and striving, brought by
+that same Fortune to a miserable and most unhappy end at the very
+moment when they were hoping to enjoy the fruits of their labours; and
+that with calamities so monstrous and terrible, that pity herself
+takes to flight, art is outraged, and benefits are repaid with an
+extraordinary and incredible ingratitude. Wherefore, even as painting
+may rejoice in the fruitful life of Polidoro, so could he complain of
+Fortune, which at one time showed herself friendly to him, only to
+bring him afterwards, when it was least expected, to a dreadful death.</p>
+
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="rosso" id="rosso"></a><span class="pagenum"><a id="Page_187" name="Page_187">[Pg 187]</a></span> IL ROSSO</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_rosso" id="life_of_rosso"></a><span class="pagenum"><a id="Page_189" name="Page_189">[Pg 189]</a></span> LIFE OF IL ROSSO</h2>
+
+<h3>PAINTER OF FLORENCE</h3>
+
+
+<p>Men of account who apply themselves to the arts and pursue them with
+all their powers are sometimes exalted and honoured beyond measure, at
+a moment when it was least expected, before the eyes of all the world,
+as may be seen clearly from the labours that Il Rosso, a painter of
+Florence, devoted to the art of painting; for if these were not
+acknowledged in Rome and Florence by those who could reward them, yet
+in France he found one to recompense him for them, and that in such
+sort, that his glory might have sufficed to quench the thirst of the
+most overweening ambition that could possess the heart of any
+craftsman, be he who he may. Nor could he have obtained in this life
+greater dignities, honour, or rank, seeing that he was regarded with
+favour and much esteemed beyond any other man of his profession by a
+King so great as is the King of France. And, indeed, his merits were
+such, that, if Fortune had secured less for him, she would have done
+him a very great wrong, for the reason that Rosso, in addition to his
+painting, was endowed with a most beautiful presence; his manner of
+speech was gracious and grave; he was an excellent musician, and had a
+fine knowledge of philosophy; and what was of greater import than all
+his other splendid qualities was this, that he always showed the
+invention of a poet in the grouping of his figures, besides being bold
+and well-grounded in draughtsmanship, graceful in manner, sublime in
+the highest flights of imagination, and a master of beautiful
+composition of scenes. In architecture he showed an extraordinary
+excellence; and he was always, however poor in circumstances, rich in
+the grandeur of his spirit. For this reason, whosoever shall follow in
+the labours of painting the walk pursued by Rosso, must <span class="pagenum"><a id="Page_190" name="Page_190">[Pg 190]</a></span> be
+celebrated without ceasing, as are that master's works, which have no
+equals in boldness and are executed without effort and strain, since
+he kept them free of that dry and painful elaboration to which so many
+subject themselves in order to veil the worthlessness of their works
+with the cloak of importance.</p>
+
+<p>In his youth, Rosso drew from the cartoon of Michelagnolo, and would
+study art with but few masters, having a certain opinion of his own
+that conflicted with their manners; as may be seen from a shrine
+executed in fresco for Piero Bartoli at Marignolle, without the Porta
+a S. Piero Gattolini in Florence, containing a Dead Christ, wherein he
+began to show how great was his desire for a manner bold and grand,
+graceful and marvellous beyond that of all others. While still a
+beardless boy, at the time when Lorenzo Pucci was made a Cardinal by
+Pope Leo, he executed over the door of S. Sebastiano de' Servi the
+arms of the Pucci, with two figures, which made the craftsmen of that
+day marvel, for no one expected for him such a result as he achieved.
+Wherefore he so grew in courage, that, after having painted a picture
+with a half-length figure of Our Lady and a head of S. John the
+Evangelist for Maestro Jacopo, a Servite friar, who was something of a
+poet, at his persuasion he painted the Assumption of the Madonna in
+the cloister of the Servites, beside the scene of the Visitation,
+which was executed by Jacopo da Pontormo. In this he made a Heaven
+full of angels, all in the form of little naked children dancing in a
+circle round the Madonna, foreshortened with a most beautiful flow of
+outlines and with great grace of manner, as they wheel through the
+sky: insomuch that, if the colouring had been executed by him with
+that mature mastery of art which he afterwards came to achieve, he
+would have surpassed the other scenes by a great measure, even as he
+actually did equal them in grandeur and excellence of design. He made
+the Apostles much burdened with draperies, and, indeed, overloaded
+with their abundance; but the attitudes and some of the heads are more
+than beautiful.</p>
+
+<div class="figcenter">
+<a name="img045" id="img045"></a>
+<img src="images/img045-tb.jpg" width="400" height="495" alt="Madonna and Child, with Saints." title="">
+<p class="caption">MADONNA AND CHILD, WITH SAINTS<br>
+(<i>After the panel by</i> Il Rosso.<br> <i>Florence: Uffizi, 47</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img045.jpg">View larger image</a></span></p>
+</div>
+
+<p>The Director of the Hospital of S. Maria Nuova commissioned him to
+paint a panel: but when he saw it sketched, having little knowledge
+<span class="pagenum"><a id="Page_191" name="Page_191">[Pg 191]</a></span> of that art, the Saints appeared to him like devils; for
+it was Rosso's custom in his oil-sketches to give a sort of savage and
+desperate air to the faces, after which, in finishing them, he would
+sweeten the expressions and bring them to a proper form. At this the
+patron fled from his house and would not have the picture, saying that
+the painter had cheated him.</p>
+
+<p>In like manner, over another door that leads into the cloister of the
+Convent of the Servites, Rosso painted the escutcheon of Pope Leo,
+with two children; but it is now ruined. And in the houses of citizens
+may be seen several of his pictures and many portraits. For the visit
+of Pope Leo to Florence he executed a very beautiful arch on the Canto
+de' Bischeri. Afterwards he painted a most beautiful picture of the
+Dead Christ for Signor di Piombino, and also decorated a little chapel
+for him. At Volterra, likewise, he painted a most lovely Deposition
+from the Cross.</p>
+
+<p>Having therefore grown in credit and fame, he executed for S. Spirito,
+in Florence, the panel-picture of the Dei family, which they had
+formerly entrusted to Raffaello da Urbino, who abandoned it because of
+the cares of the work that he had undertaken in Rome. This picture
+Rosso painted with marvellous grace, draughtsmanship, and vivacity of
+colouring. Let no one imagine that any work can display greater force
+or show more beautifully from a distance than this one, which, on
+account of the boldness of the figures and the extravagance of the
+attitudes, no longer employed by any of the other painters, was held
+to be an extraordinary work. And although it did not bring him much
+credit at that time, the world has since come little by little to
+recognize its excellence and has given it abundant praise; for with
+regard to the blending of colour it would be impossible to excel it,
+seeing that the lights which are in the brightest parts unite with the
+lower lights little by little as they merge into the darks, with such
+sweetness and harmony, and with such masterly skill in the projection
+of the shadows, that the figures stand out from one another and bring
+each other into relief by means of the lights and shades. Such vigour,
+indeed, has this work, that it may be said to have been conceived and
+executed with more judgment and mastery than <span class="pagenum"><a id="Page_192" name="Page_192">[Pg 192]</a></span> any that has
+ever been painted by any other master, however superior his judgment.</p>
+
+<p>For S. Lorenzo, at the commission of Carlo Ginori, he painted a
+panel-picture of the Marriage of Our Lady, which is held to be a most
+beautiful work. And, in truth, with regard to his facility of method,
+there has never been anyone who has been able to surpass him in
+masterly skill and dexterity, or even to approach within any distance
+of him; and he was so sweet in colouring, and varied his draperies
+with such grace, and took such delight in his art, that he was always
+held to be marvellous and worthy of the highest praise. Whosoever
+shall observe this work must recognize that all that I have written is
+most true, above all as he studies the nudes, which are very well
+conceived, with all the requirements of anatomy. His women are full of
+grace, and the draperies that adorn them fanciful and bizarre. He
+showed, also, the sense of fitness that is necessary in the heads of
+the old, with their harshness of features, and in those of women and
+children, with expressions sweet and pleasing. He was so rich in
+invention, that he never had any space left over in his pictures, and
+he executed all his work with such facility and grace, that it was a
+marvel.</p>
+
+<p>For Giovanni Bandini, also, he painted a picture with some very
+beautiful nudes, representing the scene of Moses slaying the Egyptian,
+wherein were things worthy of the highest praise; and this was sent, I
+believe, into France. And for Giovanni Cavalcanti, likewise, he
+executed another, which went to England, of Jacob receiving water from
+the women at the well; this was held to be a divine work, seeing that
+it contained nudes and women wrought with supreme grace. For women,
+indeed, he always delighted to paint transparent pieces of drapery,
+head-dresses with intertwined tresses, and ornaments for their
+persons.</p>
+
+<p>While Rosso was engaged on this work, he was living in the Borgo de'
+Tintori, the rooms of which look out on the gardens of the Friars of
+S. Croce; and he took much pleasure in a great ape, which had the
+intelligence rather of a man than of a beast. For this reason he held
+it very dear, and loved it like his own self; and since it had a
+marvellous understanding, he made use of it for many kinds of service.
+It happened that <span class="pagenum"><a id="Page_193" name="Page_193">[Pg 193]</a></span> this beast took a fancy to one of his
+assistants, by name Battistino, who was a young man of great beauty;
+and from the signs that his Battistino made to him he understood all
+that he wished to say. Now against the wall of the rooms at the back,
+which looked out upon the garden of the friars, was a pergola
+belonging to the Guardian, loaded with great Sancolombane grapes; and
+the young men used to let the ape down with a rope to the pergola,
+which was some distance from their window, and pull the beast up again
+with his hands full of grapes. The Guardian, finding his pergola
+stripped, but not knowing the culprit, suspected that it must be mice,
+and lay in hiding; and seeing Rosso's ape descending, he flew into a
+rage, seized a long pole, and rushed at him with hands uplifted in
+order to beat him. The ape, seeing that whether he went up or stayed
+where he was, the Guardian could reach him, began to spring about and
+destroy the pergola, and then, making as though to throw himself on
+the friar's back, seized with both his hands the outermost crossbeams
+which enclosed the pergola. Meanwhile the friar made play with his
+pole, and the ape, in his terror, shook the pergola to such purpose,
+and with such force, that he tore the stakes and rods out of their
+places, so that both pergola and ape fell headlong on the back of the
+friar, who shrieked for mercy. The rope was pulled up by Battistino
+and the others, who brought the ape back into the room safe and sound.
+Thereupon the Guardian, drawing off and planting himself on a terrace
+that he had there, said things not to be found in the Mass; and full
+of anger and resentment he went to the Council of Eight, a tribunal
+much feared in Florence. There he laid his complaint; and, Rosso
+having been summoned, the ape was condemned in jest to carry a weight
+fastened to his tail, to prevent him from jumping on pergole, as he
+did before. And so Rosso made a wooden cylinder swinging on a chain,
+and kept it on the ape, in such a way that he could go about the house
+but no longer jump about over other people's property. The ape, seeing
+himself condemned to such a punishment, seemed to guess that the friar
+was responsible. Every day, therefore, he exercised himself in hopping
+step by step with his legs, holding the weight with his hands; and
+thus, resting often, he succeeded in his design. For, being one day
+loose <span class="pagenum"><a id="Page_194" name="Page_194">[Pg 194]</a></span> about the house, he hopped step by step from roof to
+roof, during the hour when the Guardian was away chanting Vespers, and
+came to the roof over his chamber. There, letting go the weight, he
+kept up for half an hour such a lovely dance, that not a single tile
+of any kind remained unbroken. Then he went back home; and within
+three days, when rain came, were heard the Guardian's lamentations.</p>
+
+<p>Rosso, having finished his works, took the road to Rome with
+Battistino and the ape; in which city his works were sought for with
+extraordinary eagerness, great expectations having been awakened about
+them by the sight of some drawings executed by him, which were held to
+be marvellous, for Rosso drew divinely well and with the highest
+finish. There, in the Pace, over the pictures of Raffaello, he
+executed a work which is the worst that he ever painted in all his
+days. Nor can I imagine how this came to pass, save from a reason
+which has been seen not only in his case, but also in that of many
+others, and which appears to be an extraordinary thing, and one of the
+secrets of nature; and it is this, that he who changes his country or
+place of habitation seems to change his nature, talents, character,
+and personal habits, insomuch that sometimes he seems to be not the
+same man but another, and all dazed and stupefied. This may have
+happened to Rosso in the air of Rome, and on account of the stupendous
+works of architecture and sculpture that he saw there, and the
+paintings and statues of Michelagnolo, which may have thrown him off
+his balance; which works also drove Fra Bartolommeo di San Marco and
+Andrea del Sarto to flight, and prevented them from executing anything
+in Rome. Certain it is, be the cause what it may, that Rosso never did
+worse; and, what is more, this work has to bear comparison with those
+of Raffaello da Urbino.</p>
+
+<p>At this time he painted for Bishop Tornabuoni, who was his friend, a
+picture of a Dead Christ supported by two angels, which was a most
+beautiful piece of work, and is now in the possession of the heirs of
+Monsignor della Casa. For Baviera he made drawings of all the Gods,
+for copper-plates, which were afterwards engraved by Jacopo Caraglio;
+one of them being Saturn changing himself into a horse, and the most
+noteworthy that of Pluto carrying off Proserpine. He executed a sketch
+for <span class="pagenum"><a id="Page_195" name="Page_195">[Pg 195]</a></span> the Beheading of S. John the Baptist, which is now in a
+little church on the Piazza de' Salviati in Rome.</p>
+
+<p>Meanwhile the sack of the city took place, and poor Rosso was taken
+prisoner by the Germans and used very ill, for, besides stripping him
+of his clothes, they made him carry weights on his back barefooted and
+with nothing on his head, and remove almost the whole stock from a
+cheesemonger's shop. Thus ill-treated by them, he escaped with
+difficulty to Perugia, where he was warmly welcomed and reclothed by
+the painter Domenico di Paris, for whom he drew the cartoon for a
+panel-picture of the Magi, a very beautiful work, which is to be seen
+in the house of Domenico. But he did not stay long in that place, for,
+hearing that Bishop Tornabuoni, who was very much his friend, and had
+also fled from the sack, had gone to Borgo a San Sepolcro, he made his
+way thither.</p>
+
+<p>There was living at that time in Borgo a San Sepolcro a pupil of
+Giulio Romano, the painter Raffaello dal Colle; and this master,
+having undertaken for a small price to paint a panel for S. Croce, the
+seat of a Company of Flagellants, in his native city, lovingly
+resigned the commission and gave it to Rosso, to the end that he might
+leave some example of his handiwork in that place. At this the Company
+showed resentment, but the Bishop gave him every facility; and when
+the picture, which brought him credit, was finished, it was set up in
+S. Croce. The Deposition from the Cross that it contains is something
+very rare and beautiful, because he rendered in the colours a certain
+effect of darkness to signify the eclipse that took place at Christ's
+death, and because it was executed with very great diligence.</p>
+
+<p>Afterwards, at Città di Castello, he received the commission for a
+panel-picture, on which he was about to set to work, when, as it was
+being primed with gesso, a roof fell upon it and broke it to pieces;
+while upon him there came a fever so violent, that he was like to die
+of it, on which account he had himself carried from Castello to Borgo
+a San Sepolcro. This malady being followed by a quartan fever, he then
+went on to the Pieve a San Stefano for a change of air, and finally to
+Arezzo, where he was entertained in the house of Benedetto Spadari,
+who so <span class="pagenum"><a id="Page_196" name="Page_196">[Pg 196]</a></span> went to work with the help of Giovanni Antonio
+Lappoli of Arezzo and the many friends and relatives that they had,
+that Rosso was commissioned to paint in fresco a vault previously
+allotted to the painter Niccolò Soggi, in the Madonna delle Lagrime.
+And so eager were they that he should leave such a memorial of himself
+in that city, that he was given a payment of three hundred crowns of
+gold. Whereupon Rosso began his cartoons in a room that they had
+allotted to him in a place called Murello; and there he finished four
+of them. In one he depicted our First Parents, bound to the Tree of
+the Fall, with Our Lady drawing from their mouths the Sin in the form
+of the Apple, and beneath her feet the Serpent; and in the
+air&mdash;wishing to signify that she was clothed with the sun and moon&mdash;he
+made nude figures of Ph&oelig;bus and Diana. In the second is Moses
+bearing the Ark of the Covenant, represented by Our Lady surrounded by
+five Virtues. In another is the Throne of Solomon, also represented by
+the Madonna, to whom votive offerings are being brought, to signify
+those who have recourse to her for benefits: together with other
+bizarre fancies, which were conceived by the fruitful brain of M.
+Giovanni Pollastra, the friend of Rosso and a Canon of Arezzo, in
+compliment to whom Rosso made a most beautiful model of the whole
+work, which is now in my house at Arezzo. He also drew for that work a
+study of nude figures, which is a very choice thing; and it is a pity
+that it was never finished, for, if he had put it into execution and
+painted it in oils, instead of having to do it in fresco, it would
+indeed have been a miracle. But he was ever averse to working in
+fresco, and therefore went on delaying the execution of the cartoons,
+meaning to have the work carried out by Raffaello dal Borgo and
+others, so that in the end it was never done.</p>
+
+<p>At that same time, being a courteous person, he made many designs for
+pictures and buildings in Arezzo and its neighbourhood; among others,
+one for the Rectors of the Fraternity, of the chapel which is at the
+foot of the Piazza, wherein there is now the Volto Santo. For the same
+patrons he drew the design for a panel-picture to be painted by his
+hand, containing a Madonna with a multitude under her cloak, which was
+to be set up in the same place; and this design, which was not put
+<span class="pagenum"><a id="Page_197" name="Page_197">[Pg 197]</a></span> into execution, is in our book, together with many other
+most beautiful drawings by the hand of the same master.</p>
+
+<p>But to return to the work that he was to execute in the Madonna delle
+Lagrime: there came forward as his security for this work Giovanni
+Antonio Lappoli of Arezzo, his most faithful friend, who gave him
+proofs of loving kindness with every sort of service. But in the year
+1530, when Florence was being besieged, the Aretines, having been
+restored to liberty by the small judgment of Papo Altoviti, attacked
+the citadel and razed it to the ground. And because that people looked
+with little favour on Florentines, Rosso would not trust himself to
+them, and went off to Borgo a San Sepolcro, leaving the cartoons and
+designs for his work hidden away in the citadel.</p>
+
+<p>Now those who had given him the commission for the panel at Castello,
+wished him to finish it; but he, on account of the illness that he had
+suffered at Castello, would not return to that city. He finished their
+panel, therefore, at Borgo a San Sepolcro; nor would he ever give them
+the pleasure of a glance at it. In it he depicted a multitude, with
+Christ in the sky being adored by four figures, and he painted Moors,
+Gypsies, and the strangest things in the world; but, with the
+exception of the figures, which are perfect in their excellence, the
+composition is concerned with anything rather than the wishes of those
+who ordered the picture of him. At the same time that he was engaged
+on that work, he disinterred dead bodies in the Vescovado, where he
+was living, and made a most beautiful anatomical model. Rosso was, in
+truth, an ardent student of all things relating to art, and few days
+passed without his drawing some nude from life.</p>
+
+<p>He had always had the idea of finishing his life in France, and of
+thus delivering himself from that misery and poverty which are the lot
+of men who work in Tuscany, or in the country where they were born;
+and he resolved to depart. And with a view to appearing more competent
+in all matters, and to being ignorant of none, he had just learned the
+Latin tongue; when there came upon him a reason for further hastening
+his departure. For one Holy Thursday, on which day matins are chanted
+in the evening, one of his disciples, a young Aretine, being in
+church, <span class="pagenum"><a id="Page_198" name="Page_198">[Pg 198]</a></span> made a blaze of sparks and flames with a lighted
+candle-end and some resin, at the moment when the "darkness," as they
+call it, was in progress; and the boy was reproved by some priests,
+and even struck. Seeing this, Rosso, who had the boy seated at his
+side, sprang up full of anger against the priests. Thereupon an uproar
+began, without anyone knowing what it was all about, and swords were
+drawn against poor Rosso, who was busy with the priests. Taking to
+flight, therefore, he contrived to regain his own rooms without having
+been struck or overtaken by anyone. But he held himself to have been
+affronted; and having finished the panel for Castello, without
+troubling about his work at Arezzo or the wrong that he was doing to
+Giovanni Antonio, his security (for he had received more than a
+hundred and fifty crowns), he set off by night. Taking the road by
+Pesaro, he made his way to Venice, where, being entertained by Messer
+Pietro Aretino, he made for him a drawing, which was afterwards
+engraved, of Mars sleeping with Venus, with the Loves and Graces
+despoiling him and carrying off his cuirass. Departing from Venice, he
+found his way into France, where he was received by the Florentine
+colony with much affection. There he painted some pictures, which were
+afterwards placed in the Gallery at Fontainebleau; and these he then
+presented to King Francis, who took infinite pleasure in them, but
+much more in the presence, speech, and manner of Rosso, who was
+imposing in person, with red hair in accordance with his name, and
+serious, deliberate, and most judicious in his every action. The King,
+then, after straightway granting him an allowance of four hundred
+crowns, and giving him a house in Paris, which he occupied but seldom,
+because he lived most of the time at Fontainebleau, where he had rooms
+and lived like a nobleman, appointed him superintendent over all the
+buildings, pictures, and other ornaments of that place.</p>
+
+<div class="figcenter">
+<a name="img046" id="img046"></a>
+<img src="images/img046-tb.jpg" width="400" height="549" alt="The Transfiguration." title="">
+<p class="caption">THE TRANSFIGURATION<br>
+(<i>After the panel by</i> Il Rosso.<br> <i>Città da Castello: Duomo</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img046.jpg">View larger image</a></span></p>
+</div>
+
+<p>There, in the first place, Rosso made a beginning with a gallery over
+the lower court, which he completed not with a vault, but with a
+ceiling, or rather, soffit, of woodwork, partitioned most beautifully
+into compartments. The side-walls he decorated all over with
+stucco-work, fantastic and bizarre in its distribution, and with
+carved cornices of many kinds; and on the piers were lifesize figures.
+Everything below <span class="pagenum"><a id="Page_199" name="Page_199">[Pg 199]</a></span> the cornices, between one pier and
+another, he adorned with festoons of stucco, vastly rich, and others
+painted, and all composed of most beautiful fruits and every sort of
+foliage. And then, in a large space, he caused to be painted after his
+own designs, if what I have heard is true, about twenty-four scenes in
+fresco, representing, I believe, the deeds of Alexander the Great; for
+which, as I have said, he made all the designs, executing them in
+chiaroscuro with water-colours. At the two ends of this gallery are
+two panel-pictures in oils by his hand, designed and painted with such
+perfection, that there is little better to be seen in the art of
+painting. In one of these are a Bacchus and a Venus, executed with
+marvellous art and judgment. The Bacchus is a naked boy, so tender,
+soft, and delicate, that he seems to be truly of flesh, yielding to
+the touch, and rather alive than painted; and about him are some vases
+painted in imitation of gold, silver, crystal, and various precious
+stones, so fantastic, and surrounded by devices so many and so
+bizarre, that whoever beholds this work, with its vast variety of
+invention, stands in amazement before it. Among other details, also,
+is a Satyr raising part of a pavilion, whose head, in its strange,
+goatlike aspect, is a marvel of beauty, and all the more because he
+seems to be smiling and full of joy at the sight of so beautiful a
+boy. There is also a little boy riding on a wonderful bear, with many
+other ornaments full of grace and beauty. In the other picture are
+Cupid and Venus, with other lovely figures; but the figure to which
+Rosso gave the greatest attention was the Cupid, whom he represented
+as a boy of twelve, although well grown, riper in features than is
+expected at that age, and most beautiful in every part.</p>
+
+<p>The King, seeing these works, and liking them vastly, conceived an
+extraordinary affection for Rosso; wherefore no long time passed
+before he gave him a Canonicate in the Sainte Chapelle of the Madonna
+at Paris, with so many other revenues and benefits, that Rosso lived
+like a nobleman, with a goodly number of servants and horses, giving
+banquets and showing all manner of courtesies to all his friends and
+acquaintances, especially to the Italian strangers who arrived in
+those parts.</p>
+
+<p><span class="pagenum"><a id="Page_200" name="Page_200">[Pg 200]</a></span> After this, he executed another hall, which is called the
+Pavilion, because it is in the form of a Pavilion, being above the
+rooms on the first floor, and thus situated above any of the others.
+This apartment he decorated from the level of the floor to the roof
+with a great variety of beautiful ornaments in stucco, figures in the
+round distributed at equal intervals, and children, festoons, and
+various kinds of animals. In the compartments on the walls are seated
+figures in fresco, one in each; and such is their number, that there
+may be seen among them images of all the Heathen Gods and Goddesses of
+the ancients. Last of all, above the windows, is a frieze all adorned
+with stucco, and very rich, but without pictures.</p>
+
+<p>He then executed a vast number of works in many chambers, bathrooms,
+and other apartments, both in stucco and in painting, of some of which
+drawings may be seen, executed in engraving and published abroad,
+which are full of grace and beauty; as are also the numberless designs
+that Rosso made for salt-cellars, vases, bowls, and other things of
+fancy, all of which the King afterwards caused to be executed in
+silver; but these were so numerous that it would take too long to
+mention them all. Let it be enough to say that he made designs for all
+the vessels of a sideboard for the King, and for all the details of
+the trappings of horses, triumphal masquerades, and everything else
+that it is possible to imagine, showing in these such fantastic and
+bizarre conceptions, that no one could do better.</p>
+
+<p>In the year 1540, when the Emperor Charles V went to France under the
+safeguard of King Francis, and visited Fontainebleau, having with him
+not more than twelve men, Rosso executed one half of the decorations
+that the King ordained in order to honour that great Emperor, and the
+other half was executed by Francesco Primaticcio of Bologna. The works
+that Rosso made, such as arches, colossal figures, and other things of
+that kind, were, so it was said at the time, the most astounding that
+had ever been made by any man up to that age. But a great part of the
+rooms finished by Rosso at the aforesaid Palace of Fontainebleau were
+destroyed after his death by the same Francesco Primaticcio, who has
+made a new and larger structure in the same place.</p>
+
+<p><span class="pagenum"><a id="Page_201" name="Page_201">[Pg 201]</a></span> Among those who worked with Rosso on the aforesaid
+decorations in stucco and relief, and beloved by him beyond all the
+others, were the Florentine Lorenzo Naldino, Maestro Francesco of
+Orleans, Maestro Simone of Paris, Maestro Claudio, likewise a
+Parisian, Maestro Lorenzo of Picardy, and many others. But the best of
+them all was Domenico del Barbieri, who is an excellent painter and
+master of stucco, and a marvellous draughtsman, as is proved by his
+engraved works, which may be numbered among the best in common
+circulation. The painters, likewise, whom he employed in those works
+at Fontainebleau, were Luca Penni, brother of Giovan Francesco Penni,
+called Il Fattore, who was a disciple of Raffaello da Urbino; the
+Fleming Leonardo, a very able painter, who executed the designs of
+Rosso to perfection in colours; Bartolommeo Miniati, a Florentine;
+with Francesco Caccianimici, and Giovan Battista da Bagnacavallo.
+These last entered his service when Francesco Primaticcio went by
+order of the King to Rome, to make moulds of the Laocoon, the Apollo,
+and many other choice antiquities, for the purpose of casting them
+afterwards in bronze. I say nothing of the carvers, the
+master-joiners, and innumerable others of whom Rosso availed himself
+in those works, because there is no need to speak of them all,
+although many of them executed works worthy of much praise.</p>
+
+<p>In addition to the things mentioned above, Rosso executed with his own
+hand a S. Michael, which is a rare work. For the Constable he painted
+a panel-picture of the Dead Christ, a choice thing, which is at a seat
+of that noble, called Ecouen; and he also executed some exquisite
+miniatures for the King. He then drew a book of anatomical studies,
+intending to have it printed in France; of which there are some sheets
+by his own hand in our book of drawings. Among his possessions, also,
+after he was dead, were found two very beautiful cartoons, in one of
+which is a Leda of singular beauty, and in the other the Tiburtine
+Sibyl showing to the Emperor Octavian the Glorious Virgin with the
+Infant Christ in her arms. In the latter he drew the King, the Queen,
+their Guard, and the people, with such a number of figures, and all so
+well drawn, that it may be said with truth that this was one of the
+most beautiful things that Rosso ever did.</p>
+
+<p><span class="pagenum"><a id="Page_202" name="Page_202">[Pg 202]</a></span> By reason of these works and many others, of which nothing is
+known, he became so dear to the King, that a little before his death
+he found himself in possession of more than a thousand crowns of
+income, without counting the allowances for his work, which were
+enormous; insomuch that, living no longer as a painter, but rather as
+a prince, he kept a number of servants and horses to ride, and had his
+house filled with tapestries, silver, and other valuable articles of
+furniture. But Fortune, who never, or very seldom, maintains for long
+in high estate one who puts his trust too much in her, brought him
+headlong down in the strangest manner ever known. For while Francesco
+di Pellegrino, a Florentine, who delighted in painting and was very
+much his friend, was associating with him in the closest intimacy,
+Rosso was robbed of some hundreds of ducats; whereupon the latter,
+suspecting that no one but the same Francesco could have done this,
+had him arrested by the hands of justice, rigorously examined, and
+grievously tortured. But he, knowing himself innocent, and declaring
+nothing but the truth, was finally released; and, moved by just anger,
+he was forced to show his resentment against Rosso for the shameful
+charge that he had falsely laid upon him. Having therefore issued a
+writ for libel against him, he pressed him so closely, that Rosso, not
+being able to clear himself or make any defence, felt himself to be in
+a sorry plight, perceiving that he had not only accused his friend
+falsely, but had also stained his own honour; and to eat his words, or
+to adopt any other shameful method, would likewise proclaim him a
+false and worthless man. Resolving, therefore, to kill himself by his
+own hand rather than be punished by others, he took the following
+course. One day that the King happened to be at Fontainebleau, he sent
+a peasant to Paris for a certain most poisonous essence, pretending
+that he wished to use it for making colours or varnishes, but
+intending to poison himself, as he did. The peasant, then, returned
+with it; and such was the malignity of the poison, that, merely
+through holding his thumb over the mouth of the phial, carefully
+stopped as it was with wax, he came very near losing that member,
+which was consumed and almost eaten away by the deadly potency of the
+poison. And shortly afterwards it slew Rosso, although he was in
+<span class="pagenum"><a id="Page_203" name="Page_203">[Pg 203]</a></span> perfect health, he having drunk it to the end that it might
+take his life, as it did in a few hours.</p>
+
+<p>This news, being brought to the King, grieved him beyond measure,
+since it seemed to him that by the death of Rosso he had lost the most
+excellent craftsman of his day. However, to the end that the work
+might not suffer, he had it carried on by Francesco Primaticcio of
+Bologna, who, as has been related, had already done much work for him;
+giving him a good Abbey, even as he had presented a Canonicate to
+Rosso.</p>
+
+<p>Rosso died in the year 1541, leaving great regrets behind him among
+his friends and brother-craftsmen, who have learned by his example
+what benefits may accrue from a prince to one who is eminent in every
+field of art, and well-mannered and gentle in all his actions, as was
+that master, who for many reasons deserved, and still deserves, to be
+admired as one truly most excellent.</p>
+
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="bagnacavallo" id="bagnacavallo"></a><span class="pagenum"><a id="Page_205" name="Page_205">[Pg 205]</a></span> BARTOLOMMEO DA BAGNACAVALLO AND OTHERS</h2>
+
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_bagnacavallo" id="life_of_bagnacavallo"></a><span class="pagenum"><a id="Page_207" name="Page_207">[Pg 207]</a></span> LIVES OF BARTOLOMMEO DA BAGNACAVALLO, AND OTHER PAINTERS OF
+ROMAGNA</h2>
+
+
+<p>It is certain that the result of emulation in the arts, caused by a
+desire for glory, proves for the most part to be one worthy of praise;
+but when it happens that the aspirant, through presumption and
+arrogance, comes to hold an inflated opinion of himself, in course of
+time the name for excellence that he seeks may be seen to dissolve
+into mist and smoke, for the reason that there is no advance to
+perfection possible for him who knows not his own failings and has no
+fear of the work of others. More readily does hope mount towards
+proficience for those modest and studious spirits who, leading an
+upright life, honour the works of rare masters and imitate them with
+all diligence, than for those who have their heads full of smoky
+pride, as had Bartolommeo da Bagnacavallo, Amico of Bologna, Girolamo
+da Cotignola, and Innocenzio da Imola, painters all, who, living in
+Bologna at one and the same time, felt the greatest jealousy of one
+another that could possibly be imagined. And, what is more, their
+pride and vainglory, not being based on the foundation of ability, led
+them astray from the true path, which brings to immortality those who
+strive more from love of good work than from rivalry. This
+circumstance, then, was the reason that they did not crown the good
+beginnings that they had made with that final excellence which they
+expected; for their presuming to the name of masters turned them too
+far aside from the good way.</p>
+
+<p>Bartolommeo da Bagnacavallo had come to Rome in the time of Raffaello,
+in order to attain with his works to that perfection which he believed
+himself to be already grasping with his intellect. And being a young
+man who had some fame at Bologna and had awakened <span class="pagenum"><a id="Page_208" name="Page_208">[Pg 208]</a></span>
+expectations, he was set to execute a work in the Church of the Pace
+at Rome, in the first chapel on the right hand as one enters the
+church, above the chapel of Baldassarre Peruzzi of Siena. But,
+thinking that he had not achieved the success that he had promised
+himself, he returned to Bologna. There he and the others mentioned
+above, in competition one with another, executed each a scene from the
+Lives of Christ and His Mother in the Chapel of the Madonna in S.
+Petronio, near the door of the façade, on the right hand as one enters
+the church; among which little difference in merit is to be seen
+between one and another. But Bartolommeo acquired from this work the
+reputation of having a manner both softer and stronger than the
+others; and although there is a vast number of strange things in the
+scene of Maestro Amico, in which he depicted the Resurrection of
+Christ with armed men in crouching and distorted attitudes, and many
+soldiers crushed flat by the stone of the Sepulchre, which has fallen
+upon them, nevertheless that of Bartolommeo, as having more unity of
+design and colouring, was more extolled by other craftsmen. On account
+of this Bartolommeo associated himself with Biagio Bolognese, a person
+with much more practice than excellence in art; and they executed in
+company at S. Salvatore, for the Frati Scopetini, a refectory which
+they painted partly in fresco and partly "a secco," containing the
+scene of Christ satisfying five thousand people with five loaves and
+two fishes. They painted, also, on a wall of the library, the
+Disputation of S. Augustine, wherein they made a passing good view in
+perspective. These masters, thanks to having seen the works of
+Raffaello and associated with him, had a certain quality which, upon
+the whole, gave promise of excellence, but in truth they did not
+attend as they should have done to the more subtle refinements of art.
+Yet, since there were no painters in Bologna at that time who knew
+more than they did, they were held by those who then governed the
+city, as well as by all the people, to be the best masters in Italy.</p>
+
+<div class="figcenter">
+<a name="img047" id="img047"></a>
+<img src="images/img047-tb.jpg" width="400" height="557" alt="The Holy Family with Saints." title="">
+<p class="caption">THE HOLY FAMILY WITH SAINTS<br>
+(<i>After the panel by</i> Bartolommeo da Bagnacavallo.<br> <i>Bologna:
+Accademia, 133</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img047.jpg">View larger image</a></span></p>
+</div>
+
+<p>By the hand of Bartolommeo are some round pictures in fresco under the
+vaulting of the Palace of the Podestà, and a scene of the Visitation
+of S. Elizabeth in S. Vitale, opposite to the Palace of the Fantucci.
+In the Convent of the Servites at Bologna, round a panel-picture
+<span class="pagenum"><a id="Page_209" name="Page_209">[Pg 209]</a></span> of the Annunciation painted in oils, are some saints
+executed in fresco by Innocenzio da Imola. In S. Michele in Bosco
+Bartolommeo painted in fresco the Chapel of Ramazzotto, a
+faction-leader in Romagna. In a chapel in S. Stefano the same master
+painted two saints in fresco, with some little angels of considerable
+beauty in the sky; and in S. Jacopo, for Messer Annibale del Corello,
+a chapel in which he represented the Circumcision of Our Lord, with a
+number of figures, above which, in a lunette, he painted Abraham
+sacrificing his son to God. This work, in truth, was executed in a
+good and able manner. For the Misericordia, without Bologna, he
+painted a little panel-picture in distemper of Our Lady and some
+saints; with many pictures and other works, which are in the hands of
+various persons in that city.</p>
+
+<p>This master, in truth, was above mediocrity both in the uprightness of
+his life and in his works, and he was superior to the others in
+drawing and invention, as may be seen from a drawing in our book,
+wherein is Jesus Christ, as a boy, disputing with the Doctors in the
+Temple, with a building executed with good mastery and judgment. In
+the end, he finished his life at the age of fifty-eight.</p>
+
+<p>He had always been much envied by Amico of Bologna, an eccentric man
+of extravagant brain, whose figures, executed by him throughout all
+Italy, but particularly in Bologna, where he spent most of his time,
+are equally eccentric and even mad, if one may say so. If, indeed, the
+vast labour which Amico devoted to drawing had been pursued with a
+settled object, and not by caprice, he might perchance have surpassed
+many whom we regard as rare and able men. And even so, such is the
+value of persistent labour, that it is not possible that out of a mass
+of work there should not be found some that is good and worthy of
+praise; and such, among the vast number of works that this master
+executed, is a façade in chiaroscuro on the Piazza de' Marsigli,
+wherein are many historical pictures, with a frieze of animals
+fighting together, very spirited and well executed, which is almost
+the best work that he ever painted. He painted another façade at the
+Porta di S. Mammolo, and a frieze round the principal chapel of S.
+Salvatore, so extravagant and so full of absurdities that it would
+provoke laughter in one who was on the verge <span class="pagenum"><a id="Page_210" name="Page_210">[Pg 210]</a></span> of tears. In a
+word, there is no church or street in Bologna which has not some daub
+by the hand of this master.</p>
+
+<p>In Rome, also, he painted not a little; and in S. Friano, at Lucca, he
+filled a chapel with inventions fantastic and bizarre, among which are
+some things worthy of praise, such as the stories of the Cross and
+some of S. Augustine. In these are innumerable portraits of
+distinguished persons of that city; and, to tell the truth, this was
+one of the best works that Maestro Amico ever executed with colours in
+fresco.</p>
+
+<p>In S. Jacopo, at Bologna, he painted at the altar of S. Niccola some
+stories of the latter Saint, and below these a frieze with views in
+perspective, which deserve to be extolled. When the Emperor Charles V
+visited Bologna, Amico made a triumphal arch, for which Alfonso
+Lombardi executed statues in relief, at the gate of the Palace. And it
+is no marvel that the work of Amico revealed skill of hand rather than
+any other quality, for it is said that, like the eccentric and
+extraordinary person that he was, he went through all Italy drawing
+and copying every work of painting or relief, whether good or bad, on
+which account he became something of an adept in invention; and when
+he found anything likely to be useful to him, he laid his hands upon
+it eagerly, and then destroyed it, so that no one else might make use
+of it. The result of all this striving was that he acquired the
+strange, mad manner that we know.</p>
+
+<p>Finally, having reached the age of seventy, what with his art and the
+eccentricity of his life, he became raving mad, at which Messer
+Francesco Guicciardini, a noble Florentine, and a most trustworthy
+writer of the history of his own times, who was then Governor of
+Bologna, found no small amusement, as did the whole city. Some people,
+however, believe that there was some method mixed with this madness of
+his, because, having sold some property for a small price while he was
+mad and in very great straits, he asked for it back again when he
+regained his sanity, and recovered it under certain conditions, since
+he had sold it, so he said, when he was mad. I do not swear, indeed,
+that this is true, for it may have been otherwise; but I do say that I
+have often heard the story told.</p>
+
+<div class="figcenter">
+<a name="img048" id="img048"></a>
+<img src="images/img048-tb.jpg" width="400" height="443" alt="The Adoration." title="">
+<p class="caption">THE ADORATION<br>
+(<i>After the panel by</i> Amico of Bologna [Amico Aspertini].<br> <i>Bologna:
+Pinacoteca, 297</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img048.jpg">View larger image</a></span></p>
+</div>
+
+<p>Amico also gave his attention to sculpture, and executed to the best
+<span class="pagenum"><a id="Page_211" name="Page_211">[Pg 211]</a></span> of his ability, in marble, a Dead Christ with Nicodemus
+supporting Him. This work, which he treated in the manner seen in his
+pictures, is on the right within the entrance of the Church of S.
+Petronio. He used to paint with both hands at the same time, holding
+in one the brush with the bright colour, and in the other that with
+the dark. But the best joke of all was that he had his leather belt
+hung all round with little pots full of tempered colours, so that he
+looked like the Devil of S. Macario with all those flasks of his; and
+when he worked with his spectacles on his nose, he would have made the
+very stones laugh, and particularly when he began to chatter, for then
+he babbled enough for twenty, saying the strangest things in the
+world, and his whole demeanour was a comedy. Certain it is that he
+never used to speak well of any person, however able or good, and
+however well dowered he saw him to be by Nature or Fortune. And, as
+has been said, he so loved to chatter and tell stories, that one
+evening, at the hour of the Ave Maria, when a painter of Bologna,
+after buying cabbages in the Piazza, came upon Amico, the latter kept
+him under the Loggia del Podestà with his talk and his amusing
+stories, without the poor man being able to break away from him,
+almost till daylight, when Amico said: "Now go and boil your cabbages,
+for the time is getting on."</p>
+
+<p>He was the author of a vast number of other jokes and follies, of
+which I shall not make mention, because it is now time to say
+something of Girolamo da Cotignola. This master painted many pictures
+and portraits from life in Bologna, and among them are two in the
+house of the Vinacci, which are very beautiful. He made a portrait
+after death of Monsignore de Foix, who died in the rout of Ravenna,
+and not long after he executed a portrait of Massimiliano Sforza. For
+S. Giuseppe he painted a panel-picture which brought him much praise,
+and, for S. Michele in Bosco, the panel-picture in oils which is in
+the Chapel of S. Benedetto. The latter work led to his executing, in
+company with Biagio Bolognese, all the scenes which are round that
+church, laid on in fresco and executed "a secco," wherein are seen
+proofs of no little mastery, as has been said in speaking of the
+manner of Biagio. The same Girolamo painted a large altar-piece for S.
+Colomba at Rimini, in competition with Benedetto da <span class="pagenum"><a id="Page_212" name="Page_212">[Pg 212]</a></span> Ferrara
+and Lattanzio, in which work he made a S. Lucia rather wanton than
+beautiful. And in the great tribune of that church he executed a
+Coronation of Our Lady, with the twelve Apostles and the four
+Evangelists, with heads so gross and hideous that they are an outrage
+to the eye.</p>
+
+<p>He then returned to Bologna, but had not been there long when he went
+to Rome, where he made portraits from life of many men of rank, and in
+particular that of Pope Paul III. But, perceiving that it was no place
+for him, and that he was not likely to acquire honour, profit, or fame
+among so many noble craftsmen, he went off to Naples, where he found
+some friends who showed him favour, and above all M. Tommaso Cambi, a
+Florentine merchant, and a devoted lover of pictures and antiquities
+in marble, by whom he was supplied with everything of which he was in
+need. Thereupon, setting to work, he executed a panel-picture of the
+Magi, in oils, for the chapel of one M. Antonello, Bishop of I know
+not what place, in Monte Oliveto, and another panel-picture in oils
+for S. Aniello, containing the Madonna, S. Paul, and S. John the
+Baptist, with portraits from life for many noblemen.</p>
+
+<p>Being now well advanced in years, he lived like a miser, and was
+always trying to save money; and after no long time, having little
+more to do in Naples, he returned to Rome. There some friends of his,
+having heard that he had saved a few crowns, persuaded him that he
+ought to get married and live a properly-regulated life. And so,
+thinking that he was doing well for himself, he let those friends
+deceive him so completely that they imposed upon him for a wife, to
+suit their own convenience, a prostitute whom they had been keeping.
+Then, after he had married her and come to a knowledge of her, the
+truth was revealed, at which the poor old man was so grieved that he
+died in a few weeks at the age of sixty-nine.</p>
+
+<p>And now to say something of Innocenzio da Imola. This master was for
+many years in Florence with Mariotto Albertinelli; and then, having
+returned to Imola, he executed many works in that place. But finally,
+at the persuasion of Count Giovan Battista Bentivogli, he went to live
+in Bologna, where one of his first works was a copy of a picture
+<span class="pagenum"><a id="Page_213" name="Page_213">[Pg 213]</a></span> formerly executed by Raffaello da Urbino for Signor Leonello
+da Carpi. And for the Monks of S. Michele in Bosco he painted in
+fresco, in their chapter-house, the Death of Our Lady and the
+Resurrection of Christ, works which were executed with truly supreme
+diligence and finish. For the church of the same monks, also, he
+painted the panel of the high-altar, the upper part of which is done
+in a good manner. For the Servites of Bologna he executed an
+Annunciation on panel, and for S. Salvatore a Crucifixion, with many
+pictures of various kinds throughout the whole city. At the Viola, for
+the Cardinal of Ivrea, he painted three loggie in fresco, each
+containing two scenes, executed in colour from designs by other
+painters, and yet finished with much diligence. He painted in fresco a
+chapel in S. Jacopo, and for Madonna Benozza a panel-picture in oils,
+which was not otherwise than passing good. He made a portrait, also,
+besides many others, of Cardinal Francesco Alidosio, which I have seen
+at Imola, together with the portrait of Cardinal Bernardino Carvajal,
+and both are works of no little beauty.</p>
+
+<p>Innocenzio was a very good and modest person, and therefore always
+avoided any dealings or intercourse with the painters of Bologna, who
+were quite the opposite in nature, and he was always exerting himself
+beyond the limits of his strength; wherefore, when he fell sick of a
+putrid fever at the age of fifty-six, it found him so weak and
+exhausted that it killed him in a few days. He left unfinished, or
+rather, scarcely begun, a work that he had undertaken without Bologna,
+and this was completed to perfection, according to the arrangement
+made by Innocenzio before his death, by Prospero Fontana, a painter of
+Bologna.</p>
+
+<p>The works of all the above-named painters date from 1506 to 1542, and
+there are drawings by the hands of them all in our book.</p>
+
+<div class="figcenter">
+<a name="img049" id="img049"></a>
+<img src="images/img049-tb.jpg" width="400" height="552" alt="The Marriage of S. Catharine." title="">
+<p class="caption">THE MARRIAGE OF S. CATHARINE<br>
+(<i>After the painting by</i> Innocenzio da Imola.<br> <i>Bologna: S. Giacomo
+Maggiore</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img049.jpg">View larger image</a></span></p>
+</div>
+
+
+<hr style="width: 65%;">
+<h2><a name="franciabigio" id="franciabigio"></a><span class="pagenum"><a id="Page_215" name="Page_215">[Pg 215]</a></span> FRANCIABIGIO</h2>
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_franciabigio" id="life_of_franciabigio"></a><span class="pagenum"><a id="Page_217" name="Page_217">[Pg 217]</a></span> LIFE OF FRANCIABIGIO</h2>
+
+<h3>[<i>FRANCIA</i>]</h3>
+
+<h3>PAINTER OF FLORENCE</h3>
+
+
+<p>The fatigues that a man endures in this life in order to raise himself
+from the ground and protect himself from poverty, succouring not only
+himself but also his nearest and dearest, have such virtue, that the
+sweat and the hardships become full of sweetness, and bring comfort
+and nourishment to the minds of others, insomuch that Heaven, in its
+bounty, perceiving one drawn to a good life and to upright conduct,
+and also filled with zeal and inclination for the studies of the
+sciences, is forced to be benign and favourably disposed towards him
+beyond its wont; as it was, in truth, towards the Florentine painter
+Francia. This master, having applied himself to the art of painting
+for a just and excellent reason, laboured therein not so much out of a
+desire for fame as from a wish to bring assistance to his needy
+relatives; and having been born in a family of humble artisans, people
+of low degree, he sought to raise himself from that position. In this
+effort he was much spurred by his rivalry with Andrea del Sarto, then
+his companion, with whom for a long time he shared both work-room and
+the painter's life; on account of which life they made great
+proficience, one through the other, in the art of painting.</p>
+
+<p>Francia learned the first principles of art in his youth by living for
+some months with Mariotto Albertinelli. And being much inclined to the
+study of perspective, at which he was always working out of pure
+delight, while still quite young he gained a reputation for great
+ability in Florence. The first works painted by him were a S. Bernard
+executed in fresco in S. Pancrazio, a church opposite to his own
+house, and a S. Catharine of Siena, executed likewise in fresco, on a
+pilaster in the Chapel of the <span class="pagenum"><a id="Page_218" name="Page_218">[Pg 218]</a></span> Rucellai; whereby, exerting
+himself in that art, he gave proofs of his fine qualities. Much more,
+even, was he established in repute by a picture which is in a little
+chapel in S. Pietro Maggiore, containing Our Lady with the Child in
+her arms, and a little S. John caressing Jesus Christ. He also gave
+proof of his excellence in a shrine executed in fresco, in which he
+painted the Visitation of Our Lady, on a corner of the Church of S.
+Giobbe, behind the Servite Convent in Florence. In the figure of that
+Madonna may be seen a goodness truly appropriate, with profound
+reverence in that of the older woman; and the S. Job he painted poor
+and leprous, and also rich and restored to health. This work so
+revealed his powers that he came into credit and fame; whereupon the
+men who were the rulers of that church and brotherhood gave him the
+commission for the panel-picture of their high-altar, in which Francia
+acquitted himself even better; and in that work he painted a Madonna,
+and S. Job in poverty, and made a portrait of himself in the face of
+S. John the Baptist.</p>
+
+<p>There was built at that time, in S. Spirito at Florence, the Chapel of
+S. Niccola, in which was placed a figure of that Saint in the round,
+carved in wood from the model by Jacopo Sansovino; and Francia painted
+two little angels in two square pictures in oils, one on either side
+of that figure, which were much extolled, and also depicted the
+Annunciation in two round pictures; and the predella he adorned with
+little figures representing the miracles of S. Nicholas, executed with
+such diligence that he deserves much praise for them. In S. Pietro
+Maggiore, by the door, and on the right hand as one enters the church,
+is an Annunciation by his hand, wherein he made the Angel still flying
+through the sky, and the Madonna receiving the Salutation on her
+knees, in a most graceful attitude; and he drew there a building in
+perspective, which was a masterly thing, and was much extolled. And,
+in truth, although Francia had a somewhat dainty manner, because he
+was very laborious and constrained in his work, nevertheless he showed
+great care and diligence in giving the true proportions of art to his
+figures.</p>
+
+<div class="figcenter">
+<a name="img050" id="img050"></a>
+<img src="images/img050-tb.jpg" width="400" height="491" alt="The Marriage of the Virgin." title="">
+<p class="caption">THE MARRIAGE OF THE VIRGIN<br>
+(<i>After the fresco by</i> Franciabigio [Francia].<br> <i>Florence: SS.
+Annunziata</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img050.jpg">View larger image</a></span></p>
+</div>
+
+<p>He was commissioned to execute a scene in the cloister in front of the
+Church of the Servites, in competition with Andrea del Sarto; and
+there he painted the Marriage of Our Lady, wherein may be clearly
+recognized <span class="pagenum"><a id="Page_219" name="Page_219">[Pg 219]</a></span> the supreme faith of Joseph, who shows in his
+face as much awe as joy at his marriage with her. Besides this,
+Francia painted there one who is giving him some blows, as is the
+custom in our own day, in memory of the wedding; and in a nude figure
+he expressed very happily the rage and disappointment that drive him
+to break his rod, which had not blossomed, the drawing of which, with
+many others, is in our book. In the company of Our Lady, also, he
+painted some women with most beautiful expressions and head-dresses,
+things in which he always delighted. And in all this scene he did not
+paint a single thing that was not very well considered; as is, for
+example, a woman with a child in her arms, who, turning to go home,
+has cuffed another child, who has sat down in tears and refuses to go,
+pressing one hand against his face in a very graceful manner. Certain
+it is that he executed every detail in this scene, whether large or
+small, with much diligence and love, on account of the burning desire
+that he had to show therein to craftsmen and to all other good judges
+how great was his respect for the difficulties of art, and how
+successfully he could solve them by faithful imitation.</p>
+
+<p>Not long after this, on the occasion of a festival, the friars wished
+that the scenes of Andrea, and likewise that of Francia, should be
+uncovered; and the night after Francia had finished his with the
+exception of the base, they were so rash and presumptuous as to
+uncover them, not thinking, in their ignorance of art, that Francia
+would want to retouch or otherwise change his figures. In the morning,
+both the painting of Francia and those of Andrea were open to view,
+and the news was brought to Francia that Andrea's works and his own
+had been uncovered; at which he felt such resentment, that he was like
+to die of it. Seized with anger against the friars on account of their
+presumption and the little respect that they had shown to him, he set
+off at his best speed and came up to the work; and then, climbing on
+to the staging, which had not yet been taken to pieces, although the
+painting had been uncovered, and seizing a mason's hammer that was
+there, he beat some of the women's heads to fragments, and destroyed
+that of the Madonna, and also tore almost completely away from the
+wall, plaster and all, a nude figure that is breaking a rod. Hearing
+the noise, the friars ran up, <span class="pagenum"><a id="Page_220" name="Page_220">[Pg 220]</a></span> and, with the help of some
+laymen, seized his hands, to prevent him from destroying it
+completely. But, although in time they offered to give him double
+payment, he, on account of the hatred that he had conceived for them,
+would never restore it. By reason of the reverence felt by other
+painters both for him and for the work, they have refused to finish
+it; and so it remains, even in our own day, as a memorial of that
+event. This fresco is executed with such diligence and so much love,
+and it is so beautiful in its freshness, that Francia may be said to
+have worked better in fresco than any man of his time, and to have
+blended and harmonized his paintings in fresco better than any other,
+without needing to retouch the colours; wherefore he deserves to be
+much extolled both for this and for his other works.</p>
+
+<p>At Rovezzano, without the Porta alla Croce, near Florence, he painted
+a shrine with a Christ on the Cross and some saints; and in S.
+Giovannino, at the Porta a S. Piero Gattolini, he executed a Last
+Supper of the Apostles in fresco.</p>
+
+<p>No long time after, on the departure for France of the painter Andrea
+del Sarto, who had begun to paint the stories of S. John the Baptist
+in chiaroscuro in a cloister of the Company of the Scalzo at Florence,
+the men of that Company, desiring to have that work finished, engaged
+Francia, to the end that he, being an imitator of the manner of
+Andrea, might complete the paintings begun by the other. Thereupon
+Francia executed the decorations right round one part of that
+cloister, and finished two of the scenes, which he painted with great
+diligence. These are, first S. John the Baptist obtaining leave from
+his father Zacharias to go into the desert, and then the meeting of
+Christ and S. John on the way, with Joseph and Mary standing there and
+beholding them embrace one another. But more than this he did not do,
+on account of the return of Andrea, who then went on to finish the
+rest of the work.</p>
+
+<p>With Ridolfo Ghirlandajo he prepared a most beautiful festival for the
+marriage of Duke Lorenzo, with two sets of scenery for the dramas that
+were performed, executing them with much method, masterly judgment,
+and grace; on account of which he acquired credit and favour with that
+Prince. This service was the reason that he received the commission
+<span class="pagenum"><a id="Page_221" name="Page_221">[Pg 221]</a></span> for gilding the ceiling of the Hall of Poggio a Caiano, in
+company with Andrea di Cosimo. And afterwards, in competition with
+Andrea del Sarto and Jacopo da Pontormo, he began, on a wall in that
+hall, the scene of Cicero being carried in triumph by the citizens of
+Rome. This work had been undertaken by the liberality of Pope Leo, in
+memory of his father Lorenzo, who had caused the edifice to be built,
+and had ordained that it should be painted with scenes from ancient
+history and other ornaments according to his pleasure. And these had
+been entrusted by the learned historian, M. Paolo Giovio, Bishop of
+Nocera, who was then chief in authority near the person of Cardinal
+Giulio de' Medici, to Andrea del Sarto, Jacopo da Pontormo, and
+Franciabigio, that they might demonstrate the power and perfection of
+their art in the work, each receiving thirty crowns every month from
+the magnificent Ottaviano de' Medici. Thereupon Francia executed on
+his part, to say nothing of the beauty of the scene, some buildings in
+perspective, very well proportioned. But the work remained unfinished
+on account of the death of Leo; and afterwards, in the year 1532, it
+was begun again by Jacopo da Pontormo at the commission of Duke
+Alessandro de' Medici, but he lingered over it so long, that the Duke
+died and it was once more left unfinished.</p>
+
+<p>But to return to Francia; so ardent was his love for the matters of
+art, that there was no summer day on which he did not draw some study
+of a nude figure from the life in his work-room, and to that end he
+always kept men in his pay. For S. Maria Nuova, at the request of
+Maestro Andrea Pasquali, an excellent physician of Florence, he
+executed an anatomical figure, in consequence of which he made a great
+advance in the art of painting, and pursued it ever afterwards with
+more zeal. He then painted in the Convent of S. Maria Novella, in the
+lunette over the door of the library, a S. Thomas confuting the
+heretics with his learning, a work which is executed with diligence
+and a good manner. There, among other details, are two children who
+serve to uphold an escutcheon in the ornamental border; and these are
+very fine, full of the greatest beauty and grace, and painted in a
+most lovely manner.</p>
+
+<p>He also executed a picture with little figures for Giovanni Maria
+<span class="pagenum"><a id="Page_222" name="Page_222">[Pg 222]</a></span> Benintendi, in competition with Jacopo da Pontormo, who
+painted another of the same size for that patron, containing the story
+of the Magi; and two others were painted by Francesco d'
+Albertino.<a id="FNanchor12" name="FNanchor12"></a><a href="#Footnote12" title="Go to footnote 12" class="fnanchor">[12]</a> In his work Francia represented the scene of David
+seeing Bathsheba in her bath; and there he painted some women in a
+manner too smooth and dainty, and drew a building in perspective,
+wherein is David giving letters to the messengers, who are to carry
+them to the camp to the end that Uriah the Hittite may meet his death;
+and under a loggia he painted a royal banquet of great beauty. This
+work contributed greatly to the fame and honour of Francia, who, if he
+had much ability for large figures, had much more for little figures.</p>
+
+<p>Francia also made many most beautiful portraits from life; one, in
+particular, for Matteo Sofferroni, who was very much his friend, and
+another for a countryman, the steward of Pier Francesco de' Medici at
+the Palace of S. Girolamo da Fiesole, which seems absolutely alive,
+with many others. And since he undertook any kind of work without
+being ashamed, so long as he was pursuing his art, he set his hand to
+whatever commission was given to him; wherefore, in addition to many
+works of the meanest kind, he painted a most beautiful "Noli me
+tangere" for the cloth-weaver Arcangelo, at the top of a tower that
+serves as a terrace, in Porta Rossa; with an endless number of other
+trivial works, executed by Francia because he was a person of sweet
+and kindly nature and very obliging, of which there is no need to say
+more.</p>
+
+<div class="figcenter">
+<a name="img051" id="img051"></a>
+<img src="images/img051-tb.jpg" width="400" height="557" alt="Portrait of a Man." title="">
+<p class="caption">FRANCIABIGIO: PORTRAIT OF A MAN<br>
+(<i>Vienna: Collection of Prince Liechtenstein.</i> <i>Canvas</i>)
+<br><span class="link"><a href="images/img051.jpg">View larger image</a></span></p>
+</div>
+
+<p>This master loved to live in peace, and for that reason would never
+take a wife; and he was always repeating the trite proverb, "The
+fruits of a wife are cares and strife." He would never leave Florence,
+because, having seen some works by Raffaello da Urbino, and feeling
+that he was not equal to that great man and to many others of supreme
+renown, he did not wish to compete with craftsmen of such rare
+excellence. In truth, the greatest wisdom and prudence that a man can
+possess is to know himself, and to refrain from exalting himself
+beyond his true worth. And, finally, having acquired much by constant
+work, for one who was not endowed by nature with much boldness of
+invention or with any <span class="pagenum"><a id="Page_223" name="Page_223">[Pg 223]</a></span> powers but those that he had gained
+by long study, he died in the year 1524 at the age of forty-two.</p>
+
+<p>One of Francia's disciples was his brother Agnolo, who died after
+having painted a frieze that is in the cloister of S. Pancrazio, and a
+few other works. The same Agnolo painted for the perfumer Ciano, an
+eccentric man, but respected after his kind, a sign for his shop,
+containing a gipsy woman telling the fortune of a lady in a very
+graceful manner, which was the idea of Ciano, and not without mystic
+meaning. Another who learnt to paint from the same master was Antonio
+di Donnino Mazzieri, who was a bold draughtsman, and showed much
+invention in making horses and landscapes. He painted in chiaroscuro
+the cloister of S. Agostino at Monte Sansovino, executing therein
+scenes from the Old Testament, which were much extolled. In the
+Vescovado of Arezzo he painted the Chapel of S. Matteo, with a scene,
+among other things, showing that Saint baptizing a King, in which he
+made a portrait of a German, so good that it seems to be alive. For
+Francesco del Giocondo he executed the story of the Martyrs in a
+chapel behind the choir of the Servite Church in Florence; but in this
+he acquitted himself so badly, that he lost all his credit and was
+reduced to undertaking any sort of work.</p>
+
+<p>Francia taught his art also to a young man named Visino, who, to judge
+from what we see of him, would have become an excellent painter, if he
+had not died young, as he did; and to many others, of whom I shall
+make no further mention. He was buried by the Company of S. Giobbe in
+S. Pancrazio, opposite to his own house, in the year 1525; and his
+death was truly a great grief to all good craftsmen, seeing that he
+had been a talented and skilful master, and very modest in his every
+action.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="dafeltro" id="dafeltro"></a><span class="pagenum"><a id="Page_225" name="Page_225">[Pg 225]</a></span> MORTO DA FELTRO AND ANDREA DI COSIMO FELTRINI</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_dafeltro" id="life_of_dafeltro"></a><span class="pagenum"><a id="Page_227" name="Page_227">[Pg 227]</a></span> LIVES OF MORTO DA FELTRO AND OF ANDREA DI COSIMO FELTRINI</h2>
+
+<h3>PAINTERS</h3>
+
+
+<p>The painter Morto da Feltro, who was as original in his life as he was
+in his brain and in the new fashion of grotesques that he made, which
+caused him to be held in great estimation, found his way as a young
+man to Rome at the time when Pinturicchio was painting the Papal
+apartments for Alexander VI, with the loggie and lower rooms in the
+Great Tower of the Castello di S. Angelo, and some of the upper
+apartments. He was a melancholy person, and was constantly studying
+the antiquities; and seeing among them sections of vaults and ranges
+of walls adorned with grotesques, he liked these so much that he never
+ceased from examining them. And so well did he grasp the methods of
+drawing foliage in the ancient manner, that he was second to no man of
+his time in that profession. He was never tired, indeed, of examining
+all that he could find below the ground in Rome in the way of ancient
+grottoes, with vaults innumerable. He spent many months in Hadrian's
+Villa at Tivoli, drawing all the pavements and grottoes that are
+there, both above ground and below. And hearing that at Pozzuolo, in
+the Kingdom of Naples, ten miles from the city, there were many walls
+covered with ancient grotesques, both executed in relief with stucco
+and painted, and said to be very beautiful, he devoted several months
+to studying them on the spot. Nor was he content until he had drawn
+every least thing in the Campana, an ancient road in that place, full
+of antique sepulchres; and he also drew many of the temples and
+grottoes, both above and below the ground, at Trullo, near the
+seashore. He went to Baia and Mercato di Sabbato, both places full of
+ruined buildings covered with scenes, <span class="pagenum"><a id="Page_228" name="Page_228">[Pg 228]</a></span> searching out
+everything in such a manner that by means of his long and loving
+labour he grew vastly in power and knowledge of his art.</p>
+
+<p>Having then returned to Rome, he worked there many months, giving his
+attention to figures, since he considered that in that part of his
+profession he was not the master that he was held to be in the
+execution of grotesques. And after he had conceived this desire,
+hearing the renown that Leonardo and Michelagnolo had in that art on
+account of the cartoons executed by them in Florence, he set out
+straightway to go to that city. But, after he had seen those works, he
+did not think himself able to make the same improvement that he had
+made in his first profession, and he went back, therefore, to work at
+his grotesques.</p>
+
+<p>There was then living in Florence one Andrea di Cosimo Feltrini, a
+painter of that city, and a young man of much diligence, who received
+Morto into his house and entertained him with most affectionate
+attentions. Finding pleasure in the nature of Morto's art, Andrea also
+gave his mind to that vocation, and became an able master, being in
+time even more excellent than Morto, and much esteemed in Florence, as
+will be told later. And it was through Andrea that Morto came to paint
+for Piero Soderini, who was then Gonfalonier, decorations of
+grotesques in an apartment of the Palace, which were held to be very
+beautiful; but in our own day these have been destroyed in rearranging
+the apartments of Duke Cosimo, and repainted. For Maestro Valerio, a
+Servite friar, Morto decorated the empty space on a chair-back, which
+was a most beautiful work; and for Agnolo Doni, likewise, in a
+chamber, he executed many pictures with a variety of bizarre
+grotesques. And since he also delighted in figures, he painted Our
+Lady in some round pictures, in order to see whether he could become
+as famous for them as he was (for his grotesques).</p>
+
+<p>Then, having grown weary of staying in Florence, he betook himself to
+Venice; and attaching himself to Giorgione da Castelfranco, who was
+then painting the Fondaco de' Tedeschi, he set himself to assist him
+and executed the ornamentation of that work. And in this way he
+remained many months in that city, attracted by the sensuous pleasures
+and delights that he found there.</p>
+
+<p><span class="pagenum"><a id="Page_229" name="Page_229">[Pg 229]</a></span> He then went to execute works in Friuli, but he had not been
+there long when, finding that the rulers of Venice were enlisting
+soldiers, he entered their service; and before he had had much
+experience of that calling he was made Captain of two hundred men. The
+army of the Venetians had advanced by that time to Zara in Sclavonia;
+and one day, when a brisk skirmish took place, Morto, desiring to win
+a greater name in that profession than he had gained in the art of
+painting, went bravely forward, and, after fighting in the mêlée, was
+left dead on the field, even as he had always been in name,<a id="FNanchor13" name="FNanchor13"></a><a href="#Footnote13" title="Go to footnote 13" class="fnanchor">[13]</a> at the
+age of forty-five. But in fame he will never be dead, because those
+who exercise their hands in the arts and produce everlasting works,
+leaving memorials of themselves after death, are destined never to
+suffer the death of their labours, for writers, in their gratitude,
+bear witness to their talents. Eagerly, therefore, should our
+craftsmen spur themselves on with incessant study to such a goal as
+will ensure them an undying name both through their own works and
+through the writings of others, since, by so doing, they will gain
+eternal life both for themselves and for the works that they leave
+behind them after death.</p>
+
+<p>Morto restored the painting of grotesques in a manner more like the
+ancient than was achieved by any other painter, and for this he
+deserves infinite praise, in that it is after his example that they
+have been brought in our own day, by the hands of Giovanni da Udine
+and other craftsmen, to the great beauty and excellence that we see.
+For, although the said Giovanni and others have carried them to
+absolute perfection, it is none the less true that the chief praise is
+due to Morto, who was the first to bring them to light and to devote
+his whole attention to paintings of that kind, which are called
+grotesques because they were found for the most part in the grottoes
+of the ruins of Rome; besides which, every man knows that it is easy
+to make additions to anything once it has been discovered.</p>
+
+<p>The painting of grotesques was continued in Florence by Andrea
+Feltrini, called Di Cosimo, because he was a disciple of Cosimo
+Rosselli in the study of figures (which he executed passing well), as
+he was afterwards <span class="pagenum"><a id="Page_230" name="Page_230">[Pg 230]</a></span> of Morto in that of grotesques, of which
+we have spoken. In this kind of painting Andrea had from nature such
+power of invention and such grace that he was the first to make
+ornaments of greater grandeur, abundance, and richness than the
+ancient, and quite different in manner; and he gave them better order
+and cohesion, and enriched them with figures, such as are not seen in
+Rome or in any other place but Florence, where he executed a great
+number. In this respect there has never been any man who has surpassed
+him in excellence, as may be seen from the ornament and the predella
+painted with little grotesques in colour round the Pietà that Pietro
+Perugino executed for the altar of the Serristori in S. Croce at
+Florence. These are heightened with various colours on a ground of red
+and black mixed together, and are wrought with much facility and with
+extraordinary boldness and grace.</p>
+
+<p>Andrea introduced the practice of covering the façades of houses and
+palaces with an intonaco of lime mixed with the black of ground
+charcoal, or rather, burnt straw, on which intonaco, when still fresh,
+he spread a layer of white plaster. Then, having drawn the grotesques,
+with such divisions as he desired, on some cartoons, he dusted them
+over the intonaco, and proceeded to scratch it with an iron tool, in
+such a way that his designs were traced over the whole façade by that
+tool; after which, scraping away the white from the grounds of the
+grotesques, he went on to shade them or to hatch a good design upon
+them with the same iron tool. Finally, he went over the whole work,
+shading it with a liquid water-colour like water tinted with black.
+All this produces a very pleasing, rich, and beautiful effect; and
+there was an account of the method in the twenty-sixth chapter,
+dealing with sgraffiti, in the Treatise on Technique.</p>
+
+<p>The first façades that Andrea executed in this manner were that of the
+Gondi, which is full of delicacy and grace, in Borg' Ognissanti, and
+that of Lanfredino Lanfredini, which is very ornate and rich in the
+variety of its compartments, on the Lungarno between the Ponte S.
+Trinita and the Ponte della Carraja, near S. Spirito. He also
+decorated in sgraffito the house of Andrea and Tommaso Sertini, near
+S. Michele in Piazza Padella, making it more varied and grander in
+manner than <span class="pagenum"><a id="Page_231" name="Page_231">[Pg 231]</a></span> the two others. He painted in chiaroscuro the
+façade of the Church of the Servite Friars, for which work he caused
+the painter Tommaso di Stefano to paint in two niches the Angel
+bringing the Annunciation to the Virgin; and in the court, where there
+are the stories of S. Filippo and of Our Lady painted by Andrea del
+Sarto, he executed between the two doors a very beautiful escutcheon
+of Pope Leo X. And on the occasion of the visit of that Pontiff to
+Florence he executed many beautiful ornaments in the form of
+grotesques on the façade of S. Maria del Fiore, for Jacopo Sansovino,
+who gave him his sister for wife. He executed the baldachin under
+which the Pope walked, covering the upper part with most beautiful
+grotesques, and the hangings round it with the arms of that Pope and
+other devices of the Church; and this baldachin was afterwards
+presented to the Church of S. Lorenzo in Florence, where it is still
+to be seen. He also decorated many standards and banners for the visit
+of Leo, and in honour of many who were made Chevaliers by that Pontiff
+and by other Princes, of which there are some hung up in various
+churches in that city.</p>
+
+<p>Andrea, working constantly in the service of the house of Medici,
+assisted at the preparations for the wedding of Duke Giuliano and that
+of Duke Lorenzo, executing an abundance of various ornaments in the
+form of grotesques; and so, also, in the obsequies of those Princes.
+In all this he was largely employed by Franciabigio, Andrea del Sarto,
+Pontormo, and Ridolfo Ghirlandajo, and by Granaccio for triumphal
+processions and other festivals, since nothing good could be done
+without him. He was the best man that ever touched a brush, and, being
+timid by nature, he would never undertake any work on his own account,
+because he was afraid of exacting the money for his labours. He
+delighted to work the whole day long, and disliked annoyances of any
+kind; for which reason he associated himself with the gilder Mariotto
+di Francesco, one of the most able and skilful men at his work that
+ever existed in the world of art, very adroit in obtaining
+commissions, and most dexterous in exacting payments and doing
+business. This Mariotto also brought the gilder Raffaello di Biagio
+into the partnership, and the three worked together, sharing equally
+all the earnings of the commissions that they <span class="pagenum"><a id="Page_232" name="Page_232">[Pg 232]</a></span> executed; and
+this association lasted until death parted them, Mariotto being the
+last to die.</p>
+
+<p>To return to the works of Andrea; he decorated for Giovanni Maria
+Benintendi all the ceilings of his house, and executed the
+ornamentation of the ante-chambers, wherein are the scenes painted by
+Franciabigio and Jacopo da Pontormo. He went with Franciabigio to
+Poggio, and executed in terretta the ornaments for all the scenes
+there in such a way that there is nothing better to be seen. For the
+Chevalier Guidotti he decorated in sgraffito the façade of his house
+in the Via Larga, and he also executed another of great beauty for
+Bartolommeo Panciatichi, on the house (now belonging to Ruberto de'
+Ricci) which he built on the Piazza degli Agli. Nor am I able to
+describe all the friezes, coffers, and strong-boxes, or the vast
+quantity of ceilings, which Andrea decorated with his own hand, for
+the whole city is full of these, and I must refrain from speaking of
+them. But I must mention the round escutcheons of various kinds that
+he made, for they were such that no wedding could take place without
+his having his workshop besieged by one citizen or another; nor could
+any kind of brocade, linen, or cloth of gold, with flowered patterns,
+ever be woven, without his making the designs for them, and that with
+so much variety, grace, and beauty, that he breathed spirit and life
+into all such things. If Andrea, indeed, had known his own value, he
+would have made a vast fortune; but it sufficed him to live in love
+with his art.</p>
+
+<p>I must not omit to tell that in my youth, while in the service of Duke
+Alessandro de' Medici, I was commissioned, when Charles V came to
+Florence, to make the banners for the Castle, or rather, as it is
+called at the present day, the Citadel; and among these was a standard
+of crimson cloth, eighteen braccia wide at the staff and forty in
+length, and surrounded by borders of gold containing the devices of
+the Emperor Charles V and of the house of Medici, with the arms of his
+Majesty in the centre. For this work, in which were used forty-five
+thousand leaves of gold, I summoned to my assistance Andrea for the
+borders and Mariotto for the gilding; and many things did I learn from
+that good Andrea, so full of love and kindness for those who were
+studying art. And so great <span class="pagenum"><a id="Page_233" name="Page_233">[Pg 233]</a></span> did the skill of Andrea then
+prove to be, that, besides availing myself of him for many details of
+the arches that were erected for the entry of his Majesty, I chose him
+as my companion, together with Tribolo, when Madama Margherita,
+daughter of Charles V, came to be married to Duke Alessandro, in
+making the festive preparations that I executed in the house of the
+Magnificent Ottaviano de' Medici on the Piazza di S. Marco, which was
+adorned with grotesques by his hand, with statues by the hand of
+Tribolo, and with figures and scenes by my hand. At the last he was
+much employed for the obsequies of Duke Alessandro, and even more for
+the marriage of Duke Cosimo, when all the devices in the courtyard,
+described by M. Francesco Giambullari, who wrote an account of the
+festivities of that wedding, were painted by Andrea with ornaments of
+great variety. And then Andrea&mdash;who, by reason of a melancholy humour
+which often oppressed him, was on many occasions on the point of
+taking his own life, but was observed so closely and guarded so well
+by his companion Mariotto that he lived to be an old man&mdash;finished the
+course of his life at the age of sixty-four, leaving behind him the
+name of a good and even rarely excellent master of grotesque-painting
+in our own times, wherein every succeeding craftsman has always
+imitated his manner, not only in Florence, but also in other places.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="calavrese" id="calavrese"></a><span class="pagenum"><a id="Page_235" name="Page_235">[Pg 235]</a></span> MARCO CALAVRESE</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_calavrese" id="life_of_calavrese"></a><span class="pagenum"><a id="Page_237" name="Page_237">[Pg 237]</a></span> LIFE OF MARCO CALAVRESE</h2>
+
+<h3>PAINTER</h3>
+
+
+<p>When the world possesses some great light in any science, every least
+part is illuminated by its rays, some with greater brightness and some
+with less; and the miracles that result are also greater or less
+according to differences of air and place. Constantly, in truth, do we
+see a particular country producing a particular kind of intellect
+fitted for a particular kind of work, for which others are not fitted,
+nor can they ever attain, whatever labours they may endure, to the
+goal of supreme excellence. And if we marvel when we see growing in
+some province a fruit that has not been wont to grow there, much more
+can we rejoice in a man of fine intellect when we find him in a
+country where men of the same bent are not usually born. Thus it was
+with the painter Marco Calavrese, who, leaving his own country, chose
+for his habitation the sweet and pleasant city of Naples. He had been
+minded, indeed, on setting out, to make his way to Rome, and there to
+achieve the end that rewards the student of painting; but the song of
+the Siren was so sweet to him, and all the more because he delighted
+to play on the lute, and the soft waters of Sebeto so melted his
+heart, that he remained a prisoner in body of that land until he
+rendered up his spirit to Heaven and his mortal flesh to earth.</p>
+
+<p>Marco executed innumerable works in oils and in fresco, and he proved
+himself more able than any other man who was practising the same art
+in that country in his day. Of this we have proof in the work that he
+executed at Aversa, ten miles distant from Naples; and, above all, in
+a panel-picture in oils on the high-altar of the Church of S.
+Agostino, with a large ornamental frame, and various pictures painted
+with scenes <span class="pagenum"><a id="Page_238" name="Page_238">[Pg 238]</a></span> and figures, in which he represented S.
+Augustine disputing with the heretics, with stories of Christ and
+Saints in various attitudes both above and at the sides. In this work,
+which shows a manner full of harmony and drawing towards the good
+manner of our modern works, may also be seen great beauty and facility
+of colouring; and it was one of the many labours that he executed in
+that city and for various places in the kingdom.</p>
+
+<p>Marco always lived a gay life, enjoying every minute to the full, for
+the reason that, having no rivalry to contend with in painting from
+other craftsmen, he was always adored by the Neapolitan nobles, and
+contrived to have himself rewarded for his works by ample payments.
+And so, having come to the age of fifty-six, he ended his life after
+an ordinary illness.</p>
+
+<p>He left a disciple in Giovan Filippo Crescione, a painter of Naples,
+who executed many pictures in company with his brother-in-law,
+Leonardo Castellani, as he still does; but of these men, since they
+are alive and in constant practice of their art, there is no need to
+make mention.</p>
+
+<p>The pictures of Maestro Marco were executed by him between 1508 and
+1542. He had a companion in another Calabrian (whose name I do not
+know), who worked for a long time in Rome with Giovanni da Udine and
+executed many works by himself in that city, particularly façades in
+chiaroscuro. The same Calabrian also painted in fresco the Chapel of
+the Conception in the Church of the Trinità, with much skill and
+diligence.</p>
+
+<p>At this same time lived Niccola, commonly called by everyone Maestro
+Cola dalla Matrice, who executed many works in Calabria, at Ascoli,
+and at Norcia, which are very well known, and which gained for him the
+name of a rare master&mdash;the best, indeed, that there had ever been in
+these parts. And since he also gave his attention to architecture, all
+the buildings that were erected in his day at Ascoli and throughout
+all that province had him as architect. Cola, without caring to see
+Rome or to change his country, remained always at Ascoli, living
+happily for some time with his wife, a woman of good and honourable
+family, and endowed with extraordinary nobility of spirit, as was
+proved when the strife of <span class="pagenum"><a id="Page_239" name="Page_239">[Pg 239]</a></span> parties arose at Ascoli, in the
+time of Pope Paul III. For then, while she was flying with her
+husband, with many soldiers in pursuit, more on her account (for she
+was a very beautiful young woman) than for any other reason, she
+resolved, not seeing any other way in which she could save her own
+honour and the life of her husband, to throw herself from a high cliff
+to the depth below. At which all the soldiers believed that she was
+not only mortally injured, but dashed to pieces, as indeed she was;
+wherefore they left the husband without doing him any harm, and
+returned to Ascoli. After the death of this extraordinary woman,
+worthy of eternal praise, Maestro Cola passed the rest of his life
+with little happiness. A short time afterwards, Signor Alessandro
+Vitelli, who had become Lord of Matrice,<a id="FNanchor14" name="FNanchor14"></a><a href="#Footnote14" title="Go to footnote 14" class="fnanchor">[14]</a> took Maestro Cola, now an
+old man, to Città di Castello, where he caused him to paint in his
+palace many works in fresco and many other pictures; which works
+finished, Maestro Cola returned to finish his life at Matrice.</p>
+
+<p>This master would have acquitted himself not otherwise than passing
+well, if he had practised his art in places where rivalry and
+emulation might have made him attend with more study to painting, and
+exercise the beautiful intellect with which it is evident that he was
+endowed by nature.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="mazzuoli" id="mazzuoli"></a><span class="pagenum"><a id="Page_241" name="Page_241">[Pg 241]</a></span> FRANCESCO MAZZUOLI</h2>
+
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_mazzuoli" id="life_of_mazzuoli"></a><span class="pagenum"><a id="Page_243" name="Page_243">[Pg 243]</a></span> LIFE OF FRANCESCO MAZZUOLI</h2>
+
+<h3>[<i>PARMIGIANO</i>]</h3>
+
+<h3>PAINTER OF PARMA</h3>
+
+
+<p>Among the many natives of Lombardy who have been endowed with the
+gracious gift of design, with a lively spirit of invention, and with a
+particular manner of making beautiful landscapes in their pictures, we
+should rate as second to none, and even place before all the rest,
+Francesco Mazzuoli of Parma, who was bountifully endowed by Heaven
+with all those parts that are necessary to make a supreme painter,
+insomuch that he gave to his figures, in addition to what has been
+said of many others, a certain nobility, sweetness, and grace in the
+attitudes which belonged to him alone. To his heads, likewise, it is
+evident that he gave all the consideration that is needful; and his
+manner has therefore been studied and imitated by innumerable
+painters, because he shed on art a light of grace so pleasing, that
+his works will always be held in great price, and himself honoured by
+all students of design. Would to God that he had always pursued the
+studies of painting, and had not sought to pry into the secrets of
+congealing mercury in order to become richer than Nature and Heaven
+had made him; for then he would have been without an equal, and truly
+unique in the art of painting, whereas, by searching for that which he
+could never find, he wasted his time, wronged his art, and did harm to
+his own life and fame.</p>
+
+<p>Francesco was born at Parma in the year 1504, and because he lost his
+father when he was still a child of tender age, he was left to the
+care of two uncles, brothers of his father, and both painters, who
+brought him up with the greatest lovingness, teaching him all those
+praiseworthy ways that befit a Christian man and a good citizen. Then,
+having made some little growth, he had no sooner taken pen in hand in
+order to learn <span class="pagenum"><a id="Page_244" name="Page_244">[Pg 244]</a></span> to write, than he began, spurred by Nature,
+who had consecrated him at his birth to design, to draw most
+marvellous things; and the master who was teaching him to write,
+noticing this and perceiving to what heights the genius of the boy
+might in time attain, persuaded his uncles to let him give his
+attention to design and painting. Whereupon, being men of good
+judgment in matters of art, although they were old and painters of no
+great fame, and recognizing that God and Nature had been the boy's
+first masters, they did not fail to take the greatest pains to make
+him learn to draw under the discipline of the best masters, to the end
+that he might acquire a good manner. And coming by degrees to believe
+that he had been born, so to speak, with brushes in his fingers, on
+the one hand they urged him on, and on the other, fearing lest
+overmuch study might perchance spoil his health, they would sometimes
+hold him back. Finally, having come to the age of sixteen, and having
+already done miracles of drawing, he painted a S. John baptizing
+Christ, of his own invention, on a panel, which he executed in such a
+manner that even now whoever sees it stands marvelling that such a
+work should have been painted so well by a boy. This picture was
+placed in the Nunziata, the seat of the Frati de' Zoccoli at Parma.
+Not content with this, however, Francesco resolved to try his hand at
+working in fresco, and therefore painted a chapel in S. Giovanni
+Evangelista, a house of Black Friars of S. Benedict; and since he
+succeeded in that kind of work, he painted as many as seven.</p>
+
+<p>But about that time Pope Leo X sent Signor Prospero Colonna with an
+army to Parma, and the uncles of Francesco, fearing that he might
+perchance lose time or be distracted, sent him in company with his
+cousin, Girolamo Mazzuoli, another boy-painter, to Viadana, a place
+belonging to the Duke of Mantua, where they lived all the time that
+the war lasted; and there Francesco painted two panels in distemper.
+One of these, in which are S. Francis receiving the Stigmata, and S.
+Chiara, was placed in the Church of the Frati de' Zoccoli; and the
+other, which contains a Marriage of S. Catharine, with many figures,
+was placed in S. Piero. And let no one believe that these are works of
+a young beginner, for they seem to be rather by the hand of a
+full-grown master.</p>
+
+<p><span class="pagenum"><a id="Page_245" name="Page_245">[Pg 245]</a></span> The war finished, Francesco, having returned with his cousin
+to Parma, first completed some pictures that he had left unfinished at
+his departure, which are in the hands of various people. After this he
+painted a panel-picture in oils of Our Lady with the Child in her
+arms, with S. Jerome on one side and the Blessed Bernardino da Feltro
+on the other, and in the head of one of these figures he made a
+portrait of the patron of the picture, which is so wonderful that it
+lacks nothing save the breath of life. All these works he executed
+before he had reached the age of nineteen.</p>
+
+<p>Then, having conceived a desire to see Rome, like one who was on the
+path of progress and heard much praise given to the works of good
+masters, and particularly to those of Raffaello and Michelagnolo, he
+spoke out his mind and desire to his old uncles, who, thinking that
+such a wish was not otherwise than worthy of praise, said that they
+were content that he should go, but that it would be well for him to
+take with him some work by his own hand, which might serve to
+introduce him to the noblemen of that city and to the craftsmen of his
+profession. This advice was not displeasing to Francesco, and he
+painted three pictures, two small and one of some size, representing
+in the last the Child in the arms of the Madonna, taking some fruits
+from the lap of an Angel, and an old man with his arms covered with
+hair, executed with art and judgment, and pleasing in colour. Besides
+this, in order to investigate the subtleties of art, he set himself
+one day to make his own portrait, looking at himself in a convex
+barber's mirror. And in doing this, perceiving the bizarre effects
+produced by the roundness of the mirror, which twists the beams of a
+ceiling into strange curves, and makes the doors and other parts of
+buildings recede in an extraordinary manner, the idea came to him to
+amuse himself by counterfeiting everything. Thereupon he had a ball of
+wood made by a turner, and, dividing it in half so as to make it the
+same in size and shape as the mirror, set to work to counterfeit on it
+with supreme art all that he saw in the glass, and particularly his
+own self, which he did with such lifelike reality as could not be
+imagined or believed. Now everything that is near the mirror is
+magnified, and all that is at a distance is diminished, and thus he
+made the hand engaged in <span class="pagenum"><a id="Page_246" name="Page_246">[Pg 246]</a></span> drawing somewhat large, as the
+mirror showed it, and so marvellous that it seemed to be his very own.
+And since Francesco had an air of great beauty, with a face and aspect
+full of grace, in the likeness rather of an angel than of a man, his
+image on that ball had the appearance of a thing divine. So happily,
+indeed, did he succeed in the whole of this work, that the painting
+was no less real than the reality, and in it were seen the lustre of
+the glass, the reflection of every detail, and the lights and shadows,
+all so true and natural, that nothing more could have been looked for
+from the brain of man.</p>
+
+<div class="figcenter">
+<a name="img052" id="img052"></a>
+<img src="images/img052-tb.jpg" width="450" height="281" alt="The Marriage of S. Catharine." title="">
+<p class="caption">THE MARRIAGE OF S. CATHARINE<br>
+(<i>After the painting by</i> Francesco Mazzuoli [Parmigiano].<br> <i>Parma:
+Gallery, 192</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img052.jpg">View larger image</a></span></p>
+</div>
+
+<p>Having finished these works, which were held by his old uncles to be
+out of the ordinary, and even considered by many other good judges of
+art to be miracles of beauty, and having packed up both pictures and
+portrait, he made his way to Rome, accompanied by one of the uncles.
+There, after the Datary had seen the pictures and appraised them at
+their true worth, the young man and his uncle were straightway
+introduced to Pope Clement, who, seeing the works and the youthfulness
+of Francesco, was struck with astonishment, and with him all his
+Court. And afterwards his Holiness, having first shown him much
+favour, said that he wished to commission him to paint the Hall of the
+Popes, in which Giovanni da Udine had already decorated all the
+ceiling with stucco-work and painting. And so, after presenting his
+pictures to the Pope, and receiving various gifts and marks of favour
+in addition to his promises, Francesco, spurred by the praise and
+glory that he heard bestowed upon him, and by the hope of the profit
+that he might expect from so great a Pontiff, painted a most beautiful
+picture of the Circumcision, which was held to be extraordinary in
+invention on account of three most fanciful lights that shone in the
+work; for the first figures were illuminated by the radiance of the
+countenance of Christ, the second received their light from others who
+were walking up some steps with burning torches in their hands,
+bringing offerings for the sacrifice, and the last were revealed and
+illuminated by the light of the dawn, which played upon a most lovely
+landscape with a vast number of buildings. This picture finished, he
+presented it to the Pope, who did not do with it what he had done with
+the others; for he had given the picture of Our Lady <span class="pagenum"><a id="Page_247" name="Page_247">[Pg 247]</a></span> to
+Cardinal Ippolito de' Medici, his nephew, and the mirror-portrait to
+Messer Pietro Aretino, the poet, who was in his service, but the
+picture of the Circumcision he kept for himself; and it is believed
+that it came in time into the possession of the Emperor. The
+mirror-portrait I remember to have seen, when quite a young man, in
+the house of the same Messer Pietro Aretino at Arezzo, where it was
+sought out as a choice work by the strangers passing through that
+city. Afterwards it fell, I know not how, into the hands of Valerio
+Vicentino, the crystal-engraver, and it is now in the possession of
+Alessandro Vittoria, a sculptor in Venice, the disciple of Jacopo
+Sansovino.</p>
+
+<p>But to return to Francesco; while studying in Rome, he set himself to
+examine all the ancient and modern works, both of sculpture and of
+painting, that were in that city, but held those of Michelagnolo
+Buonarroti and Raffaello da Urbino in supreme veneration beyond all
+the others; and it was said afterwards that the spirit of that
+Raffaello had passed into the body of Francesco, when men saw how
+excellent the young man was in art, and how gentle and gracious in his
+ways, as was Raffaello, and above all when it became known how much
+Francesco strove to imitate him in everything, and particularly in
+painting. Nor was this study in vain, for many little pictures that he
+painted in Rome, the greater part of which afterwards came into the
+hands of Cardinal Ippolito de' Medici, were truly marvellous; and even
+such is a round picture with a very beautiful Annunciation, executed
+by him for Messer Agnolo Cesis, which is now treasured as a rare work
+in the house of that family. He painted a picture, likewise, of the
+Madonna with Christ, some Angels, and a S. Joseph, which are beautiful
+to a marvel on account of the expressions of the heads, the colouring,
+and the grace and diligence with which they are seen to have been
+executed. This work was formerly in the possession of Luigi Gaddi, and
+it must now be in the hands of his heirs.</p>
+
+<p>Hearing the fame of this master, Signor Lorenzo Cibo, Captain of the
+Papal Guard, and a very handsome man, had a portrait of himself
+painted by Francesco, who may be said to have made, not a portrait,
+but a living figure of flesh and blood. Having then been commissioned
+to paint for <span class="pagenum"><a id="Page_248" name="Page_248">[Pg 248]</a></span> Madonna Maria Bufolini of Città di Castello a
+panel-picture which was to be placed in S. Salvatore del Lauro, in a
+chapel near the door, Francesco painted in it a Madonna in the sky,
+who is reading and has the Child between her knees, and on the earth
+he made a figure of S. John, kneeling on one knee in an attitude of
+extraordinary beauty, turning his body, and pointing to the Infant
+Christ; and lying asleep on the ground, in foreshortening, is a S.
+Jerome in Penitence.</p>
+
+<p>But he was prevented from bringing this work to completion by the ruin
+and sack of Rome in 1527, which was the reason not only that the arts
+were banished for a time, but also that many craftsmen lost their
+lives. And Francesco, also, came within a hair's breadth of losing
+his, seeing that at the beginning of the sack he was so intent on his
+work, that, when the soldiers were entering the houses, and some
+Germans were already in his, he did not move from his painting for all
+the uproar that they were making; but when they came upon him and saw
+him working, they were so struck with astonishment at the work, that,
+like the gentlemen that they must have been, they let him go on. And
+thus, while the impious cruelty of those barbarous hordes was ruining
+the unhappy city and all its treasures, both sacred and profane,
+without showing respect to either God or man, Francesco was provided
+for and greatly honoured by those Germans, and protected from all
+injury. All the hardship that he suffered at that time was this, that
+he was forced, one of them being a great lover of painting, to make a
+vast number of drawings in water-colours and with the pen, which
+formed the payment of his ransom. But afterwards, when these soldiers
+changed their quarters, Francesco nearly came to an evil end, because,
+going to look for some friends, he was made prisoner by other soldiers
+and compelled to pay as ransom some few crowns that he possessed.
+Wherefore his uncle, grieved by that and by the fact that this
+disaster had robbed Francesco of his hopes of acquiring knowledge,
+honour, and profit, and seeing Rome almost wholly in ruins and the
+Pope the prisoner of the Spaniards, determined to take him back to
+Parma. And so he set Francesco on his way to his native city, but
+himself remained for some days in Rome, where he deposited the
+panel-picture painted for Madonna Maria Bufolini with the Friars of
+the <span class="pagenum"><a id="Page_249" name="Page_249">[Pg 249]</a></span> Pace, in whose refectory it remained for many years,
+until finally it was taken by Messer Giulio Bufolini to the church of
+his family in Città di Castello.</p>
+
+<p>Having arrived in Bologna, and finding entertainment with many
+friends, and particularly in the house of his most intimate friend, a
+saddler of Parma, Francesco stayed some months in that city, where the
+life pleased him, during which time he had some works engraved and
+printed in chiaroscuro, among others the Beheading of S. Peter and S.
+Paul, and a large figure of Diogenes. He also prepared many others, in
+order to have them engraved on copper and printed, having with him for
+this purpose one Maestro Antonio da Trento; but he did not carry this
+intention into effect at the time, because he was forced to set his
+hand to executing many pictures and other works for gentlemen of
+Bologna. The first picture by his hand that was seen at Bologna was a
+S. Rocco of great size in the Chapel of the Monsignori in S. Petronio;
+to which Saint he gave a marvellous aspect, making him very beautiful
+in every part, and conceiving him as somewhat relieved from the pain
+that the plague-sore in the thigh gave him, which he shows by looking
+with uplifted head towards Heaven in the act of thanking God, as good
+men do in spite of the adversities that fall upon them. This work he
+executed for one Fabrizio da Milano, of whom he painted a portrait
+from the waist upwards in the picture, with the hands clasped, which
+seems to be alive; and equally real, also, seems a dog that is there,
+with some landscapes which are very beautiful, Francesco being
+particularly excellent in this respect.</p>
+
+<p>He then painted for Albio, a physician of Parma, a Conversion of S.
+Paul, with many figures and a landscape, which was a very choice work.
+And for his friend the saddler he executed another picture of
+extraordinary beauty, containing a Madonna turned to one side in a
+lovely attitude, and several other figures. He also painted a picture
+for Count Giorgio Manzuoli, and two canvases in gouache, with some
+little figures, all graceful and well executed, for Maestro Luca dai
+Leuti.</p>
+
+<p>One morning about this time, while Francesco was still in bed, the
+aforesaid Antonio da Trento, who was living with him as his engraver,
+<span class="pagenum"><a id="Page_250" name="Page_250">[Pg 250]</a></span> opened a strong-box and robbed him of all the copper-plate
+engravings, woodcuts, and drawings that he possessed; and he must have
+gone off to the Devil, for all the news that was ever heard of him.
+The engravings and woodcuts, indeed, Francesco recovered, for Antonio
+had left them with a friend in Bologna, perchance with the intention
+of reclaiming them at his convenience; but the drawings he was never
+able to get back. Driven almost out of his mind by this, he returned
+to his painting, and made a portrait, for the sake of money, of I know
+not what Count of Bologna. After that he painted a picture of Our
+Lady, with a Christ who is holding a globe of the world. The Madonna
+has a most beautiful expression, and the Child is also very natural;
+for he always gave to the faces of children a vivacious and truly
+childlike air, which yet reveals that subtle and mischievous spirit
+that children often have. And he attired the Madonna in a very unusual
+fashion, clothing her in a garment that had sleeves of yellowish
+gauze, striped, as it were, with gold, which gave a truly beautiful
+and graceful effect, revealing the flesh in a natural and delicate
+manner; besides which, the hair is painted so well that there is none
+better to be seen. This picture was painted for Messer Pietro Aretino,
+but Francesco gave it to Pope Clement, who came to Bologna at that
+time; then, in some way of which I know nothing, it fell into the
+hands of Messer Dionigi Gianni, and it now belongs to his son, Messer
+Bartolommeo, who has been so accommodating with it that it has been
+copied fifty times, so much is it prized.</p>
+
+<div class="figcenter">
+<a name="img053" id="img053"></a>
+<img src="images/img053-tb.jpg" width="350" height="543" alt="Madonna and Child with Saints." title="">
+<p class="caption">MADONNA AND CHILD WITH SAINTS<br>
+(<i>After the panel by</i> Francesco Mazzuoli [Parmigiano].<br>
+<i>Bologna: Accademia, 116</i>)<br>
+<i>Brogi</i>
+<br><span class="link"><a href="images/img053.jpg">View larger image</a></span></p>
+</div>
+
+<p>The same master painted for the Nuns of S. Margherita, in Bologna, a
+panel-picture containing a Madonna, S. Margaret, S. Petronio, S.
+Jerome, and S. Michael, which is held in vast veneration, as it
+deserves, since in the expressions of the heads and in every other
+part it is as fine as all the other works of this painter. He made
+many drawings, likewise, and in particular some for Girolamo del Lino,
+and some for Girolamo Fagiuoli, a goldsmith and engraver, who desired
+them for engraving on copper; and these drawings are held to be full
+of grace. For Bonifazio Gozzadino he painted his portrait from life,
+with one of his wife, which remained unfinished. He also began a
+picture of Our Lady, which was afterwards sold in Bologna to Giorgio
+Vasari of Arezzo, who has it in the new house <span class="pagenum"><a id="Page_251" name="Page_251">[Pg 251]</a></span> built by
+himself at Arezzo, together with many other noble pictures, works of
+sculpture, and ancient marbles.</p>
+
+<p>When the Emperor Charles V was at Bologna to be crowned by Clement
+VII, Francesco, who went several times to see him at table, but
+without drawing his portrait, made a likeness of that Emperor in a
+very large picture in oils, wherein he painted Fame crowning him with
+laurel, and a boy in the form of a little Hercules offering him a
+globe of the world, giving him, as it were, the dominion over it. This
+work, when finished, he showed to Pope Clement, who was so pleased
+with it that he sent it and Francesco together, accompanied by the
+Bishop of Vasona, then Datary, to the Emperor; at which his Majesty,
+to whom it gave much satisfaction, hinted that it should be left with
+him. But Francesco, being ill advised by an insincere or injudicious
+friend, refused to leave it, saying that it was not finished; and so
+his Majesty did not have it, and Francesco was not rewarded for it, as
+he certainly would have been. This picture, having afterwards fallen
+into the hands of Cardinal Ippolito de' Medici, was presented by him
+to the Cardinal of Mantua; and it is now in the guardaroba of the Duke
+of that city, with many other most noble and beautiful pictures.</p>
+
+<p>After having been so many years out of his native place, as we have
+related, during which he had gained much experience in art, without
+accumulating any store of riches, but only of friends, Francesco, in
+order to satisfy his many friends and relatives, finally returned to
+Parma. Arriving there, he was straightway commissioned to paint in
+fresco a vault of some size in the Church of S. Maria della Steccata;
+but since in front of that vault there was a flat arch which followed
+the curve of the vaulting, making a sort of façade, he set to work
+first on the arch, as being the easier, and painted therein six very
+beautiful figures, two in colour and four in chiaroscuro. Between one
+figure and another he made some most beautiful ornaments, surrounding
+certain rosettes in relief, which he took it into his head to execute
+by himself in copper, taking extraordinary pains over them.</p>
+
+<p>At this same time he painted for the Chevalier Baiardo, a gentleman of
+Parma and his intimate friend, a picture of a Cupid, who is fashioning
+<span class="pagenum"><a id="Page_252" name="Page_252">[Pg 252]</a></span> a bow with his own hand, and at his feet are seated two
+little boys, one of whom catches the other by the arm and laughingly
+urges him to touch Cupid with his finger, but he will not touch him,
+and shows by his tears that he is afraid of burning himself at the
+fire of Love. This picture, which is charming in colour, ingenious in
+invention, and executed in that graceful manner of Francesco's that
+has been much studied and imitated, as it still is, by craftsmen and
+by all who delight in art, is now in the study of Signor Marc' Antonio
+Cavalca, heir to the Chevalier Baiardo, together with many drawings of
+every kind by the hand of the same master, all most beautiful and
+highly finished, which he has collected. Even such are the many
+drawings, also by the hand of Francesco, that are in our book; and
+particularly that of the Beheading of S. Peter and S. Paul, of which,
+as has been related, he published copper-plate engravings and
+woodcuts, while living in Bologna. For the Church of S. Maria de'
+Servi he painted a panel-picture of Our Lady with the Child asleep in
+her arms, and on one side some Angels, one of whom has in his arms an
+urn of crystal, wherein there glitters a Cross, at which the Madonna
+gazes in contemplation. This work remained unfinished, because he was
+not well contented with it; and yet it is much extolled, and a good
+example of his manner, so full of grace and beauty.</p>
+
+<p>Meanwhile Francesco began to abandon the work of the Steccata, or at
+least to carry it on so slowly that it was evident that he was not in
+earnest. And this happened because he had begun to study the problems
+of alchemy, and had quite deserted his profession of painting,
+thinking that he would become rich quicker by congealing mercury.
+Wherefore, wearing out his brain, but not in imagining beautiful
+inventions and executing them with brushes and colour-mixtures, he
+wasted his whole time in handling charcoal, wood, glass vessels, and
+other suchlike trumperies, which made him spend more in one day than
+he earned by a week's work at the Chapel of the Steccata. Having no
+other means of livelihood, and being yet compelled to live, he was
+wasting himself away little by little with those furnaces; and what
+was worse, the men of the Company of the Steccata, perceiving that he
+had completely <span class="pagenum"><a id="Page_253" name="Page_253">[Pg 253]</a></span> abandoned the work, and having perchance paid
+him more than his due, as is often done, brought a suit against him.
+Thereupon, thinking it better to withdraw, he fled by night with some
+friends to Casal Maggiore. And there, having dispersed a little of the
+alchemy out of his head, he painted a panel-picture for the Church of
+S. Stefano, of Our Lady in the sky, with S. John the Baptist and S.
+Stephen below. Afterwards he executed a picture, the last that he ever
+painted, of the Roman Lucretia, which was a thing divine and one of
+the best that were ever seen by his hand; but it has disappeared,
+however that may have happened, so that no one knows where it is.</p>
+
+<p>By his hand, also, is a picture of some nymphs, which is now in the
+house of Messer Niccolò Bufolini at Città di Castello, and a child's
+cradle, which was painted for Signora Angiola de' Rossi of Parma, wife
+of Signor Alessandro Vitelli, and is likewise at Città di Castello.</p>
+
+<p>In the end, having his mind still set on his alchemy, like every other
+man who has once grown crazed over it, and changing from a dainty and
+gentle person into an almost savage man with long and unkempt beard
+and locks, a creature quite different from his other self, Francesco
+went from bad to worse, became melancholy and eccentric, and was
+assailed by a grievous fever and a cruel flux, which in a few days
+caused him to pass to a better life. And in this way he found an end
+to the troubles of this world, which was never known to him save as a
+place full of annoyances and cares. He wished to be laid to rest in
+the Church of the Servite Friars, called La Fontana, one mile distant
+from Casal Maggiore; and he was buried naked, as he had directed, with
+a cross of cypress upright on his breast. He finished the course of
+his life on the 24th of August, in the year 1540, to the great loss of
+art on account of the singular grace that his hands gave to the
+pictures that he painted.</p>
+
+<p>Francesco delighted to play on the lute, and had a hand and a genius
+so well suited to it that he was no less excellent in this than in
+painting. It is certain that if he had not worked by caprice, and had
+laid aside the follies of the alchemists, he would have been without a
+doubt one of the rarest and most excellent painters of our age. I do
+not deny that working <span class="pagenum"><a id="Page_254" name="Page_254">[Pg 254]</a></span> at moments of fever-heat, and when one
+feels inclined, may be the best plan. But I do blame a man for working
+little or not at all, and for wasting all his time over cogitations,
+seeing that the wish to arrive by trickery at a goal to which one
+cannot attain, often brings it about that one loses what one knows in
+seeking after that which it is not given to us to know. If Francesco,
+who had from nature a spirit of great vivacity, with a beautiful and
+graceful manner, had persisted in working every day, little by little
+he would have made such proficience in art, that, even as he gave a
+beautiful, gracious, and most charming expression to his heads, so he
+would have surpassed his own self and the others in the solidity and
+perfect excellence of his drawing.</p>
+
+<p>He left behind him his cousin Girolamo Mazzuoli, who, with great
+credit to himself, always imitated his manner, as is proved by the
+works by his hand that are in Parma. At Viadana, also, whither he fled
+with Francesco on account of the war, he painted, young as he was, a
+very beautiful Annunciation on a little panel for S. Francesco, a seat
+of the Frati de' Zoccoli; and he painted another for S. Maria ne'
+Borghi. For the Conventual Friars of S. Francis at Parma he executed
+the panel-picture of their high-altar, containing Joachim being driven
+from the Temple, with many figures. And for S. Alessandro, a convent
+of nuns in that city, he painted a panel with the Madonna in Heaven,
+the Infant Christ presenting a palm to S. Giustina, and some Angels
+drawing back a piece of drapery, with S. Alexander the Pope and S.
+Benedict. For the Church of the Carmelite Friars he painted the
+panel-picture of their high-altar, which is very beautiful, and for S.
+Sepolcro another panel-picture of some size. In S. Giovanni
+Evangelista, a church of nuns in the same city, are two panel-pictures
+by the hand of Girolamo, of no little beauty, but not equal to the
+doors of the organ or to the picture of the high-altar, in which is a
+most beautiful Transfiguration, executed with much diligence. The same
+master has painted a perspective-view in fresco in the refectory of
+those nuns, with a picture in oils of the Last Supper of Christ with
+the Apostles, and fresco-paintings in the Chapel of the High-Altar in
+the Duomo. And for Madama Margherita of Austria, Duchess of Parma, he
+has made a portrait of the Prince Don Alessandro, <span class="pagenum"><a id="Page_255" name="Page_255">[Pg 255]</a></span> her son,
+in full armour, with his sword over a globe of the world, and an armed
+figure of Parma kneeling before him.</p>
+
+<p>In a chapel of the Steccata, at Parma, he has painted in fresco the
+Apostles receiving the Holy Spirit, and on an arch similar to that
+which his cousin Francesco painted he has executed six Sibyls, two in
+colour and four in chiaroscuro; while in a niche opposite to that arch
+he has painted the Nativity of Christ, with the Shepherds adoring Him,
+which is a very beautiful picture, although it was left not quite
+finished. For the high-altar of the Certosa, without Parma, he has
+painted a panel-picture with the three Magi; a panel for S. Piero, an
+abbey of Monks of S. Bernard, at Pavia; another for the Duomo of
+Mantua, at the commission of the Cardinal; and yet another panel for
+S. Giovanni in the same city, containing a Christ in a glory of light,
+surrounded by the Apostles, with S. John, of whom He appears to be
+saying, "Sic eum volo manere," etc.; while round this panel, in six
+large pictures, are the miracles of the same S. John the Evangelist.</p>
+
+<p>In the Church of the Frati Zoccolanti, on the left hand, there is a
+large panel-picture of the Conversion of S. Paul, a very beautiful
+work, by the hand of the same man. And for the high-altar of S.
+Benedetto in Pollirone, a place twelve miles distant from Mantua, he
+has executed a panel-picture of Christ in the Manger being adored by
+the Shepherds, with Angels singing. He has also painted&mdash;but I do not
+know exactly at what time&mdash;a most beautiful picture of five Loves, one
+of whom is sleeping, and the others are despoiling him, one taking
+away his bow, another his arrows, and the others his torch, which
+picture belongs to the Lord Duke Ottavio, who holds it in great
+account by reason of the excellence of Girolamo. This master has in no
+way fallen short of the standard of his cousin Francesco, being a fine
+painter, gentle and courteous beyond belief; and since he is still
+alive, there are seen issuing from his brush other works of rare
+beauty, which he has constantly in hand.</p>
+
+<p>A close friend of the aforesaid Francesco Mazzuoli was Messer
+Vincenzio Caccianimici, a gentleman of Bologna, who painted and strove
+to the best of his power to imitate the manner of Francesco. This
+Vincenzio <span class="pagenum"><a id="Page_256" name="Page_256">[Pg 256]</a></span> was a very good colourist, so that the works which
+he executed for his own pleasure, or to present to his friends and
+various noblemen, are truly well worthy of praise; and such, in
+particular, is a panel-picture in oils, containing the Beheading of S.
+John the Baptist, which is in the chapel of his family in S. Petronio.
+This talented gentleman, by whose hand are some very beautiful
+drawings in our book, died in the year 1542.</p>
+
+
+<hr style="width: 65%;">
+<h2><a name="palma" id="palma"></a><span class="pagenum"><a id="Page_257" name="Page_257">[Pg 257]</a></span> JACOPO PALMA AND LORENZO LOTTO</h2>
+
+
+<div class="figcenter">
+<a name="img054" id="img054"></a>
+<img src="images/img054-tb.jpg" width="450" height="292" alt="The Triumph of Chastity." title="">
+<p class="caption">LORENZO LOTTO: THE TRIUMPH OF CHASTITY<br>
+(<i>Rome: Rospigliosi Gallery. Panel</i>)
+<br><span class="link"><a href="images/img054.jpg">View larger image</a></span></p>
+</div>
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_palma" id="life_of_palma"></a><span class="pagenum"><a id="Page_259" name="Page_259">[Pg 259]</a></span> LIVES OF JACOPO PALMA</h2>
+
+<h3>[<i>PALMA VECCHIO</i>]</h3>
+
+<h3>AND LORENZO LOTTO</h3>
+
+<h3>PAINTERS OF VENICE</h3>
+
+
+<p>So potent are mastery and excellence, even when seen in only one or
+two works executed to perfection by a man in the art that he
+practises, that, no matter how small these may be, craftsmen and
+judges of art are forced to extol them, and writers are compelled to
+celebrate them and to give praise to the craftsman who has made them;
+even as we are now about to do for the Venetian Palma. This master,
+although not very eminent, nor remarkable for perfection of painting,
+was nevertheless so careful and diligent, and subjected himself so
+zealously to the labours of art, that a certain proportion of his
+works, if not all, have something good in them, in that they are close
+imitations of life and of the natural appearance of men.</p>
+
+<div class="figcenter">
+<a name="img055" id="img055"></a>
+<img src="images/img055-tb.jpg" width="250" height="611" alt="S. Barbara." title="">
+<p class="caption">JACOPO PALMA (PALMA VECCHIO): S. BARBARA<br>
+(<i>Venice: S. Maria Formosa. Panel</i>)
+<br><span class="link"><a href="images/img055.jpg">View larger image</a></span></p>
+</div>
+
+<p>Palma was much more remarkable for his patience in harmonizing and
+blending colours than for boldness of design, and he handled colour
+with extraordinary grace and finish. This may be seen in Venice from
+many pictures and portraits that he executed for various gentlemen;
+but of these I shall say nothing more, since I propose to content
+myself with making mention of some altar-pieces and of a head that I
+hold to be marvellous, or rather, divine. One of the altar-pieces he
+painted for S. Antonio, near Castello, at Venice, and another for S.
+Elena, near the Lido, where the Monks of Monte Oliveto have their
+monastery. In the latter, which is on the high-altar of that church,
+he painted the Magi presenting their offerings to Christ, with a good
+number of figures, among which are some heads truly worthy of praise,
+as also are the draperies, <span class="pagenum"><a id="Page_260" name="Page_260">[Pg 260]</a></span> executed with a beautiful flow of
+folds, which cover the figures. Palma also painted a lifesize S.
+Barbara for the altar of the Bombardieri in the Church of S. Maria
+Formosa, with two smaller figures at the sides, S. Sebastian and S.
+Anthony; and the S. Barbara is one of the best figures that this
+painter ever executed. The same master also executed another
+altar-piece, in which is a Madonna in the sky, with S. John below, for
+the Church of S. Moisè, near the Piazza di S. Marco. In addition to
+this, Palma painted a most beautiful scene for the hall wherein the
+men of the Scuola of S. Marco assemble, on the Piazza di SS. Giovanni
+e Paolo, in emulation of those already executed by Giovanni Bellini,
+Giovanni Mansueti, and other painters. In this scene is depicted a
+ship which is bringing the body of S. Mark to Venice; and there may be
+seen counterfeited by Palma a terrible tempest on the sea, and some
+barques tossed and shaken by the fury of the winds, all executed with
+much judgment and thoughtful care. The same may be said of a group of
+figures in the air, and of the demons in various forms who are
+blowing, after the manner of winds, against the barques, which, driven
+by oars, and striving in various ways to break through the dangers of
+the towering waves, are like to sink. In short, to tell the truth,
+this work is of such a kind, and so beautiful in invention and in
+other respects, that it seems almost impossible that brushes and
+colours, employed by human hands, however excellent, should be able to
+depict anything more true to reality or more natural; for in it may be
+seen the fury of the winds, the strength and dexterity of the men, the
+movements of the waves, the lightning-flashes of the heavens, the
+water broken by the oars, and the oars bent by the waves and by the
+efforts of the rowers. Why say more? I, for my part, do not remember
+to have ever seen a more terrible painting than this, which is
+executed in such a manner, and with such care in the invention, the
+drawing, and the colouring, that the picture seems to quiver, as if
+all that is painted therein were real. For this work Jacopo Palma
+deserves the greatest praise, and the honour of being numbered among
+those who are masters of art and who are able to express with facility
+in their pictures their most sublime conceptions. For many painters,
+in difficult subjects of that kind, achieve in the first sketch of
+their work, as <span class="pagenum"><a id="Page_261" name="Page_261">[Pg 261]</a></span> though guided by a sort of fire of
+inspiration, something of the good and a certain measure of boldness;
+but afterwards, in finishing it, the boldness vanishes, and nothing is
+left of the good that the first fire produced. And this happens
+because very often, in finishing, they consider the parts and not the
+whole of what they are executing, and thus, growing cold in spirit,
+they come to lose their vein of boldness; whereas Jacopo stood ever
+firm in the same intention and brought to perfection his first
+conception, for which he received vast praise at that time, as he
+always will.</p>
+
+<div class="figcenter">
+<a name="img056" id="img056"></a>
+<img src="images/img056-tb.jpg" width="250" height="663" alt="S. Sebastian." title="">
+<p class="caption">S. SEBASTIAN<br>
+(<i>After the panel by</i> Jacopo Palma [Palma Vecchio.]<br> <i>Venice: S. Maria
+Formosa</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img056.jpg">View larger image</a></span></p>
+</div>
+
+<p>But without a doubt, although the works of this master were many, and
+all much esteemed, that one is better than all the others and truly
+extraordinary in which he made his own portrait from life by looking
+at himself in a mirror, with some camel-skins about him, and certain
+tufts of hair, and all so lifelike that nothing better could be
+imagined. For so much did the genius of Palma effect in this
+particular work, that he made it quite miraculous and beautiful beyond
+belief, as all men declare, the picture being seen almost every year
+at the Festival of the Ascension. And, in truth, it well deserves to
+be celebrated, in point of draughtsmanship, colouring, and mastery of
+art&mdash;in a word, on account of its absolute perfection&mdash;beyond any
+other work whatsoever that had been executed by any Venetian painter
+up to that time, since, besides other things, there may be seen in the
+eyes a roundness so perfect, that Leonardo da Vinci and Michelagnolo
+Buonarroti would not have done it in any other way. But it is better
+to say nothing of the grace, the dignity, and the other qualities that
+are to be seen in this portrait, because it is not possible to say as
+much of its perfection as would exhaust its merits. If Fate had
+decreed that Palma should die after this work, he would have carried
+off with him the glory of having surpassed all those whom we celebrate
+as our rarest and most divine intellects; but the duration of his
+life, keeping him at work, brought it about that, not maintaining the
+high beginning that he had made, he came to deteriorate as much as
+most men had thought him destined to improve. Finally, content that
+one or two supreme works should have cleared him of some of the
+censure that the others had brought upon him, he died in Venice at the
+age of forty-eight.</p>
+
+<p>A friend and companion of Palma was Lorenzo Lotto, a painter of
+<span class="pagenum"><a id="Page_262" name="Page_262">[Pg 262]</a></span> Venice, who, after imitating for some time the manner of the
+Bellini, attached himself to that of Giorgione, as is shown by many
+pictures and portraits which are in the houses of gentlemen in Venice.
+In the house of Andrea Odoni there is a portrait of him, which is very
+beautiful, by the hand of Lorenzo. And in the house of Tommaso da
+Empoli, a Florentine, there is a picture of the Nativity of Christ,
+painted as an effect of night, which is one of great beauty,
+particularly because the splendour of Christ is seen to illuminate the
+picture in a marvellous manner; and there is the Madonna kneeling,
+with a portrait of Messer Marco Loredano in a full-length figure that
+is adoring Christ. For the Carmelite Friars the same master painted an
+altar-piece showing S. Nicholas in his episcopal robes, poised in the
+air, with three Angels; below him are S. Lucia and S. John, on high
+some clouds, and beneath these a most beautiful landscape, with many
+little figures and animals in various places. On one side is S. George
+on horseback, slaying the Dragon, and at a little distance the Maiden,
+with a city not far away, and an arm of the sea. For the Chapel of S.
+Antonino, Archbishop of Florence, in SS. Giovanni e Paolo, Lorenzo
+executed an altar-piece containing the first-named Saint seated with
+two priests in attendance, and many people below.</p>
+
+<div class="figcenter">
+<a name="img057" id="img057"></a>
+<img src="images/img057-tb.jpg" width="400" height="514" alt="The Glorification of S. Nicholas." title="">
+<p class="caption">THE GLORIFICATION OF S. NICHOLAS<br>
+(<i>After the painting by</i> Lorenzo Lotto.<br> <i>Venice: S. Maria del
+Carmine</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img057.jpg">View larger image</a></span></p>
+</div>
+
+<p>While this painter was still young, imitating partly the manner of the
+Bellini and partly that of Giorgione, he painted an altar-piece,
+divided into six pictures, for the high-altar of S. Domenico at
+Recanati. In the central picture is the Madonna with the Child in her
+arms, giving the habit, by the hands of an Angel, to S. Dominic, who
+is kneeling before the Virgin; and in this picture are also two little
+boys, one playing on a lute and the other on a rebeck. In the second
+picture are the Popes S. Gregory and S. Urban; and in the third is S.
+Thomas Aquinas, with another saint, who was Bishop of Recanati. Above
+these are the three other pictures; and in the centre, above the
+Madonna, is a Dead Christ, supported by an Angel, with His Mother
+kissing His arm, and S. Magdalene. Over the picture of S. Gregory are
+S. Mary Magdalene and S. Vincent; and in the third&mdash;namely, above the
+S. Thomas Aquinas&mdash;are S. Gismondo and S. Catharine of Siena. In the
+predella, which is a <span class="pagenum"><a id="Page_263" name="Page_263">[Pg 263]</a></span> rare work painted with little
+figures, there is in the centre the scene of S. Maria di Loreto being
+carried by the Angels from the regions of Sclavonia to the place where
+it now stands. Of the two scenes that are on either side of this, one
+shows S. Dominic preaching, the little figures being the most graceful
+in the world, and the other Pope Honorius confirming the Rule of S.
+Dominic. In the middle of this church is a figure of S. Vincent, the
+Friar, executed in fresco by the hand of the same master. And in the
+Church of S. Maria di Castelnuovo there is an altar-piece in oils of
+the Transfiguration of Christ, with three scenes painted with little
+figures in the predella&mdash;Christ leading the Apostles to Mount Tabor,
+His Prayer in the Garden, and His Ascension into Heaven.</p>
+
+<div class="figcenter">
+<a name="img058" id="img058"></a>
+<img src="images/img058-tb.jpg" width="400" height="351" alt="Andrea Odoni." title="">
+<p class="caption">ANDREA ODONI<br>
+(<i>After the painting by</i> Lorenzo Lotto.<br> <i>Hampton Court Palace</i>)<br>
+<i>Mansell</i>
+<br><span class="link"><a href="images/img058.jpg">View larger image</a></span></p>
+</div>
+
+<p>After these works Lorenzo went to Ancona, at the very time when
+Mariano da Perugia had finished a panel-picture, with a large
+ornamental frame, for the high-altar of S. Agostino. This did not give
+much satisfaction; and Lorenzo was commissioned to paint a picture,
+which is placed in the middle of the same church, of Our Lady with the
+Child in her lap, and two figures of Angels in the air, in
+foreshortening, crowning the Virgin.</p>
+
+<p>Finally, being now old, and having almost lost his voice, Lorenzo made
+his way, after executing some other works of no great importance at
+Ancona, to the Madonna of Loreto, where he had already painted an
+altar-piece in oils, which is in a chapel at the right hand of the
+entrance into the church. There, having resolved to finish his life in
+the service of the Madonna, and to make that holy house his
+habitation, he set his hand to executing scenes with figures one
+braccio or less in height round the choir, over the seats of the
+priests. In one scene he painted the Birth of Jesus Christ, and in
+another the Magi adoring Him. Next came the Presentation to Simeon,
+and after that the Baptism of Christ by John in the Jordan. There was
+also the Woman taken in Adultery being led before Christ, and all
+these were executed with much grace. Two other scenes, likewise, did
+he paint there, with an abundance of figures; one of David causing a
+sacrifice to be offered, and in the other was the Archangel Michael in
+combat with Lucifer, after having driven him out of Heaven.</p>
+
+<p><span class="pagenum"><a id="Page_264" name="Page_264">[Pg 264]</a></span> These works finished, no long time had passed when, even as
+he had lived like a good citizen and a true Christian, so he died,
+rendering up his soul to God his Master. These last years of his life
+he found full of happiness and serenity of mind, and, what is more, we
+cannot but believe that they gave him the earnest of the blessings of
+eternal life; which might not have happened to him if at the end of
+his life he had been wrapped up too closely in the things of this
+world, which, pressing too heavily on those who put their whole trust
+in them, prevent them from ever raising their minds to the true riches
+and the supreme blessedness and felicity of the other life.</p>
+
+<div class="figcenter">
+<a name="img059" id="img059"></a>
+<img src="images/img059-tb.jpg" width="400" height="578" alt="Madonna and Child." title="">
+<p class="caption">RONDINELLO (NICCOLÒ RONDINELLI): MADONNA AND CHILD<br>
+(<i>Paris: Louvre, 1159. Panel</i>)
+<br><span class="link"><a href="images/img059.jpg">View larger image</a></span></p>
+</div>
+
+<p>There also flourished in Romagna at this time the excellent painter
+Rondinello, of whom we made some slight mention in the Life of
+Giovanni Bellini, whose disciple he was, assisting him much in his
+works. This Rondinello, after leaving Giovanni Bellini, laboured at
+his art to such purpose, that, being very diligent, he executed many
+works worthy of praise; of which we have witness in the panel-picture
+of the high-altar in the Duomo at Forlì, showing Christ giving the
+Communion to the Apostles, which he painted there with his own hand,
+executing it very well. In the lunette above this picture he painted a
+Dead Christ, and in the predella some scenes with little figures,
+finished with great diligence, representing the actions of S. Helena,
+the mother of the Emperor Constantine, in the finding of the Cross. He
+also painted a single figure of S. Sebastian, which is very beautiful,
+in a picture in the same church. For the altar of S. Maria Maddalena,
+in the Duomo of Ravenna, he painted a panel-picture in oils containing
+the single figure of that Saint; and below this, in a predella, he
+executed three scenes with very graceful little figures. In one is
+Christ appearing to Mary Magdalene in the form of a gardener, in
+another S. Peter leaving the ship and walking over the water towards
+Christ, and between them the Baptism of Jesus Christ; and all are very
+beautiful. For S. Giovanni Evangelista, in the same city, he painted
+two panel-pictures, one with that Saint consecrating the church, and
+in the other three martyrs, S. Cantius, S. Cantianus, and S.
+Cantianilla, figures of great beauty. In S. Apollinare, also in that
+city, are two pictures, highly extolled, each with a single figure, S.
+John the Baptist <span class="pagenum"><a id="Page_265" name="Page_265">[Pg 265]</a></span> and S. Sebastian. And in the Church of
+the Spirito Santo there is a panel, likewise by his hand, containing
+the Madonna placed between the Virgin Martyr S. Catharine and S.
+Jerome. For S. Francesco, likewise, he painted two panel-pictures, one
+of S. Catharine and S. Francis, and in the other Our Lady with S.
+James the Apostle, S. Francis, and many figures. For S. Domenico, in
+like manner, he executed two other panels, one of which, containing
+the Madonna and many figures, is on the left hand of the high-altar,
+and the other, a work of no little beauty, is on a wall of the church.
+And for the Church of S. Niccolò, a convent of Friars of S. Augustine,
+he painted another panel with S. Laurence and S. Francis. So much was
+he commended for all these works, that during his lifetime he was held
+in great account, not only in Ravenna but throughout all Romagna.
+Rondinello lived to the age of sixty, and was buried in S. Francesco
+at Ravenna.</p>
+
+<div class="figcenter">
+<a name="img060" id="img060"></a>
+<img src="images/img060-tb.jpg" width="450" height="347" alt="Madonna and Child with Saints." title="">
+<p class="caption">MADONNA AND CHILD WITH SAINTS<br>
+(<i>After the painting by</i> Rondinello [Niccolò Rondinelli].<br> <i>Ravenna:
+Accademia</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img060.jpg">View larger image</a></span></p>
+</div>
+
+<p>This master left behind him Francesco da Cotignola, a painter likewise
+held in estimation in that city, who painted many works; in
+particular, for the high-altar of the Church of the Abbey of Classi in
+Ravenna, a panel-picture of some size representing the Raising of
+Lazarus, with many figures. There, opposite to that work, in the year
+1548, Giorgio Vasari executed for Don Romualdo da Verona, Abbot of
+that place, another panel-picture containing the Deposition of Christ
+from the Cross, with a large number of figures. Francesco also painted
+a panel-picture of the Nativity of Christ, which is of great size, for
+S. Niccolò, and likewise two panels, with various figures, for S.
+Sebastiano. For the Hospital of S. Catarina he painted a panel-picture
+with Our Lady, S. Catharine, and many other figures; and for S. Agata
+he painted a panel with Christ Crucified, the Madonna at the foot of
+the Cross, and a good number of other figures, for which he won
+praise. And for S. Apollinare, in the same city, he executed three
+panel-pictures; one for the high-altar, containing the Madonna, S.
+John the Baptist, and S. Apollinare, with S. Jerome and other saints;
+another likewise of the Madonna, with S. Peter and S. Catharine; and
+in the third and last Jesus Christ bearing His Cross, but this he was
+not able to finish, being overtaken by death.</p>
+
+<p><span class="pagenum"><a id="Page_266" name="Page_266">[Pg 266]</a></span> Francesco was a very pleasing colourist, but not so good a
+draughtsman as Rondinello; yet he was held in no small estimation by
+the people of Ravenna. He chose to be buried after his death in S.
+Apollinare, for which he had painted the said figures, being content
+that his remains, when he was dead, should lie at rest in the place
+for which he had laboured when alive.</p>
+
+<div class="figcenter">
+<a name="img061" id="img061"></a>
+<img src="images/img061-tb.jpg" width="400" height="596" alt="The Adoration of the Shepherds." title="">
+<p class="caption">THE ADORATION OF THE SHEPHERDS<br>
+(<i>After the panel by</i> Francesco da Cotignola.<br> <i>Ravenna: Accademia</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img061.jpg">View larger image</a></span></p>
+</div>
+
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="index_name_vol_5" id="index_name_vol_5"></a><span class="pagenum"><a id="Page_267" name="Page_267">[Pg 267]</a></span> INDEX OF NAMES
+
+OF THE CRAFTSMEN MENTIONED IN VOLUME V</h2>
+
+
+<ul class="none">
+<li>Agnolo, Andrea d' (Andrea del Sarto), <i>Life</i>,
+<a href="#Page_85"><b>85</b></a>-120.
+<a href="#Page_164"><b>164</b></a>,
+<a href="#Page_194"><b>194</b></a>,
+<a href="#Page_217"><b>217</b></a>-221,
+<a href="#Page_231"><b>231</b></a></li>
+
+<li>Agnolo, Baccio d' (Baccio Baglioni),
+<a href="#Page_91"><b>91</b></a>,
+<a href="#Page_98"><b>98</b></a>,
+<a href="#Page_102"><b>102</b></a></li>
+
+<li>Agnolo Bronzino,
+<a href="#Page_127"><b>127</b></a>,
+<a href="#Page_163"><b>163</b></a></li>
+
+<li>Agnolo di Cristofano,
+<a href="#Page_223"><b>223</b></a></li>
+
+<li>Agnolo di Donnino,
+<a href="#Page_38"><b>38</b></a></li>
+
+<li>Agostino Busto (Il Bambaja),
+<a href="#Page_42"><b>42</b></a>,
+<a href="#Page_43"><b>43</b></a></li>
+
+<li>Agostino Viniziano,
+<a href="#Page_97"><b>97</b></a></li>
+
+<li>Aimo, Domenico (Bologna),
+<a href="#Page_28"><b>28</b></a></li>
+
+<li>Albertinelli, Mariotto,
+<a href="#Page_86"><b>86</b></a>,
+<a href="#Page_212"><b>212</b></a>,
+<a href="#Page_217"><b>217</b></a></li>
+
+<li>Albertino, Francesco d' (Francesco Ubertini, or Il Bacchiacca),
+<a href="#Page_222"><b>222</b></a></li>
+
+<li>Alberto, Antonio,
+<a href="#Page_13"><b>13</b></a></li>
+
+<li>Albrecht Dürer,
+<a href="#Page_96"><b>96</b></a></li>
+
+<li>Alessandro Allori,
+<a href="#Page_127"><b>127</b></a></li>
+
+<li>Alessandro Vittoria,
+<a href="#Page_247"><b>247</b></a></li>
+
+<li>Alesso Baldovinetti,
+<a href="#Page_88"><b>88</b></a>,
+<a href="#Page_92"><b>92</b></a></li>
+
+<li>Alfonso Lombardi, <i>Life</i>,
+<a href="#Page_131"><b>131</b></a>-136.
+<a href="#Page_210"><b>210</b></a></li>
+
+<li>Allori, Alessandro,
+<a href="#Page_127"><b>127</b></a></li>
+
+<li>Amalteo, Pomponio,
+<a href="#Page_154"><b>154</b></a>,
+<a href="#Page_155"><b>155</b></a></li>
+
+<li>Amico Aspertini, <i>Life</i>,
+<a href="#Page_209"><b>209</b></a>-211.
+<a href="#Page_125"><b>125</b></a>,
+<a href="#Page_207"><b>207</b></a>-211</li>
+
+<li>Andrea Contucci (Andrea Sansovino, or Andrea dal Monte Sansovino), <i>Life</i>,
+<a href="#Page_21"><b>21</b></a>-31.
+<a href="#Page_43"><b>43</b></a>,
+<a href="#Page_88"><b>88</b></a></li>
+
+<li>Andrea d' Agnolo (Andrea del Sarto), <i>Life</i>,
+<a href="#Page_85"><b>85</b></a>-120.
+<a href="#Page_164"><b>164</b></a>,
+<a href="#Page_194"><b>194</b></a>,
+<a href="#Page_217"><b>217</b></a>-221,
+<a href="#Page_231"><b>231</b></a></li>
+
+<li>Andrea da Fiesole (Andrea Ferrucci), <i>Life</i>,
+<a href="#Page_3"><b>3</b></a>-8.
+<a href="#Page_11"><b>11</b></a></li>
+
+<li>Andrea dal Castagno (Andrea degli Impiccati),
+<a href="#Page_116"><b>116</b></a></li>
+
+<li>Andrea dal Monte Sansovino (Andrea Sansovino, or Andrea Contucci), <i>Life</i>,
+<a href="#Page_21"><b>21</b></a>-31.
+<a href="#Page_43"><b>43</b></a>,
+<a href="#Page_88"><b>88</b></a></li>
+
+<li>Andrea degli Impiccati (Andrea dal Castagno),
+<a href="#Page_116"><b>116</b></a></li>
+
+<li>Andrea del Sarto (Andrea d' Agnolo), <i>Life</i>,
+<a href="#Page_85"><b>85</b></a>-120.
+<a href="#Page_164"><b>164</b></a>,
+<a href="#Page_194"><b>194</b></a>,
+<a href="#Page_217"><b>217</b></a>-221,
+<a href="#Page_231"><b>231</b></a></li>
+
+<li>Andrea della Robbia,
+<a href="#Page_90"><b>90</b></a></li>
+
+<li>Andrea di Cosimo Feltrini, <i>Life</i>,
+<a href="#Page_229"><b>229</b></a>-233.
+<a href="#Page_221"><b>221</b></a>,
+<a href="#Page_228"><b>228</b></a></li>
+
+<li>Andrea Ferrucci (Andrea da Fiesole), <i>Life</i>,
+<a href="#Page_3"><b>3</b></a>-8.
+<a href="#Page_11"><b>11</b></a></li>
+
+<li>Andrea Sansovino (Andrea Contucci, or Andrea dal Monte Sansovino), <i>Life</i>,
+<a href="#Page_21"><b>21</b></a>-31.
+<a href="#Page_43"><b>43</b></a>,
+<a href="#Page_88"><b>88</b></a></li>
+
+<li>Andrea Sguazzella,
+<a href="#Page_100"><b>100</b></a>,
+<a href="#Page_118"><b>118</b></a></li>
+
+<li>Andrea Verrocchio,
+<a href="#Page_49"><b>49</b></a>,
+<a href="#Page_50"><b>50</b></a>,
+<a href="#Page_55"><b>55</b></a></li>
+
+<li>Anguisciuola, Sofonisba,
+<a href="#Page_127"><b>127</b></a>,
+<a href="#Page_128"><b>128</b></a></li>
+
+<li>Antonio Alberto,
+<a href="#Page_13"><b>13</b></a></li>
+
+<li>Antonio da Carrara,
+<a href="#Page_8"><b>8</b></a></li>
+
+<li>Antonio da San Gallo (the elder),
+<a href="#Page_97"><b>97</b></a></li>
+
+<li>Antonio da San Gallo (the younger),
+<a href="#Page_29"><b>29</b></a>,
+<a href="#Page_43"><b>43</b></a>,
+<a href="#Page_58"><b>58</b></a>,
+<a href="#Page_72"><b>72</b></a></li>
+
+<li>Antonio da Trento (Antonio Fantuzzi),
+<a href="#Page_249"><b>249</b></a>,
+<a href="#Page_250"><b>250</b></a></li>
+
+<li>Antonio del Rozzo (Antonio del Tozzo),
+<a href="#Page_73"><b>73</b></a></li>
+
+<li>Antonio di Donnino Mazzieri,
+<a href="#Page_223"><b>223</b></a></li>
+
+<li>Antonio di Giorgio Marchissi,
+<a href="#Page_4"><b>4</b></a></li>
+
+<li>Antonio di Giovanni (Solosmeo),
+<a href="#Page_118"><b>118</b></a></li>
+
+<li>Antonio Fantuzzi (Antonio da Trento),
+<a href="#Page_249"><b>249</b></a>,
+<a href="#Page_250"><b>250</b></a></li>
+
+<li>Antonio Floriani,
+<a href="#Page_148"><b>148</b></a>,
+<a href="#Page_149"><b>149</b></a></li>
+
+<li>Antonio Mini,
+<a href="#Page_165"><b>165</b></a></li>
+
+<li>Antonio Pollaiuolo,
+<a href="#Page_21"><b>21</b></a></li>
+
+<li>Apelles,
+<a href="#Page_14"><b>14</b></a></li>
+
+<li>Aretusi, Pellegrino degli (Pellegrino da Modena, or Pellegrino de' Munari), <i>Life</i>,
+<a href="#Page_80"><b>80</b></a>-81.
+<a href="#Page_176"><b>176</b></a></li>
+
+<li>Aristotele (Sebastiano) da San Gallo,
+<a href="#Page_97"><b>97</b></a></li>
+
+<li>Aspertini, Amico, <i>Life</i>,
+<a href="#Page_209"><b>209</b></a>-211.
+<a href="#Page_125"><b>125</b></a>,
+<a href="#Page_207"><b>207</b></a>-211</li>
+</ul>
+
+
+<ul class="none p2">
+<li>Bacchiacca, Il (Francesco Ubertini, or Francesco d' Albertino),
+<a href="#Page_222"><b>222</b></a></li>
+
+<li>Baccio Baglioni (Baccio d' Agnolo),
+<a href="#Page_91"><b>91</b></a>,
+<a href="#Page_98"><b>98</b></a>,
+<a href="#Page_102"><b>102</b></a></li>
+
+<li>Baccio Bandinelli,
+<a href="#Page_5"><b>5</b></a>,
+<a href="#Page_27"><b>27</b></a>,
+<a href="#Page_36"><b>36</b></a>,
+<a href="#Page_57"><b>57</b></a>,
+<a href="#Page_96"><b>96</b></a>-98,
+<a href="#Page_135"><b>135</b></a></li>
+
+<li>Baccio d' Agnolo (Baccio Baglioni),
+<a href="#Page_91"><b>91</b></a>,
+<a href="#Page_98"><b>98</b></a>,
+<a href="#Page_102"><b>102</b></a></li>
+
+<li>Baccio da Montelupo, <i>Life</i>,
+<a href="#Page_41"><b>41</b></a>-45.
+<a href="#Page_97"><b>97</b></a></li>
+
+<li>Baccio della Porta (Fra Bartolommeo di San Marco),
+<a href="#Page_159"><b>159</b></a>,
+<a href="#Page_160"><b>160</b></a>,
+<a href="#Page_194"><b>194</b></a></li>
+
+<li>Baglioni, Baccio (Baccio d' Agnolo),
+<a href="#Page_91"><b>91</b></a>,
+<a href="#Page_98"><b>98</b></a>,
+<a href="#Page_102"><b>102</b></a></li>
+
+<li>Bagnacavallo, Bartolommeo da (Bartolommeo Ramenghi), <i>Life</i>,
+<a href="#Page_207"><b>207</b></a>-209</li>
+
+<li>Bagnacavallo, Giovan Battista da,
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Baldassarre Peruzzi, <i>Life</i>,
+<a href="#Page_63"><b>63</b></a>-74.
+<a href="#Page_57"><b>57</b></a>,
+<a href="#Page_63"><b>63</b></a>-74,
+<a href="#Page_136"><b>136</b></a>,
+<a href="#Page_170"><b>170</b></a>,
+<a href="#Page_176"><b>176</b></a>,
+<a href="#Page_208"><b>208</b></a></li>
+
+<li>Baldovinetti, Alesso,
+<a href="#Page_88"><b>88</b></a>,
+<a href="#Page_92"><b>92</b></a></li>
+
+<li>Bambaja, Il (Agostino Busto),
+<a href="#Page_42"><b>42</b></a>,
+<a href="#Page_43"><b>43</b></a></li>
+
+<li>Bandinelli, Baccio,
+<a href="#Page_5"><b>5</b></a>,
+<a href="#Page_27"><b>27</b></a>,
+<a href="#Page_36"><b>36</b></a>,
+<a href="#Page_57"><b>57</b></a>,
+<a href="#Page_96"><b>96</b></a>-98,
+<a href="#Page_135"><b>135</b></a></li>
+
+<li>Barbieri, Domenico del,
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Barile, Gian (of Florence),
+<a href="#Page_86"><b>86</b></a></li>
+
+<li>Bartolommeo da Bagnacavallo (Bartolommeo Ramenghi), <i>Life</i>,
+<a href="#Page_207"><b>207</b></a>-209</li>
+
+<li>Bartolommeo di San Marco, Fra (Baccio della Porta),
+<a href="#Page_159"><b>159</b></a>,
+<a href="#Page_160"><b>160</b></a>,
+<a href="#Page_194"><b>194</b></a></li>
+
+<li>Bartolommeo Miniati,
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Bartolommeo Neroni (Riccio),
+<a href="#Page_73"><b>73</b></a></li>
+
+<li>Bartolommeo Ramenghi (Bartolommeo da Bagnacavallo), <i>Life</i>,
+<a href="#Page_207"><b>207</b></a>-209</li>
+
+<li>Bastianello Florigorio (Sebastiano Florigerio),
+<a href="#Page_148"><b>148</b></a></li>
+
+<li>Battista, Martino di (Pellegrino da San Daniele, or Martino da Udine),
+<a href="#Page_145"><b>145</b></a>-150</li>
+
+<li>Battista Dossi, <i>Life</i>,
+<a href="#Page_139"><b>139</b></a>-141</li>
+
+<li>Battistino,
+<a href="#Page_193"><b>193</b></a>,
+<a href="#Page_194"><b>194</b></a></li>
+
+<li>Baviera,
+<a href="#Page_194"><b>194</b></a></li>
+
+<li>Bazzi, Giovanni Antonio (Sodoma),
+<a href="#Page_73"><b>73</b></a></li>
+
+<li>Beccafumi, Domenico (Domenico di Pace),
+<a href="#Page_74"><b>74</b></a>,
+<a href="#Page_153"><b>153</b></a>,
+<a href="#Page_163"><b>163</b></a></li>
+
+<li>Belli, Valerio de' (Valerio Vicentino),
+<a href="#Page_247"><b>247</b></a></li>
+
+<li>Bellini family,
+<a href="#Page_262"><b>262</b></a></li>
+
+<li>Bellini, Giovanni,
+<a href="#Page_145"><b>145</b></a>,
+<a href="#Page_146"><b>146</b></a>,
+<a href="#Page_260"><b>260</b></a>,
+<a href="#Page_264"><b>264</b></a></li>
+
+<li>Bembo, Giovan Francesco (Giovan Francesco Vetraio),
+<a href="#Page_180"><b>180</b></a></li>
+
+<li>Benedetto,
+<a href="#Page_165"><b>165</b></a></li>
+
+<li>Benedetto da Ferrara (Benedetto Coda),
+<a href="#Page_211"><b>211</b></a>,
+<a href="#Page_212"><b>212</b></a></li>
+
+<li>Benedetto da Maiano,
+<a href="#Page_5"><b>5</b></a></li>
+
+<li>Benedetto da Rovezzano, <i>Life</i>,
+<a href="#Page_35"><b>35</b></a>-38</li>
+
+<li>Benedetto Spadari,
+<a href="#Page_195"><b>195</b></a>,
+<a href="#Page_196"><b>196</b></a></li>
+
+<li>Benvenuto Cellini,
+<a href="#Page_135"><b>135</b></a></li>
+
+<li>Bernardino del Lupino (Bernardino Luini),
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Bernardino Pinturicchio,
+<a href="#Page_227"><b>227</b></a></li>
+
+<li>Bernardo da Vercelli,
+<a href="#Page_151"><b>151</b></a></li>
+
+<li>Bernardo del Buda (Bernardo Rosselli),
+<a href="#Page_116"><b>116</b></a></li>
+
+<li>Bernazzano, Cesare,
+<a href="#Page_141"><b>141</b></a></li>
+
+<li>Biagio, Raffaello di,
+<a href="#Page_231"><b>231</b></a>,
+<a href="#Page_232"><b>232</b></a></li>
+
+<li>Biagio Bolognese (Biagio Pupini),
+<a href="#Page_208"><b>208</b></a>,
+<a href="#Page_211"><b>211</b></a></li>
+
+<li>Bicci, Lorenzo di,
+<a href="#Page_5"><b>5</b></a></li>
+
+<li>Boccaccino, Boccaccio, <i>Life</i>,
+<a href="#Page_58"><b>58</b></a>-60</li>
+
+<li>Boccaccino, Camillo,
+<a href="#Page_59"><b>59</b></a>,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Boccalino, Giovanni (Giovanni Ribaldi),
+<a href="#Page_29"><b>29</b></a></li>
+
+<li>Bologna (Domenico Aimo),
+<a href="#Page_28"><b>28</b></a></li>
+
+<li>Bolognese, Biagio (Biagio Pupini),
+<a href="#Page_208"><b>208</b></a>,
+<a href="#Page_211"><b>211</b></a></li>
+
+<li>Borgo, Raffaello dal (Raffaello dal Colle),
+<a href="#Page_140"><b>140</b></a>,
+<a href="#Page_195"><b>195</b></a>,
+<a href="#Page_196"><b>196</b></a></li>
+
+<li>Borgo, Santi Titi dal,
+<a href="#Page_160"><b>160</b></a></li>
+
+<li>Boscoli, Maso,
+<a href="#Page_6"><b>6</b></a></li>
+
+<li>Bramante da Urbino,
+<a href="#Page_26"><b>26</b></a>,
+<a href="#Page_28"><b>28</b></a>,
+<a href="#Page_29"><b>29</b></a>,
+<a href="#Page_65"><b>65</b></a>,
+<a href="#Page_68"><b>68</b></a>,
+<a href="#Page_69"><b>69</b></a></li>
+
+<li>Bronzino, Agnolo,
+<a href="#Page_127"><b>127</b></a>,
+<a href="#Page_163"><b>163</b></a></li>
+
+<li>Buda, Bernardo del (Bernardo Rosselli),
+<a href="#Page_116"><b>116</b></a></li>
+
+<li>Buonaccorsi, Perino (Perino del Vaga),
+<a href="#Page_7"><b>7</b></a>,
+<a href="#Page_77"><b>77</b></a>-79,
+<a href="#Page_153"><b>153</b></a>,
+<a href="#Page_162"><b>162</b></a></li>
+
+<li>Buonarroti, Michelagnolo,
+<a href="#Page_5"><b>5</b></a>,
+<a href="#Page_6"><b>6</b></a>,
+<a href="#Page_23"><b>23</b></a>,
+<a href="#Page_43"><b>43</b></a>-45,
+<a href="#Page_58"><b>58</b></a>,
+<a href="#Page_86"><b>86</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_117"><b>117</b></a>,
+<a href="#Page_128"><b>128</b></a>,
+<a href="#Page_135"><b>135</b></a>,
+<a href="#Page_165"><b>165</b></a>,
+<a href="#Page_190"><b>190</b></a>,
+<a href="#Page_194"><b>194</b></a>,
+<a href="#Page_228"><b>228</b></a>,
+<a href="#Page_245"><b>245</b></a>,
+<a href="#Page_247"><b>247</b></a>,
+<a href="#Page_261"><b>261</b></a></li>
+
+<li>Busto, Agostino (Il Bambaja),
+<a href="#Page_42"><b>42</b></a>,
+<a href="#Page_43"><b>43</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Caccianimici, Francesco,
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Caccianimici, Vincenzio,
+<a href="#Page_255"><b>255</b></a>,
+<a href="#Page_256"><b>256</b></a></li>
+
+<li>Cadore, Tiziano da (Tiziano Vecelli),
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_133"><b>133</b></a>,
+<a href="#Page_134"><b>134</b></a>,
+<a href="#Page_152"><b>152</b></a>,
+<a href="#Page_153"><b>153</b></a></li>
+
+<li>Calavrese, Marco (Marco Cardisco), <i>Life</i>,
+<a href="#Page_237"><b>237</b></a>-239</li>
+
+<li>Caldara, Polidoro (Polidoro da Caravaggio), <i>Life</i>,
+<a href="#Page_175"><b>175</b></a>-185</li>
+
+<li>Calzolaio, Sandrino del,
+<a href="#Page_161"><b>161</b></a>,
+<a href="#Page_165"><b>165</b></a></li>
+
+<li>Camillo Boccaccino,
+<a href="#Page_59"><b>59</b></a>,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Capanna (of Siena),
+<a href="#Page_74"><b>74</b></a></li>
+
+<li>Caraglio, Giovanni Jacopo,
+<a href="#Page_194"><b>194</b></a></li>
+
+<li>Caravaggio, Polidoro da (Polidoro Caldara), <i>Life</i>,
+<a href="#Page_175"><b>175</b></a>-185</li>
+
+<li>Cardisco, Marco (Marco Calavrese), <i>Life</i>,
+<a href="#Page_237"><b>237</b></a>-239</li>
+
+<li>Carpi, Girolamo da (Girolamo da Ferrara),
+<a href="#Page_154"><b>154</b></a></li>
+
+<li>Carrara, Antonio da,
+<a href="#Page_8"><b>8</b></a></li>
+
+<li>Carrara, Danese da (Danese Cattaneo),
+<a href="#Page_135"><b>135</b></a></li>
+
+<li>Carrucci, Jacopo (Jacopo da Pontormo),
+<a href="#Page_93"><b>93</b></a>,
+<a href="#Page_98"><b>98</b></a>,
+<a href="#Page_104"><b>104</b></a>,
+<a href="#Page_118"><b>118</b></a>,
+<a href="#Page_135"><b>135</b></a>,
+<a href="#Page_190"><b>190</b></a>,
+<a href="#Page_221"><b>221</b></a>,
+<a href="#Page_222"><b>222</b></a>,
+<a href="#Page_231"><b>231</b></a>,
+<a href="#Page_232"><b>232</b></a></li>
+
+<li>Castagno, Andrea dal (Andrea degli Impiccati),
+<a href="#Page_116"><b>116</b></a></li>
+
+<li>Castelfranco, Giorgione da,
+<a href="#Page_149"><b>149</b></a>,
+<a href="#Page_228"><b>228</b></a>,
+<a href="#Page_262"><b>262</b></a></li>
+
+<li>Castellani, Leonardo,
+<a href="#Page_238"><b>238</b></a></li>
+
+<li>Castrocaro, Gian Jacopo da,
+<a href="#Page_50"><b>50</b></a></li>
+
+<li>Cattaneo, Danese (Danese da Carrara),
+<a href="#Page_135"><b>135</b></a></li>
+
+<li>Cellini, Benvenuto,
+<a href="#Page_135"><b>135</b></a></li>
+
+<li>Cesare Bernazzano,
+<a href="#Page_141"><b>141</b></a></li>
+
+<li>Cesare da Sesto (Cesare da Milano),
+<a href="#Page_65"><b>65</b></a>,
+<a href="#Page_141"><b>141</b></a></li>
+
+<li>Cicilia, Il,
+<a href="#Page_8"><b>8</b></a></li>
+
+<li>Cimabue, Giovanni,
+<a href="#Page_177"><b>177</b></a></li>
+
+<li>Cioli, Simone,
+<a href="#Page_30"><b>30</b></a></li>
+
+<li>Claudio of Paris,
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Coda, Benedetto (Benedetto da Ferrara),
+<a href="#Page_211"><b>211</b></a>,
+<a href="#Page_212"><b>212</b></a></li>
+
+<li>Cola dalla Matrice (Niccola Filotesio),
+<a href="#Page_238"><b>238</b></a>,
+<a href="#Page_239"><b>239</b></a></li>
+
+<li>Colle, Raffaello dal (Raffaello dal Borgo),
+<a href="#Page_140"><b>140</b></a>,
+<a href="#Page_195"><b>195</b></a>,
+<a href="#Page_196"><b>196</b></a></li>
+
+<li>Conte, Jacopo del,
+<a href="#Page_119"><b>119</b></a></li>
+
+<li>Conti, Domenico,
+<a href="#Page_115"><b>115</b></a>,
+<a href="#Page_119"><b>119</b></a></li>
+
+<li>Contucci, Andrea (Andrea Sansovino, or Andrea dal Monte Sansovino), <i>Life</i>,
+<a href="#Page_21"><b>21</b></a>-31.
+<a href="#Page_43"><b>43</b></a>,
+<a href="#Page_88"><b>88</b></a></li>
+
+<li>Cosimo, Piero di,
+<a href="#Page_86"><b>86</b></a></li>
+
+<li>Cosimo Rosselli,
+<a href="#Page_88"><b>88</b></a>,
+<a href="#Page_229"><b>229</b></a></li>
+
+<li>Cosimo, Silvio,
+<a href="#Page_6"><b>6</b></a>-8</li>
+
+<li>Cotignola, Francesco da (Francesco de' Zaganelli), <i>Life</i>,
+<a href="#Page_265"><b>265</b></a>-266</li>
+
+<li>Cotignola, Girolamo da (Girolamo Marchesi), <i>Life</i>,
+<a href="#Page_211"><b>211</b></a>-212.
+<a href="#Page_207"><b>207</b></a></li>
+
+<li>Credi, Lorenzo di, <i>Life</i>,
+<a href="#Page_49"><b>49</b></a>-52.
+<a href="#Page_159"><b>159</b></a></li>
+
+<li>Credi, Maestro,
+<a href="#Page_49"><b>49</b></a></li>
+
+<li>Crescione, Giovan Filippo,
+<a href="#Page_238"><b>238</b></a></li>
+
+<li>Cristofano, Agnolo di,
+<a href="#Page_223"><b>223</b></a></li>
+
+<li>Cronaca, Il (Simone del Pollaiuolo),
+<a href="#Page_22"><b>22</b></a></li>
+
+<li>Cuticello (Giovanni Antonio Licinio, or Pordenone), <i>Life</i>,
+<a href="#Page_145"><b>145</b></a>-155</li>
+</ul>
+
+
+<ul class="none p2">
+<li>Danese da Carrara (Danese Cattaneo),
+<a href="#Page_135"><b>135</b></a></li>
+
+<li>Della Robbia family,
+<a href="#Page_22"><b>22</b></a></li>
+
+<li>Domenico Aimo (Bologna),
+<a href="#Page_28"><b>28</b></a></li>
+
+<li>Domenico Beccafumi (Domenico di Pace),
+<a href="#Page_74"><b>74</b></a>,
+<a href="#Page_153"><b>153</b></a>,
+<a href="#Page_163"><b>163</b></a></li>
+
+<li>Domenico Conti,
+<a href="#Page_115"><b>115</b></a>,
+<a href="#Page_119"><b>119</b></a></li>
+
+<li>Domenico dal Monte Sansovino,
+<a href="#Page_30"><b>30</b></a></li>
+
+<li>Domenico del Barbieri,
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Domenico di Pace (Domenico Beccafumi),
+<a href="#Page_74"><b>74</b></a>,
+<a href="#Page_153"><b>153</b></a>,
+<a href="#Page_163"><b>163</b></a></li>
+
+<li>Domenico di Paris,
+<a href="#Page_195"><b>195</b></a></li>
+
+<li>Domenico di Polo,
+<a href="#Page_135"><b>135</b></a></li>
+
+<li>Domenico Puligo,
+<a href="#Page_109"><b>109</b></a></li>
+
+<li>Donato (Donatello),
+<a href="#Page_23"><b>23</b></a></li>
+
+<li>Donnino, Agnolo di,
+<a href="#Page_38"><b>38</b></a></li>
+
+<li>Dossi, Battista, <i>Life</i>,
+<a href="#Page_139"><b>139</b></a>-141</li>
+
+<li>Dossi, Dosso, <i>Life</i>,
+<a href="#Page_139"><b>139</b></a>-141</li>
+
+<li>Dürer, Albrecht,
+<a href="#Page_96"><b>96</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Fagiuoli, Girolamo,
+<a href="#Page_250"><b>250</b></a></li>
+
+<li>Fantuzzi, Antonio (Antonio da Trento),
+<a href="#Page_249"><b>249</b></a>,
+<a href="#Page_250"><b>250</b></a></li>
+
+<li>Fattore, Il (Giovan Francesco Penni), <i>Life</i>,
+<a href="#Page_77"><b>77</b></a>-80.
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Feltrini, Andrea di Cosimo, <i>Life</i>,
+<a href="#Page_229"><b>229</b></a>-233.
+<a href="#Page_221"><b>221</b></a>,
+<a href="#Page_228"><b>228</b></a></li>
+
+<li>Feltro, Morto da, <i>Life</i>,
+<a href="#Page_227"><b>227</b></a>-229.
+<a href="#Page_230"><b>230</b></a></li>
+
+<li>Ferrara, Benedetto da (Benedetto Coda),
+<a href="#Page_211"><b>211</b></a>,
+<a href="#Page_212"><b>212</b></a></li>
+
+<li>Ferrara, Girolamo da (Girolamo da Carpi),
+<a href="#Page_154"><b>154</b></a></li>
+
+<li>Ferrari, Gaudenzio,
+<a href="#Page_81"><b>81</b></a></li>
+
+<li>Ferrucci, Andrea (Andrea da Fiesole), <i>Life</i>,
+<a href="#Page_3"><b>3</b></a>-8.
+<a href="#Page_11"><b>11</b></a></li>
+
+<li>Ferrucci, Francesco di Simone,
+<a href="#Page_3"><b>3</b></a></li>
+
+<li>Fiesole, Andrea da (Andrea Ferrucci), <i>Life</i>,
+<a href="#Page_3"><b>3</b></a>-8.
+<a href="#Page_11"><b>11</b></a></li>
+
+<li>Filippo Lippi (Filippino),
+<a href="#Page_87"><b>87</b></a></li>
+
+<li>Filotesio, Niccola (Cola dalla Matrice),
+<a href="#Page_238"><b>238</b></a>,
+<a href="#Page_239"><b>239</b></a></li>
+
+<li>Floriani, Antonio,
+<a href="#Page_148"><b>148</b></a>,
+<a href="#Page_149"><b>149</b></a></li>
+
+<li>Floriani, Francesco,
+<a href="#Page_148"><b>148</b></a>,
+<a href="#Page_149"><b>149</b></a></li>
+
+<li>Florigorio, Bastianello (Sebastiano Florigerio),
+<a href="#Page_148"><b>148</b></a></li>
+
+<li>Fontana, Prospero,
+<a href="#Page_213"><b>213</b></a></li>
+
+<li>Fra Bartolommeo di San Marco (Baccio della Porta),
+<a href="#Page_159"><b>159</b></a>,
+<a href="#Page_160"><b>160</b></a>,
+<a href="#Page_194"><b>194</b></a></li>
+
+<li>Fra Sebastiano Viniziano del Piombo,
+<a href="#Page_66"><b>66</b></a></li>
+
+<li>Francesco, Mariotto di,
+<a href="#Page_231"><b>231</b></a>-233</li>
+
+<li>Francesco Caccianimici,
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Francesco d' Albertino (Francesco Ubertini, or Il Bacchiacca),
+<a href="#Page_222"><b>222</b></a></li>
+
+<li>Francesco da Cotignola (Francesco de' Zaganelli), <i>Life</i>,
+<a href="#Page_265"><b>265</b></a>-266</li>
+
+<li>Francesco da San Gallo,
+<a href="#Page_27"><b>27</b></a></li>
+
+<li>Francesco da Siena,
+<a href="#Page_71"><b>71</b></a>,
+<a href="#Page_73"><b>73</b></a></li>
+
+<li>Francesco de' Rossi (Francesco Salviati),
+<a href="#Page_119"><b>119</b></a></li>
+
+<li>Francesco de' Zaganelli (Francesco da Cotignola), <i>Life</i>,
+<a href="#Page_265"><b>265</b></a>-266</li>
+
+<li>Francesco di Girolamo dal Prato,
+<a href="#Page_135"><b>135</b></a></li>
+
+<li>Francesco di Mirozzo (Melozzo),
+<a href="#Page_140"><b>140</b></a></li>
+
+<li>Francesco di Simone Ferrucci,
+<a href="#Page_3"><b>3</b></a></li>
+
+<li>Francesco Floriani,
+<a href="#Page_148"><b>148</b></a>,
+<a href="#Page_149"><b>149</b></a></li>
+
+<li>Francesco Granacci (Il Granaccio),
+<a href="#Page_97"><b>97</b></a>,
+<a href="#Page_98"><b>98</b></a>,
+<a href="#Page_231"><b>231</b></a></li>
+
+<li>Francesco Mazzuoli (Parmigiano), <i>Life</i>,
+<a href="#Page_243"><b>243</b></a>-256</li>
+
+<li>Francesco of Orleans,
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Francesco Primaticcio,
+<a href="#Page_200"><b>200</b></a>,
+<a href="#Page_201"><b>201</b></a>,
+<a href="#Page_203"><b>203</b></a></li>
+
+<li>Francesco Salviati (Francesco de' Rossi),
+<a href="#Page_119"><b>119</b></a></li>
+
+<li>Francesco Ubertini (Francesco d' Albertino, or Il Bacchiacca),
+<a href="#Page_222"><b>222</b></a></li>
+
+<li>Franciabigio (Francia), <i>Life</i>,
+<a href="#Page_217"><b>217</b></a>-223.
+<a href="#Page_86"><b>86</b></a>-89,
+<a href="#Page_91"><b>91</b></a>,
+<a href="#Page_93"><b>93</b></a>,
+<a href="#Page_101"><b>101</b></a>,
+<a href="#Page_103"><b>103</b></a>,
+<a href="#Page_104"><b>104</b></a>,
+<a href="#Page_217"><b>217</b></a>-223,
+<a href="#Page_231"><b>231</b></a>,
+<a href="#Page_232"><b>232</b></a></li>
+
+<li>Francucci, Innocenzio (Innocenzio da Imola), <i>Life</i>,
+<a href="#Page_212"><b>212</b></a>-213.
+<a href="#Page_207"><b>207</b></a>,
+<a href="#Page_209"><b>209</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Gaudenzio Ferrari,
+<a href="#Page_81"><b>81</b></a></li>
+
+<li>Genga, Girolamo,
+<a href="#Page_15"><b>15</b></a>,
+<a href="#Page_16"><b>16</b></a>,
+<a href="#Page_140"><b>140</b></a></li>
+
+<li>Gensio Liberale,
+<a href="#Page_149"><b>149</b></a></li>
+
+<li>Ghirlandajo, Michele di Ridolfo,
+<a href="#Page_165"><b>165</b></a></li>
+
+<li>Ghirlandajo, Ridolfo,
+<a href="#Page_220"><b>220</b></a>,
+<a href="#Page_231"><b>231</b></a></li>
+
+<li>Gian Barile (of Florence),
+<a href="#Page_86"><b>86</b></a></li>
+
+<li>Gian Jacopo da Castrocaro,
+<a href="#Page_50"><b>50</b></a></li>
+
+<li>Giannuzzi, Giulio Pippi de' (Giulio Romano),
+<a href="#Page_55"><b>55</b></a>,
+<a href="#Page_77"><b>77</b></a>-79,
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_195"><b>195</b></a></li>
+
+<li>Giorgio Vasari. See Vasari (Giorgio)</li>
+
+<li>Giorgione da Castelfranco,
+<a href="#Page_149"><b>149</b></a>,
+<a href="#Page_228"><b>228</b></a>,
+<a href="#Page_262"><b>262</b></a></li>
+
+<li>Giotto,
+<a href="#Page_21"><b>21</b></a></li>
+
+<li>Giovan Battista da Bagnacavallo,
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Giovan Battista de' Rossi (Il Rosso), <i>Life</i>,
+<a href="#Page_189"><b>189</b></a>-203.
+<a href="#Page_97"><b>97</b></a></li>
+
+<li>Giovan Battista Grassi,
+<a href="#Page_148"><b>148</b></a></li>
+
+<li>Giovan Battista Peloro,
+<a href="#Page_73"><b>73</b></a></li>
+
+<li>Giovan Filippo Crescione,
+<a href="#Page_238"><b>238</b></a></li>
+
+<li>Giovan Francesco Bembo (Giovan Francesco Vetraio),
+<a href="#Page_180"><b>180</b></a></li>
+
+<li>Giovan Francesco Penni (Il Fattore), <i>Life</i>,
+<a href="#Page_77"><b>77</b></a>-80.
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Giovan Francesco Vetraio (Giovan Francesco Bembo),
+<a href="#Page_180"><b>180</b></a></li>
+
+<li>Giovanni, Antonio di (Solosmeo),
+<a href="#Page_118"><b>118</b></a></li>
+
+<li>Giovanni Antonio Bazzi (Sodoma),
+<a href="#Page_73"><b>73</b></a></li>
+
+<li>Giovanni Antonio Lappoli,
+<a href="#Page_196"><b>196</b></a>-198</li>
+
+<li>Giovanni Antonio Licinio (Cuticello, or Pordenone), <i>Life</i>,
+<a href="#Page_145"><b>145</b></a>-155</li>
+
+<li>Giovanni Antonio Sogliani, <i>Life</i>,
+<a href="#Page_159"><b>159</b></a>-166.
+<a href="#Page_51"><b>51</b></a></li>
+
+<li>Giovanni Bellini,
+<a href="#Page_145"><b>145</b></a>,
+<a href="#Page_146"><b>146</b></a>,
+<a href="#Page_260"><b>260</b></a>,
+<a href="#Page_264"><b>264</b></a></li>
+
+<li>Giovanni Boccalino (Giovanni Ribaldi),
+<a href="#Page_29"><b>29</b></a></li>
+
+<li>Giovanni Cimabue,
+<a href="#Page_177"><b>177</b></a></li>
+
+<li>Giovanni da Nola,
+<a href="#Page_137"><b>137</b></a>-139</li>
+
+<li>Giovanni da Udine (Giovanni Martini),
+<a href="#Page_145"><b>145</b></a>-147</li>
+
+<li>Giovanni da Udine (Giovanni Nanni, or Giovanni Ricamatori),
+<a href="#Page_77"><b>77</b></a>,
+<a href="#Page_155"><b>155</b></a>,
+<a href="#Page_175"><b>175</b></a>,
+<a href="#Page_229"><b>229</b></a>,
+<a href="#Page_238"><b>238</b></a>,
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Giovanni Jacopo Caraglio,
+<a href="#Page_194"><b>194</b></a></li>
+
+<li>Giovanni Mangone,
+<a href="#Page_5"><b>5</b></a></li>
+
+<li>Giovanni Mansueti,
+<a href="#Page_260"><b>260</b></a></li>
+
+<li>Giovanni Martini (Giovanni da Udine),
+<a href="#Page_145"><b>145</b></a>-147</li>
+
+<li>Giovanni Nanni (Giovanni da Udine, or Giovanni Ricamatori),
+<a href="#Page_77"><b>77</b></a>,
+<a href="#Page_155"><b>155</b></a>,
+<a href="#Page_175"><b>175</b></a>,
+<a href="#Page_229"><b>229</b></a>,
+<a href="#Page_238"><b>238</b></a>,
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Giovanni Ribaldi (Giovanni Boccalino),
+<a href="#Page_29"><b>29</b></a></li>
+
+<li>Giovanni Ricamatori (Giovanni da Udine, or Giovanni Nanni),
+<a href="#Page_77"><b>77</b></a>,
+<a href="#Page_155"><b>155</b></a>,
+<a href="#Page_175"><b>175</b></a>,
+<a href="#Page_229"><b>229</b></a>,
+<a href="#Page_238"><b>238</b></a>,
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Girolamo,
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Girolamo da Carpi (Girolamo da Ferrara),
+<a href="#Page_154"><b>154</b></a></li>
+
+<li>Girolamo da Cotignola (Girolamo Marchesi), <i>Life</i>,
+<a href="#Page_211"><b>211</b></a>-212.
+<a href="#Page_207"><b>207</b></a></li>
+
+<li>Girolamo da Ferrara (Girolamo da Carpi),
+<a href="#Page_154"><b>154</b></a></li>
+
+<li>Girolamo da Treviso (Girolamo Trevigi), <i>Life</i>,
+<a href="#Page_169"><b>169</b></a>-171.
+<a href="#Page_68"><b>68</b></a></li>
+
+<li>Girolamo della Robbia,
+<a href="#Page_90"><b>90</b></a></li>
+
+<li>Girolamo Fagiuoli,
+<a href="#Page_250"><b>250</b></a></li>
+
+<li>Girolamo Genga,
+<a href="#Page_15"><b>15</b></a>,
+<a href="#Page_16"><b>16</b></a>,
+<a href="#Page_140"><b>140</b></a></li>
+
+<li>Girolamo Lombardo,
+<a href="#Page_24"><b>24</b></a>,
+<a href="#Page_28"><b>28</b></a>-30</li>
+
+<li>Girolamo Marchesi (Girolamo da Cotignola), <i>Life</i>,
+<a href="#Page_211"><b>211</b></a>-212.
+<a href="#Page_207"><b>207</b></a></li>
+
+<li>Girolamo Mazzuoli,
+<a href="#Page_244"><b>244</b></a>,
+<a href="#Page_245"><b>245</b></a>,
+<a href="#Page_254"><b>254</b></a>,
+<a href="#Page_255"><b>255</b></a></li>
+
+<li>Girolamo Santa Croce, <i>Life</i>,
+<a href="#Page_137"><b>137</b></a>-138</li>
+
+<li>Girolamo Trevigi (Girolamo da Treviso), <i>Life</i>,
+<a href="#Page_169"><b>169</b></a>-171.
+<a href="#Page_68"><b>68</b></a></li>
+
+<li>Giuliano da San Gallo,
+<a href="#Page_97"><b>97</b></a></li>
+
+<li>Giuliano del Tasso,
+<a href="#Page_97"><b>97</b></a></li>
+
+<li>Giuliano (di Niccolò Morelli), Maestro,
+<a href="#Page_73"><b>73</b></a></li>
+
+<li>Giulio Romano (Giulio Pippi de' Giannuzzi),
+<a href="#Page_55"><b>55</b></a>,
+<a href="#Page_77"><b>77</b></a>-79,
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_195"><b>195</b></a></li>
+
+<li>Granacci, Francesco (Il Granaccio),
+<a href="#Page_97"><b>97</b></a>,
+<a href="#Page_98"><b>98</b></a>,
+<a href="#Page_231"><b>231</b></a></li>
+
+<li>Grassi, Giovan Battista,
+<a href="#Page_148"><b>148</b></a></li>
+
+<li>Guazzetto, Il (Lorenzo Naldino),
+<a href="#Page_201"><b>201</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Il Bacchiacca (Francesco Ubertini, or Francesco d' Albertino),
+<a href="#Page_222"><b>222</b></a></li>
+
+<li>Il Bambaja (Agostino Busto),
+<a href="#Page_42"><b>42</b></a>,
+<a href="#Page_43"><b>43</b></a></li>
+
+<li>Il Cicilia,
+<a href="#Page_8"><b>8</b></a></li>
+
+<li>Il Cronaca (Simone del Pollaiuolo),
+<a href="#Page_22"><b>22</b></a></li>
+
+<li>Il Fattore (Giovan Francesco Penni), <i>Life</i>,
+<a href="#Page_77"><b>77</b></a>-80.
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Il Granaccio (Francesco Granacci),
+<a href="#Page_97"><b>97</b></a>,
+<a href="#Page_98"><b>98</b></a>,
+<a href="#Page_231"><b>231</b></a></li>
+
+<li>Il Guazzetto (Lorenzo Naldino),
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Il Pistoia (Leonardo),
+<a href="#Page_79"><b>79</b></a>,
+<a href="#Page_80"><b>80</b></a></li>
+
+<li>Il Rosso (Giovan Battista de' Rossi), <i>Life</i>,
+<a href="#Page_189"><b>189</b></a>-203.
+<a href="#Page_97"><b>97</b></a></li>
+
+<li>Imola, Innocenzio da (Innocenzio Francucci), <i>Life</i>,
+<a href="#Page_212"><b>212</b></a>-213.
+<a href="#Page_207"><b>207</b></a>,
+<a href="#Page_209"><b>209</b></a></li>
+
+<li>Impiccati, Andrea degli (Andrea dal Castagno),
+<a href="#Page_116"><b>116</b></a></li>
+
+<li>Innocenzio da Imola (Innocenzio Francucci), <i>Life</i>,
+<a href="#Page_212"><b>212</b></a>-213.
+<a href="#Page_207"><b>207</b></a>,
+<a href="#Page_209"><b>209</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Jacomo Melighino,
+<a href="#Page_72"><b>72</b></a>,
+<a href="#Page_73"><b>73</b></a></li>
+
+<li>Jacone (Jacopo),
+<a href="#Page_119"><b>119</b></a></li>
+
+<li>Jacopo da Pontormo (Jacopo Carrucci),
+<a href="#Page_93"><b>93</b></a>,
+<a href="#Page_98"><b>98</b></a>,
+<a href="#Page_104"><b>104</b></a>,
+<a href="#Page_118"><b>118</b></a>,
+<a href="#Page_135"><b>135</b></a>,
+<a href="#Page_190"><b>190</b></a>,
+<a href="#Page_221"><b>221</b></a>,
+<a href="#Page_222"><b>222</b></a>,
+<a href="#Page_231"><b>231</b></a>,
+<a href="#Page_232"><b>232</b></a></li>
+
+<li>Jacopo del Conte,
+<a href="#Page_119"><b>119</b></a></li>
+
+<li>Jacopo di Sandro,
+<a href="#Page_97"><b>97</b></a></li>
+
+<li>Jacopo Palma (Palma Vecchio), <i>Life</i>,
+<a href="#Page_259"><b>259</b></a>-261</li>
+
+<li>Jacopo Sansovino,
+<a href="#Page_5"><b>5</b></a>,
+<a href="#Page_31"><b>31</b></a>,
+<a href="#Page_35"><b>35</b></a>,
+<a href="#Page_36"><b>36</b></a>,
+<a href="#Page_80"><b>80</b></a>,
+<a href="#Page_88"><b>88</b></a>,
+<a href="#Page_92"><b>92</b></a>,
+<a href="#Page_93"><b>93</b></a>,
+<a href="#Page_97"><b>97</b></a>,
+<a href="#Page_98"><b>98</b></a>,
+<a href="#Page_180"><b>180</b></a>,
+<a href="#Page_218"><b>218</b></a>,
+<a href="#Page_231"><b>231</b></a>,
+<a href="#Page_247"><b>247</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Lappoli, Giovanni Antonio,
+<a href="#Page_196"><b>196</b></a>-198</li>
+
+<li>Lattanzio Pagani,
+<a href="#Page_212"><b>212</b></a></li>
+
+<li>Leonardo (Il Pistoia),
+<a href="#Page_79"><b>79</b></a>,
+<a href="#Page_80"><b>80</b></a></li>
+
+<li>Leonardo Castellani,
+<a href="#Page_238"><b>238</b></a></li>
+
+<li>Leonardo da Vinci,
+<a href="#Page_49"><b>49</b></a>,
+<a href="#Page_50"><b>50</b></a>,
+<a href="#Page_86"><b>86</b></a>,
+<a href="#Page_228"><b>228</b></a>,
+<a href="#Page_261"><b>261</b></a></li>
+
+<li>Leonardo del Tasso,
+<a href="#Page_31"><b>31</b></a></li>
+
+<li>Leonardo the Fleming,
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Liberale, Gensio,
+<a href="#Page_149"><b>149</b></a></li>
+
+<li>Licinio, Giovanni Antonio (Cuticello, or Pordenone), <i>Life</i>,
+<a href="#Page_145"><b>145</b></a>-155</li>
+
+<li>Lippi, Filippo (Filippino),
+<a href="#Page_87"><b>87</b></a></li>
+
+<li>Lombardi, Alfonso, <i>Life</i>,
+<a href="#Page_131"><b>131</b></a>-136.
+<a href="#Page_210"><b>210</b></a></li>
+
+<li>Lombardo, Girolamo,
+<a href="#Page_24"><b>24</b></a>,
+<a href="#Page_28"><b>28</b></a>-30</li>
+
+<li>Lorenzetto (Lorenzo) Lotti, <i>Life</i>,
+<a href="#Page_55"><b>55</b></a>-58</li>
+
+<li>Lorenzo di Bicci,
+<a href="#Page_5"><b>5</b></a></li>
+
+<li>Lorenzo di Credi, <i>Life</i>,
+<a href="#Page_49"><b>49</b></a>-52.
+<a href="#Page_159"><b>159</b></a></li>
+
+<li>Lorenzo Lotto, <i>Life</i>,
+<a href="#Page_261"><b>261</b></a>-264</li>
+
+<li>Lorenzo Naldino (Il Guazzetto),
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Lorenzo of Picardy,
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Lotti, Lorenzetto (Lorenzo), <i>Life</i>,
+<a href="#Page_55"><b>55</b></a>-58</li>
+
+<li>Lotto, Lorenzo, <i>Life</i>,
+<a href="#Page_261"><b>261</b></a>-264</li>
+
+<li>Luca della Robbia (the younger),
+<a href="#Page_90"><b>90</b></a></li>
+
+<li>Luca Monverde,
+<a href="#Page_147"><b>147</b></a></li>
+
+<li>Luca Penni,
+<a href="#Page_79"><b>79</b></a>,
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Lucrezia, Madonna,
+<a href="#Page_127"><b>127</b></a></li>
+
+<li>Luini, Bernardino (Bernardino del Lupino),
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Lunetti, Stefano (Stefano of Florence),
+<a href="#Page_51"><b>51</b></a></li>
+
+<li>Lunetti, Tommaso di Stefano,
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_164"><b>164</b></a>,
+<a href="#Page_231"><b>231</b></a></li>
+
+<li>Lupino, Bernardino del (Bernardino Luini),
+<a href="#Page_60"><b>60</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Madonna Lucrezia,
+<a href="#Page_127"><b>127</b></a></li>
+
+<li>Madonna Properzia de' Rossi, <i>Life</i>,
+<a href="#Page_123"><b>123</b></a>-128</li>
+
+<li>Maestro Credi,
+<a href="#Page_49"><b>49</b></a></li>
+
+<li>Maestro Giuliano (di Niccolò Morelli),
+<a href="#Page_73"><b>73</b></a></li>
+
+<li>Maiano, Benedetto da, 5</li>
+
+<li>Maini (Marini), Michele, 3, 4</li>
+
+<li>Mangone, Giovanni,
+<a href="#Page_5"><b>5</b></a></li>
+
+<li>Mansueti, Giovanni,
+<a href="#Page_260"><b>260</b></a></li>
+
+<li>Marchesi, Girolamo (Girolamo da Cotignola), <i>Life</i>,
+<a href="#Page_211"><b>211</b></a>-212.
+<a href="#Page_207"><b>207</b></a></li>
+
+<li>Marchissi, Antonio di Giorgio,
+<a href="#Page_4"><b>4</b></a></li>
+
+<li>Marco Calavrese (Marco Cardisco), <i>Life</i>,
+<a href="#Page_237"><b>237</b></a>-239</li>
+
+<li>Mariano da Perugia,
+<a href="#Page_263"><b>263</b></a></li>
+
+<li>Marini (Maini), Michele,
+<a href="#Page_3"><b>3</b></a>,
+<a href="#Page_4"><b>4</b></a></li>
+
+<li>Mariotto Albertinelli,
+<a href="#Page_86"><b>86</b></a>,
+<a href="#Page_212"><b>212</b></a>,
+<a href="#Page_217"><b>217</b></a></li>
+
+<li>Mariotto di Francesco,
+<a href="#Page_231"><b>231</b></a>-233</li>
+
+<li>Martini, Giovanni (Giovanni da Udine),
+<a href="#Page_145"><b>145</b></a>-147</li>
+
+<li>Martino da Udine (Pellegrino da San Daniele, or Martino di Battista),
+<a href="#Page_145"><b>145</b></a>-150</li>
+
+<li>Maso Boscoli,
+<a href="#Page_6"><b>6</b></a></li>
+
+<li>Matrice, Cola dalla (Niccola Filotesio),
+<a href="#Page_238"><b>238</b></a>,
+<a href="#Page_239"><b>239</b></a></li>
+
+<li>Maturino, <i>Life</i>,
+<a href="#Page_175"><b>175</b></a>-185</li>
+
+<li>Mazzieri, Antonio di Donnino,
+<a href="#Page_223"><b>223</b></a></li>
+
+<li>Mazzuoli, Francesco (Parmigiano), <i>Life</i>,
+<a href="#Page_243"><b>243</b></a>-256</li>
+
+<li>Mazzuoli, Girolamo,
+<a href="#Page_244"><b>244</b></a>,
+<a href="#Page_245"><b>245</b></a>,
+<a href="#Page_254"><b>254</b></a>,
+<a href="#Page_255"><b>255</b></a></li>
+
+<li>Melighino, Jacomo,
+<a href="#Page_72"><b>72</b></a>,
+<a href="#Page_73"><b>73</b></a></li>
+
+<li>Michelagnolo Buonarroti,
+<a href="#Page_5"><b>5</b></a>,
+<a href="#Page_6"><b>6</b></a>,
+<a href="#Page_23"><b>23</b></a>,
+<a href="#Page_43"><b>43</b></a>-45,
+<a href="#Page_58"><b>58</b></a>,
+<a href="#Page_86"><b>86</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_117"><b>117</b></a>,
+<a href="#Page_128"><b>128</b></a>,
+<a href="#Page_135"><b>135</b></a>,
+<a href="#Page_165"><b>165</b></a>,
+<a href="#Page_190"><b>190</b></a>,
+<a href="#Page_194"><b>194</b></a>,
+<a href="#Page_228"><b>228</b></a>,
+<a href="#Page_245"><b>245</b></a>,
+<a href="#Page_247"><b>247</b></a>,
+<a href="#Page_261"><b>261</b></a></li>
+
+<li>Michelagnolo da Siena, <i>Life</i>,
+<a href="#Page_136"><b>136</b></a>-137.
+<a href="#Page_69"><b>69</b></a></li>
+
+<li>Michele di Ridolfo Ghirlandajo,
+<a href="#Page_165"><b>165</b></a></li>
+
+<li>Michele Maini (Marini),
+<a href="#Page_3"><b>3</b></a>,
+<a href="#Page_4"><b>4</b></a></li>
+
+<li>Milano, Cesare da (Cesare da Sesto),
+<a href="#Page_65"><b>65</b></a>,
+<a href="#Page_141"><b>141</b></a></li>
+
+<li>Mini, Antonio,
+<a href="#Page_165"><b>165</b></a></li>
+
+<li>Miniati, Bartolommeo,
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Mirozzo (Melozzo), Francesco di,
+<a href="#Page_140"><b>140</b></a></li>
+
+<li>Modena, Pellegrino da (Pellegrino degli Aretusi, or Pellegrino de' Munari), <i>Life</i>,
+<a href="#Page_80"><b>80</b></a>-81.
+<a href="#Page_176"><b>176</b></a></li>
+
+<li>Monte Sansovino, Andrea dal (Andrea Contucci, or Andrea Sansovino), <i>Life</i>,
+<a href="#Page_21"><b>21</b></a>-31.
+<a href="#Page_43"><b>43</b></a>,
+<a href="#Page_88"><b>88</b></a></li>
+
+<li>Monte Sansovino, Domenico dal,
+<a href="#Page_30"><b>30</b></a></li>
+
+<li>Montelupo, Baccio da, <i>Life</i>,
+<a href="#Page_41"><b>41</b></a>-45.
+<a href="#Page_97"><b>97</b></a></li>
+
+<li>Montelupo, Raffaello da, <i>Life</i>,
+<a href="#Page_41"><b>41</b></a>-45.
+<a href="#Page_27"><b>27</b></a>,
+<a href="#Page_119"><b>119</b></a></li>
+
+<li>Monverde, Luca,
+<a href="#Page_147"><b>147</b></a></li>
+
+<li>Morelli, Maestro Giuliano di Niccolò,
+<a href="#Page_73"><b>73</b></a></li>
+
+<li>Morto da Feltro, <i>Life</i>,
+<a href="#Page_227"><b>227</b></a>-229.
+<a href="#Page_230"><b>230</b></a></li>
+
+<li>Mosca, Simone,
+<a href="#Page_44"><b>44</b></a></li>
+
+<li>Munari, Pellegrino de' (Pellegrino da Modena, or Pellegrino degli Aretusi), <i>Life</i>,
+<a href="#Page_80"><b>80</b></a>-81.
+<a href="#Page_176"><b>176</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Naldino, Lorenzo (Il Guazzetto),
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Nanni, Giovanni (Giovanni da Udine, or Giovanni Ricamatori),
+<a href="#Page_77"><b>77</b></a>,
+<a href="#Page_155"><b>155</b></a>,
+<a href="#Page_175"><b>175</b></a>,
+<a href="#Page_229"><b>229</b></a>,
+<a href="#Page_238"><b>238</b></a>,
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Nannoccio,
+<a href="#Page_119"><b>119</b></a></li>
+
+<li>Neroni, Bartolommeo (Riccio),
+<a href="#Page_73"><b>73</b></a></li>
+
+<li>Niccola Filotesio (Cola dalla Matrice),
+<a href="#Page_238"><b>238</b></a>,
+<a href="#Page_239"><b>239</b></a></li>
+
+<li>Niccolò (called Tribolo),
+<a href="#Page_6"><b>6</b></a>,
+<a href="#Page_28"><b>28</b></a>,
+<a href="#Page_136"><b>136</b></a>,
+<a href="#Page_233"><b>233</b></a></li>
+
+<li>Niccolò Rondinello (Rondinello da Ravenna), <i>Life</i>,
+<a href="#Page_264"><b>264</b></a>-265.
+<a href="#Page_266"><b>266</b></a></li>
+
+<li>Niccolò Soggi,
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_110"><b>110</b></a>,
+<a href="#Page_196"><b>196</b></a></li>
+
+<li>Nola, Giovanni da,
+<a href="#Page_137"><b>137</b></a>-139</li>
+</ul>
+
+
+<ul class="none p2">
+<li>Pace, Domenico di (Domenico Beccafumi),
+<a href="#Page_74"><b>74</b></a>,
+<a href="#Page_153"><b>153</b></a>,
+<a href="#Page_163"><b>163</b></a></li>
+
+<li>Pagani, Lattanzio,
+<a href="#Page_212"><b>212</b></a></li>
+
+<li>Palma, Jacopo (Palma Vecchio), <i>Life</i>,
+<a href="#Page_259"><b>259</b></a>-261</li>
+
+<li>Paolo Romano,
+<a href="#Page_57"><b>57</b></a></li>
+
+<li>Paris, Domenico di,
+<a href="#Page_195"><b>195</b></a></li>
+
+<li>Parmigiano (Francesco Mazzuoli), <i>Life</i>,
+<a href="#Page_243"><b>243</b></a>-256</li>
+
+<li>Pellegrino da Modena (Pellegrino degli Aretusi, or Pellegrino de' Munari), <i>Life</i>,
+<a href="#Page_80"><b>80</b></a>-81.
+<a href="#Page_176"><b>176</b></a></li>
+
+<li>Pellegrino da San Daniele (Martino da Udine, or Martino di Battista),
+<a href="#Page_145"><b>145</b></a>-150</li>
+
+<li>Peloro, Giovan Battista,
+<a href="#Page_73"><b>73</b></a></li>
+
+<li>Penni, Giovan Francesco (Il Fattore), <i>Life</i>,
+<a href="#Page_77"><b>77</b></a>-80.
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Penni, Luca,
+<a href="#Page_79"><b>79</b></a>,
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Perino del Vaga (Perino Buonaccorsi),
+<a href="#Page_7"><b>7</b></a>,
+<a href="#Page_77"><b>77</b></a>-79,
+<a href="#Page_153"><b>153</b></a>,
+<a href="#Page_162"><b>162</b></a></li>
+
+<li>Perugia, Mariano da,
+<a href="#Page_263"><b>263</b></a></li>
+
+<li>Perugino, Pietro (Pietro Vannucci),
+<a href="#Page_49"><b>49</b></a>,
+<a href="#Page_50"><b>50</b></a>,
+<a href="#Page_87"><b>87</b></a>,
+<a href="#Page_230"><b>230</b></a></li>
+
+<li>Peruzzi, Baldassarre, <i>Life</i>,
+<a href="#Page_63"><b>63</b></a>-74.
+<a href="#Page_57"><b>57</b></a>,
+<a href="#Page_63"><b>63</b></a>-74,
+<a href="#Page_136"><b>136</b></a>,
+<a href="#Page_170"><b>170</b></a>,
+<a href="#Page_176"><b>176</b></a>,
+<a href="#Page_208"><b>208</b></a></li>
+
+<li>Pier Francesco di Jacopo di Sandro,
+<a href="#Page_118"><b>118</b></a>,
+<a href="#Page_119"><b>119</b></a></li>
+
+<li>Piero da Volterra,
+<a href="#Page_64"><b>64</b></a></li>
+
+<li>Piero di Cosimo,
+<a href="#Page_86"><b>86</b></a></li>
+
+<li>Pietrasanta, Stagio da,
+<a href="#Page_162"><b>162</b></a></li>
+
+<li>Pietro Perugino (Pietro Vannucci),
+<a href="#Page_49"><b>49</b></a>,
+<a href="#Page_50"><b>50</b></a>,
+<a href="#Page_87"><b>87</b></a>,
+<a href="#Page_230"><b>230</b></a></li>
+
+<li>Pinturicchio, Bernardino,
+<a href="#Page_227"><b>227</b></a></li>
+
+<li>Piombo, Fra Sebastiano Viniziano del,
+<a href="#Page_66"><b>66</b></a></li>
+
+<li>Pistoia, Il (Leonardo),
+<a href="#Page_79"><b>79</b></a>,
+<a href="#Page_80"><b>80</b></a></li>
+
+<li>Plautilla,
+<a href="#Page_126"><b>126</b></a></li>
+
+<li>Poggini, Zanobi,
+<a href="#Page_106"><b>106</b></a></li>
+
+<li>Poggino, Zanobi di,
+<a href="#Page_165"><b>165</b></a></li>
+
+<li>Polidoro da Caravaggio (Polidoro Caldara), <i>Life</i>,
+<a href="#Page_175"><b>175</b></a>-185</li>
+
+<li>Pollaiuolo, Antonio,
+<a href="#Page_21"><b>21</b></a></li>
+
+<li>Pollaiuolo, Simone del (Il Cronaca),
+<a href="#Page_22"><b>22</b></a></li>
+
+<li>Polo, Domenico di,
+<a href="#Page_135"><b>135</b></a></li>
+
+<li>Pomponio Amalteo,
+<a href="#Page_154"><b>154</b></a>,
+<a href="#Page_155"><b>155</b></a></li>
+
+<li>Pontormo, Jacopo da (Jacopo Carrucci),
+<a href="#Page_93"><b>93</b></a>,
+<a href="#Page_98"><b>98</b></a>,
+<a href="#Page_104"><b>104</b></a>,
+<a href="#Page_118"><b>118</b></a>,
+<a href="#Page_135"><b>135</b></a>,
+<a href="#Page_190"><b>190</b></a>,
+<a href="#Page_221"><b>221</b></a>,
+<a href="#Page_222"><b>222</b></a>,
+<a href="#Page_231"><b>231</b></a>,
+<a href="#Page_232"><b>232</b></a></li>
+
+<li>Pordenone (Giovanni Antonio Licinio, or Cuticello), <i>Life</i>,
+<a href="#Page_145"><b>145</b></a>-155</li>
+
+<li>Porta, Baccio della (Fra Bartolommeo di San Marco),
+<a href="#Page_159"><b>159</b></a>,
+<a href="#Page_160"><b>160</b></a>,
+<a href="#Page_194"><b>194</b></a></li>
+
+<li>Prato, Francesco di Girolamo dal,
+<a href="#Page_135"><b>135</b></a></li>
+
+<li>Primaticcio, Francesco,
+<a href="#Page_200"><b>200</b></a>,
+<a href="#Page_201"><b>201</b></a>,
+<a href="#Page_203"><b>203</b></a></li>
+
+<li>Properzia de' Rossi, Madonna, <i>Life</i>,
+<a href="#Page_123"><b>123</b></a>-128</li>
+
+<li>Prospero Fontana,
+<a href="#Page_213"><b>213</b></a></li>
+
+<li>Puligo, Domenico,
+<a href="#Page_109"><b>109</b></a></li>
+
+<li>Pupini, Biagio (Biagio Bolognese),
+<a href="#Page_208"><b>208</b></a>,
+<a href="#Page_211"><b>211</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Raffaello da Montelupo, <i>Life</i>,
+<a href="#Page_41"><b>41</b></a>-45.
+<a href="#Page_27"><b>27</b></a>,
+<a href="#Page_119"><b>119</b></a></li>
+
+<li>Raffaello da Urbino (Raffaello Sanzio),
+<a href="#Page_11"><b>11</b></a>-15,
+<a href="#Page_55"><b>55</b></a>,
+<a href="#Page_56"><b>56</b></a>,
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_72"><b>72</b></a>,
+<a href="#Page_77"><b>77</b></a>-81,
+<a href="#Page_107"><b>107</b></a>-109,
+<a href="#Page_117"><b>117</b></a>,
+<a href="#Page_126"><b>126</b></a>,
+<a href="#Page_169"><b>169</b></a>,
+<a href="#Page_175"><b>175</b></a>,
+<a href="#Page_191"><b>191</b></a>,
+<a href="#Page_194"><b>194</b></a>,
+<a href="#Page_201"><b>201</b></a>,
+<a href="#Page_207"><b>207</b></a>,
+<a href="#Page_208"><b>208</b></a>,
+<a href="#Page_213"><b>213</b></a>,
+<a href="#Page_222"><b>222</b></a>,
+<a href="#Page_245"><b>245</b></a>,
+<a href="#Page_247"><b>247</b></a></li>
+
+<li>Raffaello dal Colle (Raffaello dal Borgo),
+<a href="#Page_140"><b>140</b></a>,
+<a href="#Page_195"><b>195</b></a>,
+<a href="#Page_196"><b>196</b></a></li>
+
+<li>Raffaello di Biagio,
+<a href="#Page_231"><b>231</b></a>,
+<a href="#Page_232"><b>232</b></a></li>
+
+<li>Raffaello Sanzio (Raffaello da Urbino),
+<a href="#Page_11"><b>11</b></a>-15,
+<a href="#Page_55"><b>55</b></a>,
+<a href="#Page_56"><b>56</b></a>,
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_72"><b>72</b></a>,
+<a href="#Page_77"><b>77</b></a>-81,
+<a href="#Page_107"><b>107</b></a>-109,
+<a href="#Page_117"><b>117</b></a>,
+<a href="#Page_126"><b>126</b></a>,
+<a href="#Page_169"><b>169</b></a>,
+<a href="#Page_175"><b>175</b></a>,
+<a href="#Page_191"><b>191</b></a>,
+<a href="#Page_194"><b>194</b></a>,
+<a href="#Page_201"><b>201</b></a>,
+<a href="#Page_207"><b>207</b></a>,
+<a href="#Page_208"><b>208</b></a>,
+<a href="#Page_213"><b>213</b></a>,
+<a href="#Page_222"><b>222</b></a>,
+<a href="#Page_245"><b>245</b></a>,
+<a href="#Page_247"><b>247</b></a></li>
+
+<li>Ramenghi, Bartolommeo (Bartolommeo da Bagnacavallo), <i>Life</i>,
+<a href="#Page_207"><b>207</b></a>-209</li>
+
+<li>Ravenna, Rondinello da (Niccolò Rondinello), <i>Life</i>,
+<a href="#Page_264"><b>264</b></a>-265.
+<a href="#Page_266"><b>266</b></a></li>
+
+<li>Ribaldi, Giovanni (Giovanni Boccalino),
+<a href="#Page_29"><b>29</b></a></li>
+
+<li>Ricamatori, Giovanni (Giovanni Nanni, or Giovanni da Udine),
+<a href="#Page_77"><b>77</b></a>,
+<a href="#Page_155"><b>155</b></a>,
+<a href="#Page_175"><b>175</b></a>,
+<a href="#Page_229"><b>229</b></a>,
+<a href="#Page_238"><b>238</b></a>,
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Riccio (Bartolommeo Neroni),
+<a href="#Page_73"><b>73</b></a></li>
+
+<li>Ridolfo Ghirlandajo,
+<a href="#Page_220"><b>220</b></a>,
+<a href="#Page_231"><b>231</b></a></li>
+
+<li>Robbia, Andrea della,
+<a href="#Page_90"><b>90</b></a></li>
+
+<li>Robbia, Girolamo della,
+<a href="#Page_90"><b>90</b></a></li>
+
+<li>Robbia, Luca della (the younger),
+<a href="#Page_90"><b>90</b></a></li>
+
+<li>Romano, Giulio (Giulio Pippi de' Giannuzzi),
+<a href="#Page_55"><b>55</b></a>,
+<a href="#Page_77"><b>77</b></a>-79,
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_195"><b>195</b></a></li>
+
+<li>Romano, Paolo,
+<a href="#Page_57"><b>57</b></a></li>
+
+<li>Romano, Virgilio,
+<a href="#Page_73"><b>73</b></a></li>
+
+<li>Rondinello, Niccolò (Rondinello da Ravenna), <i>Life</i>,
+<a href="#Page_264"><b>264</b></a>-265.
+<a href="#Page_266"><b>266</b></a></li>
+
+<li>Rosselli, Bernardo (Bernardo del Buda),
+<a href="#Page_116"><b>116</b></a></li>
+
+<li>Rosselli, Cosimo,
+<a href="#Page_88"><b>88</b></a>,
+<a href="#Page_229"><b>229</b></a></li>
+
+<li>Rossi, Francesco de' (Francesco Salviati),
+<a href="#Page_119"><b>119</b></a></li>
+
+<li>Rossi, Giovan Battista de' (Il Rosso), <i>Life</i>,
+<a href="#Page_189"><b>189</b></a>-203.
+<a href="#Page_97"><b>97</b></a></li>
+
+<li>Rossi, Madonna Properzia de', <i>Life</i>,
+<a href="#Page_123"><b>123</b></a>-128</li>
+
+<li>Rosso, Il (Giovan Battista de' Rossi), <i>Life</i>,
+<a href="#Page_189"><b>189</b></a>-203.
+<a href="#Page_97"><b>97</b></a></li>
+
+<li>Rovezzano, Benedetto da, <i>Life</i>,
+<a href="#Page_35"><b>35</b></a>-38</li>
+
+<li>Rozzo, Antonio del (Antonio del Tozzo),
+<a href="#Page_73"><b>73</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Salviati, Francesco (Francesco de' Rossi),
+<a href="#Page_119"><b>119</b></a></li>
+
+<li>San Daniele, Pellegrino da (Martino da Udine, or Martino di Battista),
+<a href="#Page_145"><b>145</b></a>-150</li>
+
+<li>San Gallo, Antonio da (the elder),
+<a href="#Page_97"><b>97</b></a></li>
+
+<li>San Gallo, Antonio da (the younger),
+<a href="#Page_29"><b>29</b></a>,
+<a href="#Page_43"><b>43</b></a>,
+<a href="#Page_58"><b>58</b></a>,
+<a href="#Page_72"><b>72</b></a></li>
+
+<li>San Gallo, Francesco da,
+<a href="#Page_27"><b>27</b></a></li>
+
+<li>San Gallo, Giuliano da,
+<a href="#Page_97"><b>97</b></a></li>
+
+<li>San Gallo, Sebastiano (Aristotele) da,
+<a href="#Page_97"><b>97</b></a></li>
+
+<li>San Gimignano, Vincenzio da (Vincenzio Tamagni), <i>Life</i>,
+<a href="#Page_11"><b>11</b></a>-17</li>
+
+<li>San Marco, Fra Bartolommeo di (Baccio della Porta),
+<a href="#Page_159"><b>159</b></a>,
+<a href="#Page_160"><b>160</b></a>,
+<a href="#Page_194"><b>194</b></a></li>
+
+<li>Sandrino del Calzolaio,
+<a href="#Page_161"><b>161</b></a>,
+<a href="#Page_165"><b>165</b></a></li>
+
+<li>Sandro, Jacopo di,
+<a href="#Page_97"><b>97</b></a></li>
+
+<li>Sandro, Pier Francesco di Jacopo di,
+<a href="#Page_118"><b>118</b></a>,
+<a href="#Page_119"><b>119</b></a></li>
+
+<li>Sansovino, Andrea (Andrea dal Monte Sansovino, or Andrea Contucci), <i>Life</i>,
+<a href="#Page_21"><b>21</b></a>-31.
+<a href="#Page_43"><b>43</b></a>,
+<a href="#Page_88"><b>88</b></a></li>
+
+<li>Sansovino, Jacopo,
+<a href="#Page_5"><b>5</b></a>,
+<a href="#Page_31"><b>31</b></a>,
+<a href="#Page_35"><b>35</b></a>,
+<a href="#Page_36"><b>36</b></a>,
+<a href="#Page_80"><b>80</b></a>,
+<a href="#Page_88"><b>88</b></a>,
+<a href="#Page_92"><b>92</b></a>,
+<a href="#Page_93"><b>93</b></a>,
+<a href="#Page_97"><b>97</b></a>,
+<a href="#Page_98"><b>98</b></a>,
+<a href="#Page_180"><b>180</b></a>,
+<a href="#Page_218"><b>218</b></a>,
+<a href="#Page_231"><b>231</b></a>,
+<a href="#Page_247"><b>247</b></a></li>
+
+<li>Santa Croce, Girolamo, <i>Life</i>,
+<a href="#Page_137"><b>137</b></a>-138</li>
+
+<li>Santi Titi dal Borgo,
+<a href="#Page_160"><b>160</b></a></li>
+
+<li>Sanzio, Raffaello (Raffaello da Urbino),
+<a href="#Page_11"><b>11</b></a>-15,
+<a href="#Page_55"><b>55</b></a>,
+<a href="#Page_56"><b>56</b></a>,
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_72"><b>72</b></a>,
+<a href="#Page_77"><b>77</b></a>-81,
+<a href="#Page_107"><b>107</b></a>-109,
+<a href="#Page_117"><b>117</b></a>,
+<a href="#Page_126"><b>126</b></a>,
+<a href="#Page_169"><b>169</b></a>,
+<a href="#Page_175"><b>175</b></a>,
+<a href="#Page_191"><b>191</b></a>,
+<a href="#Page_194"><b>194</b></a>,
+<a href="#Page_201"><b>201</b></a>,
+<a href="#Page_207"><b>207</b></a>,
+<a href="#Page_208"><b>208</b></a>,
+<a href="#Page_213"><b>213</b></a>,
+<a href="#Page_222"><b>222</b></a>,
+<a href="#Page_245"><b>245</b></a>,
+<a href="#Page_247"><b>247</b></a></li>
+
+<li>Sarto, Andrea del (Andrea d' Agnolo), <i>Life</i>,
+<a href="#Page_85"><b>85</b></a>-120.
+<a href="#Page_164"><b>164</b></a>,
+<a href="#Page_194"><b>194</b></a>,
+<a href="#Page_217"><b>217</b></a>-221,
+<a href="#Page_231"><b>231</b></a></li>
+
+<li>Schizzone,
+<a href="#Page_12"><b>12</b></a></li>
+
+<li>Sebastiano (Aristotele) da San Gallo,
+<a href="#Page_97"><b>97</b></a></li>
+
+<li>Sebastiano Florigerio (Bastianello Florigorio),
+<a href="#Page_148"><b>148</b></a></li>
+
+<li>Sebastiano Serlio,
+<a href="#Page_72"><b>72</b></a></li>
+
+<li>Sebastiano Viniziano del Piombo, Fra,
+<a href="#Page_66"><b>66</b></a></li>
+
+<li>Serlio, Sebastiano,
+<a href="#Page_72"><b>72</b></a></li>
+
+<li>Sesto, Cesare da (Cesare da Milano),
+<a href="#Page_65"><b>65</b></a>,
+<a href="#Page_141"><b>141</b></a></li>
+
+<li>Sguazzella, Andrea,
+<a href="#Page_100"><b>100</b></a>,
+<a href="#Page_118"><b>118</b></a></li>
+
+<li>Siena, Francesco da,
+<a href="#Page_71"><b>71</b></a>,
+<a href="#Page_73"><b>73</b></a></li>
+
+<li>Siena, Michelagnolo da, <i>Life</i>,
+<a href="#Page_136"><b>136</b></a>-137.
+<a href="#Page_69"><b>69</b></a></li>
+
+<li>Silvio Cosini,
+<a href="#Page_6"><b>6</b></a>-8</li>
+
+<li>Simone Cioli,
+<a href="#Page_30"><b>30</b></a></li>
+
+<li>Simone del Pollaiuolo (Il Cronaca),
+<a href="#Page_22"><b>22</b></a></li>
+
+<li>Simone Mosca,
+<a href="#Page_44"><b>44</b></a></li>
+
+<li>Simone of Paris,
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Sodoma (Giovanni Antonio Bazzi),
+<a href="#Page_73"><b>73</b></a></li>
+
+<li>Sofonisba Anguisciuola,
+<a href="#Page_127"><b>127</b></a>,
+<a href="#Page_128"><b>128</b></a></li>
+
+<li>Soggi, Niccolò,
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_110"><b>110</b></a>,
+<a href="#Page_196"><b>196</b></a></li>
+
+<li>Sogliani, Giovanni Antonio, <i>Life</i>,
+<a href="#Page_159"><b>159</b></a>-166.
+<a href="#Page_51"><b>51</b></a></li>
+
+<li>Solosmeo (Antonio di Giovanni),
+<a href="#Page_118"><b>118</b></a></li>
+
+<li>Spadari, Benedetto,
+<a href="#Page_195"><b>195</b></a>,
+<a href="#Page_196"><b>196</b></a></li>
+
+<li>Stagio da Pietrasanta,
+<a href="#Page_162"><b>162</b></a></li>
+
+<li>Stefano Lunetti (Stefano of Florence),
+<a href="#Page_51"><b>51</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Tamagni, Vincenzio (Vincenzio da San Gimignano), <i>Life</i>,
+<a href="#Page_11"><b>11</b></a>-17</li>
+
+<li>Tasso, Giuliano del,
+<a href="#Page_97"><b>97</b></a></li>
+
+<li>Tasso, Leonardo del,
+<a href="#Page_31"><b>31</b></a></li>
+
+<li>Timoteo da Urbino (Timoteo della Vite), <i>Life</i>,
+<a href="#Page_11"><b>11</b></a>-17</li>
+
+<li>Titi dal Borgo, Santi,
+<a href="#Page_160"><b>160</b></a></li>
+
+<li>Tiziano da Cadore (Tiziano Vecelli),
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_133"><b>133</b></a>,
+<a href="#Page_134"><b>134</b></a>,
+<a href="#Page_152"><b>152</b></a>,
+<a href="#Page_153"><b>153</b></a></li>
+
+<li>Tommaso di Stefano Lunetti,
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_52"><b>52</b></a>,
+<a href="#Page_164"><b>164</b></a>,
+<a href="#Page_231"><b>231</b></a></li>
+
+<li>Tozzo, Antonio del (Antonio del Rozzo),
+<a href="#Page_73"><b>73</b></a></li>
+
+<li>Trento, Antonio da (Antonio Fantuzzi),
+<a href="#Page_249"><b>249</b></a>,
+<a href="#Page_250"><b>250</b></a></li>
+
+<li>Treviso, Girolamo da (Girolamo Trevigi), <i>Life</i>,
+<a href="#Page_169"><b>169</b></a>-171.
+<a href="#Page_68"><b>68</b></a></li>
+
+<li>Tribolo (Niccolò),
+<a href="#Page_6"><b>6</b></a>,
+<a href="#Page_28"><b>28</b></a>,
+<a href="#Page_136"><b>136</b></a>,
+<a href="#Page_233"><b>233</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Ubertini, Francesco (Francesco d' Albertino, or Il Bacchiacca),
+<a href="#Page_222"><b>222</b></a></li>
+
+<li>Udine, Giovanni da (Giovanni Martini),
+<a href="#Page_145"><b>145</b></a>-147</li>
+
+<li>Udine, Giovanni da (Giovanni Nanni, or Giovanni Ricamatori),
+<a href="#Page_77"><b>77</b></a>,
+<a href="#Page_155"><b>155</b></a>,
+<a href="#Page_175"><b>175</b></a>,
+<a href="#Page_229"><b>229</b></a>,
+<a href="#Page_238"><b>238</b></a>,
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Udine, Martino da (Pellegrino da San Daniele, or Martino di Battista),
+<a href="#Page_145"><b>145</b></a>-150</li>
+
+<li>Urbino, Bramante da,
+<a href="#Page_26"><b>26</b></a>,
+<a href="#Page_28"><b>28</b></a>,
+<a href="#Page_29"><b>29</b></a>,
+<a href="#Page_65"><b>65</b></a>,
+<a href="#Page_68"><b>68</b></a>,
+<a href="#Page_69"><b>69</b></a></li>
+
+<li>Urbino, Raffaello da (Raffaello Sanzio),
+<a href="#Page_11"><b>11</b></a>-15,
+<a href="#Page_55"><b>55</b></a>,
+<a href="#Page_56"><b>56</b></a>,
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_72"><b>72</b></a>,
+<a href="#Page_77"><b>77</b></a>-81,
+<a href="#Page_107"><b>107</b></a>-109,
+<a href="#Page_117"><b>117</b></a>,
+<a href="#Page_126"><b>126</b></a>,
+<a href="#Page_169"><b>169</b></a>,
+<a href="#Page_175"><b>175</b></a>,
+<a href="#Page_191"><b>191</b></a>,
+<a href="#Page_194"><b>194</b></a>,
+<a href="#Page_201"><b>201</b></a>,
+<a href="#Page_207"><b>207</b></a>,
+<a href="#Page_208"><b>208</b></a>,
+<a href="#Page_213"><b>213</b></a>,
+<a href="#Page_222"><b>222</b></a>,
+<a href="#Page_245"><b>245</b></a>,
+<a href="#Page_247"><b>247</b></a></li>
+
+<li>Urbino, Timoteo da (Timoteo della Vite), <i>Life</i>,
+<a href="#Page_11"><b>11</b></a>-17</li>
+</ul>
+
+
+<ul class="none p2">
+<li>Vaga, Perino del (Perino Buonaccorsi),
+<a href="#Page_7"><b>7</b></a>,
+<a href="#Page_77"><b>77</b></a>-79,
+<a href="#Page_153"><b>153</b></a>,
+<a href="#Page_162"><b>162</b></a></li>
+
+<li>Valerio Vicentino (Valerio de' Belli),
+<a href="#Page_247"><b>247</b></a></li>
+
+<li>Vannucci, Pietro (Pietro Perugino),
+<a href="#Page_49"><b>49</b></a>,
+<a href="#Page_50"><b>50</b></a>,
+<a href="#Page_87"><b>87</b></a>,
+<a href="#Page_230"><b>230</b></a></li>
+
+<li>Vasari, Giorgio&mdash;</li>
+<li><span class="add1em">as art-collector,</span>
+<a href="#Page_17"><b>17</b></a>,
+<a href="#Page_22"><b>22</b></a>,
+<a href="#Page_24"><b>24</b></a>,
+<a href="#Page_38"><b>38</b></a>,
+<a href="#Page_45"><b>45</b></a>,
+<a href="#Page_49"><b>49</b></a>,
+<a href="#Page_74"><b>74</b></a>,
+<a href="#Page_77"><b>77</b></a>,
+<a href="#Page_79"><b>79</b></a>,
+<a href="#Page_104"><b>104</b></a>,
+<a href="#Page_118"><b>118</b></a>,
+<a href="#Page_126"><b>126</b></a>,
+<a href="#Page_128"><b>128</b></a>,
+<a href="#Page_165"><b>165</b></a>,
+<a href="#Page_196"><b>196</b></a>,
+<a href="#Page_197"><b>197</b></a>,
+<a href="#Page_201"><b>201</b></a>,
+<a href="#Page_209"><b>209</b></a>,
+<a href="#Page_213"><b>213</b></a>,
+<a href="#Page_219"><b>219</b></a>,
+<a href="#Page_250"><b>250</b></a>-252,
+<a href="#Page_256"><b>256</b></a></li>
+<li><span class="add1em">as author,</span>
+<a href="#Page_3"><b>3</b></a>-5,
+<a href="#Page_7"><b>7</b></a>,
+<a href="#Page_11"><b>11</b></a>,
+<a href="#Page_12"><b>12</b></a>,
+<a href="#Page_17"><b>17</b></a>,
+<a href="#Page_22"><b>22</b></a>,
+<a href="#Page_24"><b>24</b></a>,
+<a href="#Page_26"><b>26</b></a>,
+<a href="#Page_28"><b>28</b></a>,
+<a href="#Page_30"><b>30</b></a>,
+<a href="#Page_35"><b>35</b></a>,
+<a href="#Page_45"><b>45</b></a>,
+<a href="#Page_63"><b>63</b></a>,
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_69"><b>69</b></a>,
+<a href="#Page_73"><b>73</b></a>,
+<a href="#Page_91"><b>91</b></a>,
+<a href="#Page_96"><b>96</b></a>,
+<a href="#Page_98"><b>98</b></a>,
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_112"><b>112</b></a>,
+<a href="#Page_114"><b>114</b></a>,
+<a href="#Page_120"><b>120</b></a>,
+<a href="#Page_126"><b>126</b></a>,
+<a href="#Page_128"><b>128</b></a>,
+<a href="#Page_132"><b>132</b></a>,
+<a href="#Page_134"><b>134</b></a>,
+<a href="#Page_135"><b>135</b></a>,
+<a href="#Page_139"><b>139</b></a>,
+<a href="#Page_145"><b>145</b></a>,
+<a href="#Page_146"><b>146</b></a>,
+<a href="#Page_148"><b>148</b></a>,
+<a href="#Page_155"><b>155</b></a>,
+<a href="#Page_177"><b>177</b></a>,
+<a href="#Page_182"><b>182</b></a>,
+<a href="#Page_185"><b>185</b></a>,
+<a href="#Page_192"><b>192</b></a>,
+<a href="#Page_194"><b>194</b></a>,
+<a href="#Page_199"><b>199</b></a>,
+<a href="#Page_201"><b>201</b></a>,
+<a href="#Page_210"><b>210</b></a>-213,
+<a href="#Page_223"><b>223</b></a>,
+<a href="#Page_230"><b>230</b></a>,
+<a href="#Page_232"><b>232</b></a>,
+<a href="#Page_238"><b>238</b></a>,
+<a href="#Page_247"><b>247</b></a>,
+<a href="#Page_250"><b>250</b></a>,
+<a href="#Page_251"><b>251</b></a>,
+<a href="#Page_253"><b>253</b></a>-255,
+<a href="#Page_259"><b>259</b></a>,
+<a href="#Page_260"><b>260</b></a>,
+<a href="#Page_264"><b>264</b></a></li>
+<li><span class="add1em">as painter,</span>
+<a href="#Page_36"><b>36</b></a>,
+<a href="#Page_80"><b>80</b></a>,
+<a href="#Page_119"><b>119</b></a>,
+<a href="#Page_135"><b>135</b></a>,
+<a href="#Page_163"><b>163</b></a>,
+<a href="#Page_232"><b>232</b></a>,
+<a href="#Page_233"><b>233</b></a>,
+<a href="#Page_265"><b>265</b></a></li>
+<li><span class="add1em">as architect,</span>
+<a href="#Page_233"><b>233</b></a>,
+<a href="#Page_250"><b>250</b></a>,
+<a href="#Page_251"><b>251</b></a></li>
+
+<li>Vecchio, Palma (Jacopo Palma), <i>Life</i>,
+<a href="#Page_259"><b>259</b></a>-261</li>
+
+<li>Vecelli, Tiziano (Tiziano da Cadore),
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_133"><b>133</b></a>,
+<a href="#Page_134"><b>134</b></a>,
+<a href="#Page_152"><b>152</b></a>,
+<a href="#Page_153"><b>153</b></a></li>
+
+<li>Vercelli, Bernardo da,
+<a href="#Page_151"><b>151</b></a></li>
+
+<li>Verrocchio, Andrea,
+<a href="#Page_49"><b>49</b></a>,
+<a href="#Page_50"><b>50</b></a>,
+<a href="#Page_55"><b>55</b></a></li>
+
+<li>Vetraio, Giovan Francesco (Giovan Francesco Bembo),
+<a href="#Page_180"><b>180</b></a></li>
+
+<li>Vicentino, Valerio (Valerio de' Belli),
+<a href="#Page_247"><b>247</b></a></li>
+
+<li>Vincenzio Caccianimici,
+<a href="#Page_255"><b>255</b></a>,
+<a href="#Page_256"><b>256</b></a></li>
+
+<li>Vincenzio da San Gimignano (Vincenzio Tamagni), <i>Life</i>,
+<a href="#Page_11"><b>11</b></a>-17</li>
+
+<li>Vincenzio Tamagni (Vincenzio da San Gimignano), <i>Life</i>,
+<a href="#Page_11"><b>11</b></a>-17</li>
+
+<li>Vinci, Leonardo da,
+<a href="#Page_49"><b>49</b></a>,
+<a href="#Page_50"><b>50</b></a>,
+<a href="#Page_86"><b>86</b></a>,
+<a href="#Page_228"><b>228</b></a>,
+<a href="#Page_261"><b>261</b></a></li>
+
+<li>Viniziano, Agostino,
+<a href="#Page_97"><b>97</b></a></li>
+
+<li>Virgilio Romano,
+<a href="#Page_73"><b>73</b></a></li>
+
+<li>Visino,
+<a href="#Page_223"><b>223</b></a></li>
+
+<li>Vite, Timoteo della (Timoteo da Urbino), <i>Life</i>,
+<a href="#Page_11"><b>11</b></a>-17</li>
+
+<li>Vitruvius,
+<a href="#Page_68"><b>68</b></a>,
+<a href="#Page_71"><b>71</b></a></li>
+
+<li>Vittoria, Alessandro,
+<a href="#Page_247"><b>247</b></a></li>
+
+<li>Volterra, Piero da,
+<a href="#Page_64"><b>64</b></a></li>
+
+<li>Volterra, Zaccaria da,
+<a href="#Page_45"><b>45</b></a>,
+<a href="#Page_132"><b>132</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Zaccaria da Volterra,
+<a href="#Page_45"><b>45</b></a>,
+<a href="#Page_132"><b>132</b></a></li>
+
+<li>Zaganelli, Francesco de' (Francesco da Cotignola), <i>Life</i>,
+<a href="#Page_265"><b>265</b></a>-266</li>
+
+<li>Zanobi di Poggino,
+<a href="#Page_165"><b>165</b></a></li>
+
+<li>Zanobi Poggini,
+<a href="#Page_106"><b>106</b></a></li>
+</ul>
+
+
+<h4>END OF VOL. V.</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> See note on p. 57, Vol. I.</p></div>
+
+<div class="footnote"><p><a name="Footnote2" id="Footnote2"></a><a href="#FNanchor2"><span class="label">[2]</span></a> In the original edition of 1568.</p></div>
+
+<div class="footnote"><p><a name="Footnote3" id="Footnote3"></a><a href="#FNanchor3"><span class="label">[3]</span></a> See note on p. 57, Vol. I.</p></div>
+
+<div class="footnote"><p><a name="Footnote4" id="Footnote4"></a><a href="#FNanchor4"><span class="label">[4]</span></a> Diminutive of Lorenzo.</p></div>
+
+<div class="footnote"><p><a name="Footnote5" id="Footnote5"></a><a href="#FNanchor5"><span class="label">[5]</span></a> Luini.</p></div>
+
+<div class="footnote"><p><a name="Footnote6" id="Footnote6"></a><a href="#FNanchor6"><span class="label">[6]</span></a> Jacques de Beaune.</p></div>
+
+<div class="footnote"><p><a name="Footnote7" id="Footnote7"></a><a href="#FNanchor7"><span class="label">[7]</span></a> There is here a gap in the text.</p></div>
+
+<div class="footnote"><p><a name="Footnote8" id="Footnote8"></a><a href="#FNanchor8"><span class="label">[8]</span></a> The translator is unwilling to use the somewhat ugly word
+"sculptress."</p></div>
+
+<div class="footnote"><p><a name="Footnote9" id="Footnote9"></a><a href="#FNanchor9"><span class="label">[9]</span></a> "What is it that I feel, if it is not love?"</p></div>
+
+<div class="footnote"><p><a name="Footnote10" id="Footnote10"></a><a href="#FNanchor10"><span class="label">[10]</span></a> This seems to be an error for Melozzo.</p></div>
+
+<div class="footnote"><p><a name="Footnote11" id="Footnote11"></a><a href="#FNanchor11"><span class="label">[11]</span></a> <i>I.e.</i>, singular or rare.</p></div>
+
+<div class="footnote"><p><a name="Footnote12" id="Footnote12"></a><a href="#FNanchor12"><span class="label">[12]</span></a> Francesco Ubertini, called Il Bacchiacca.</p></div>
+
+<div class="footnote"><p><a name="Footnote13" id="Footnote13"></a><a href="#FNanchor13"><span class="label">[13]</span></a> From the word "Morto," which means "dead."</p></div>
+
+<div class="footnote"><p><a name="Footnote14" id="Footnote14"></a><a href="#FNanchor14"><span class="label">[14]</span></a> Amatrice.</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>
+
+<p>"Elecate" should be "Elacate".</p>
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Lives of the Most Eminent Painters
+Sculptors and Architects, by Giorgio Vasari
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+</body>
+</html>
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+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. 05 ( of 10) Andrea da Fiesole to Lorenzo Lotto
+
+Author: Giorgio Vasari
+
+Translator: Gaston du C. De Vere
+
+Release Date: March 27, 2009 [EBook #28421]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK EMINENT PAINTERS ***
+
+
+
+
+Produced by Mark C. Orton, Christine P. Travers and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+(This file was produced from images generously made
+available by The Internet Archive/Canadian Libraries)
+
+
+
+
+
+[Transcriber's note: Bold text is marked with =."
+
+Obvious printer's errors have been corrected,
+all other inconsistencies are as in the original. The author's spelling
+has been maintained.
+
+"Elecate" should be "Elacate".]
+
+
+
+
+LIVES OF THE MOST EMINENT PAINTERS SCULPTORS & ARCHITECTS BY GIORGIO
+VASARI:
+
+VOLUME V. ANDREA DA FIESOLE TO LORENZO LOTTO 1913
+
+NEWLY TRANSLATED BY GASTON Du C. DE VERE. WITH FIVE HUNDRED
+ILLUSTRATIONS: IN TEN VOLUMES
+
+[Illustration: 1511-1574]
+
+PHILIP LEE WARNER, PUBLISHER TO THE MEDICI SOCIETY, LIMITED 7 GRAFTON
+ST. LONDON, W. 1912-14
+
+
+
+
+CONTENTS OF VOLUME V
+
+                                                                    PAGE
+
+    ANDREA DA FIESOLE [ANDREA FERRUCCI], AND OTHERS                    1
+
+    VINCENZIO DA SAN GIMIGNANO [VINCENZIO TAMAGNI], AND TIMOTEO
+      DA URBINO [TIMOTEO DELLA VITE]                                   9
+
+    ANDREA DAL MONTE SANSOVINO [ANDREA CONTUCCI]                      19
+
+    BENEDETTO DA ROVEZZANO                                            33
+
+    BACCIO DA MONTELUPO, AND RAFFAELLO HIS SON                        39
+
+    LORENZO DI CREDI                                                  47
+
+    LORENZETTO AND BOCCACCINO                                         53
+
+    BALDASSARRE PERUZZI                                               61
+
+    GIOVAN FRANCESCO PENNI [CALLED IL FATTORE], AND PELLEGRINO
+      DA MODENA                                                       75
+
+    ANDREA DEL SARTO                                                  83
+
+    MADONNA PROPERZIA DE' ROSSI                                      121
+
+    ALFONSO LOMBARDI, MICHELAGNOLO DA SIENA, GIROLAMO SANTA
+      CROCE, AND DOSSO AND BATTISTA DOSSI                            129
+
+    GIOVANNI ANTONIO LICINIO OF PORDENONE, AND OTHERS                143
+
+    GIOVANNI ANTONIO SOGLIANI                                        157
+
+    GIROLAMO DA TREVISO                                              167
+
+    POLIDORO DA CARAVAGGIO AND MATURINO                              173
+
+    IL ROSSO                                                         187
+
+    BARTOLOMMEO DA BAGNACAVALLO, AND OTHERS                          205
+
+    FRANCIABIGIO [FRANCIA]                                           215
+
+    MORTO DA FELTRO AND ANDREA DI COSIMO FELTRINI                    225
+
+    MARCO CALAVRESE                                                  235
+
+    FRANCESCO MAZZUOLI [PARMIGIANO]                                  241
+
+    JACOPO PALMA [PALMA VECCHIO] AND LORENZO LOTTO                   257
+
+    INDEX OF NAMES                                                   267
+
+
+
+
+ILLUSTRATIONS TO VOLUME V
+
+PLATES IN COLOUR
+                                                             FACING PAGE
+
+  TIMOTEO DA URBINO (TIMOTEO DELLA VITE)
+      A Muse
+          Florence: Corsini Gallery                                   10
+
+  LORENZO DI CREDI
+      Venus
+          Florence: Uffizi, 3452                                      48
+
+  BERNARDINO DEL LUPINO (LUINI)
+      S. Catharine borne to her Tomb by Angels
+          Milan: Brera, 288                                           54
+
+  ANDREA DEL SARTO
+      Madonna dell' Arpie
+          Florence: Uffizi, 1112                                      94
+
+  DOSSO DOSSI
+      A Nymph with a Satyr
+          Florence: Pitti, 147                                       140
+
+  FRANCIABIGIO (FRANCIA)
+      Portrait of a Man
+          Vienna: Prince Liechtenstein                               222
+
+  LORENZO LOTTO
+      The Triumph of Chastity
+          Rome: Rospigliosi Gallery                                  258
+
+  JACOPO PALMA (PALMA VECCHIO)
+      S. Barbara
+          Venice: S. Maria Formosa                                   260
+
+  RONDINELLO (NICCOLO RONDINELLI)
+      Madonna and Child
+          Paris: Louvre, 1159                                        264
+
+
+PLATES IN MONOCHROME
+
+    ANDREA DA FIESOLE (ANDREA FERRUCCI)
+        Font
+            Pistoia: Duomo                                             6
+
+    SILVIO COSINI (SILVIO DA FIESOLE)
+        Tomb of Raffaele Maffei
+            Volterra: S. Lino                                          8
+
+    VINCENZIO DA SAN GIMIGNANO (VINCENZIO TAMAGNI)
+        The Birth of the Virgin
+            San Gimignano: S. Agostino, Cappella del S. Sacramento    12
+
+    TIMOTEO DA URBINO (TIMOTEO DELLA VITE)
+        Madonna and Saints, with a Child Angel
+            Milan: Brera, 508                                         12
+
+    TIMOTEO DA URBINO (TIMOTEO DELLA VITE)
+        The Magdalene
+            Bologna: Accademia, 204                                   16
+
+    ANDREA DAL MONTE SANSOVINO (ANDREA CONTUCCI)
+        Altar-piece
+            Florence: S. Spirito                                      22
+
+    ANDREA DAL MONTE SANSOVINO (ANDREA CONTUCCI)
+        Tomb of Cardinal Ascanio Sforza
+            Rome: S. Maria del Popolo                                 24
+
+    ANDREA DAL MONTE SANSOVINO (ANDREA CONTUCCI)
+        The Madonna and Child, with S. Anne
+            Rome: S. Agostino                                         26
+
+    BENEDETTO DA ROVEZZANO
+        Tomb of Piero Soderini
+            Florence: S. Maria del Carmine                            38
+
+    BACCIO DA MONTELUPO
+        S. John the Evangelist
+            Florence: Or San Michele                                  42
+
+    AGOSTINO BUSTI (IL BAMBAJA)
+        Detail from the Tomb: Head of Gaston de Foix
+            Milan: Brera                                              44
+
+    RAFFAELLO DA MONTELUPO
+        S. Damiano
+            Florence: New Sacristy of S. Lorenzo                      44
+
+    LORENZO DI CREDI
+        Andrea Verrocchio
+            Florence: Uffizi, 1163                                    50
+
+    LORENZO DI CREDI
+        Madonna and Child, with Saints
+            Paris: Louvre, 1263                                       52
+
+    LORENZO DI CREDI
+        The Nativity
+            Florence: Accademia, 92                                   52
+
+    LORENZETTO
+        Elijah
+            Rome: S. Maria del Popolo, Chigi Chapel                   56
+
+    LORENZETTO
+        S. Peter
+            Rome: Ponte S. Angelo                                     56
+
+    BOCCACCINO
+        Madonna and Child, with Saints
+            Rome: Doria Gallery, 125                                  58
+
+    BERNARDINO DEL LUPINO (LUINI)
+        The Marriage of the Virgin
+            Saronno: Santuario della Beata Vergine                    60
+
+    BALDASSARRE PERUZZI
+        Cupola of the Ponzetti Chapel
+            Rome: S. Maria della Pace                                 64
+
+    BALDASSARRE PERUZZI
+        Palazzo della Farnesina
+            Rome                                                      66
+
+    BALDASSARRE PERUZZI
+        Courtyard of Palazzo Massimi
+            Rome                                                      70
+
+    GIOVANNI FRANCESCO PENNI (IL FATTORE)
+        The Baptism of Constantine
+            Rome: The Vatican                                         78
+
+    GAUDENZIO MILANESE (GAUDENZIO FERRARI)
+        The Last Supper
+            Milan: S. Maria della Passione                            80
+
+    ANDREA DEL SARTO
+        "Noli Me Tangere"
+            Florence: Uffizi, 93                                      86
+
+    ANDREA DEL SARTO
+        The Last Supper
+            Florence: S. Salvi                                        88
+
+    ANDREA DEL SARTO
+        The Arrival of the Magi
+            Florence: SS. Annunziata                                  90
+
+    ANDREA DEL SARTO
+        Charity
+            Paris: Louvre, 1514                                       98
+
+    ANDREA DEL SARTO
+        Caesar receiving the Tribute of Egypt
+            Florence: Poggio a Caiano                                104
+
+    ANDREA DEL SARTO
+        Portrait of the Artist
+            Florence: Uffizi, 280                                    112
+
+    MADONNA PROPERZIA DE' ROSSI
+        Two Angels (with The Assumption of the Virgin, after TRIBOLO)
+            Bologna: S. Petronio                                     126
+
+    ALFONSO LOMBARDI
+        The Death of the Virgin
+            Bologna: S. Maria della Vita                             134
+
+    MICHELAGNOLO DA SIENA
+        Tomb of Adrian VI
+            Rome: S. Maria dell' Anima                               136
+
+    GIROLAMO SANTA CROCE
+        Madonna and Child, with SS. Peter and John
+            Naples: Monte Oliveto                                    138
+
+    DOSSO DOSSI
+        Madonna and Child, with SS. George and Michael
+            Modena: Pinacoteca, 437                                  140
+
+    GIOVANNI ANTONIO LICINIO OF PORDENONE
+        The Disputation of S. Catharine
+            Piacenza: S. Maria di Campagna                           150
+
+    GIOVANNI ANTONIO LICINIO OF PORDENONE
+        The Adoration of the Magi
+            Treviso: Duomo                                           152
+
+    GIOVANNI ANTONIO SOGLIANI
+        The Legend of S. Dominic
+            Florence: S. Marco                                       162
+
+    IL ROSSO
+        Madonna and Child, with Saints
+            Florence: Uffizi, 47                                     190
+
+    IL ROSSO
+        The Transfiguration
+            Citta di Castello: Duomo                                 198
+
+    BARTOLOMMEO DA BAGNACAVALLO
+        The Holy Family, with Saints
+            Bologna: Accademia, 133                                  208
+
+    AMICO OF BOLOGNA (AMICO ASPERTINI)
+        The Adoration
+            Bologna: Pinacoteca, 297                                 210
+
+    INNOCENZIO DA IMOLA
+        The Marriage of S. Catharine
+            Bologna: S. Giacomo Maggiore                             214
+
+    FRANCIABIGIO (FRANCIA)
+        The Marriage of the Virgin
+            Florence: SS. Annunziata                                 218
+
+    FRANCESCO MAZZUOLI (PARMIGIANO)
+        The Marriage of S. Catharine
+            Parma: Gallery, 192                                      246
+
+    FRANCESCO MAZZUOLI (PARMIGIANO)
+        Madonna and Child, with Saints
+            Bologna: Accademia, 116                                  250
+
+    JACOPO PALMA (PALMA VECCHIO)
+        S. Sebastian
+            Venice: S. Maria Formosa                                 260
+
+    LORENZO LOTTO
+        The Glorification of S. Nicholas
+            Venice: S. Maria del Carmine                             262
+
+    LORENZO LOTTO
+        Andrea Odoni
+            Hampton Court Palace                                     262
+
+    RONDINELLO (NICCOLO RONDINELLI)
+        Madonna and Child, with Saints
+            Ravenna: Accademia                                       264
+
+    FRANCESCO DA COTIGNOLA
+        The Adoration of the Shepherds
+            Ravenna: Accademia                                       266
+
+
+
+
+CORRIGENDUM
+
+P. 151, l. 13, _Vicenza_ is an error of the Italian text for Piacenza,
+the church referred to being in the latter town
+
+
+
+
+ANDREA DA FIESOLE
+
+
+
+
+LIVES OF ANDREA DA FIESOLE
+
+[_ANDREA FERRUCCI_]
+
+SCULPTOR
+
+AND OF OTHER CRAFTSMEN OF FIESOLE
+
+
+Seeing that it is no less necessary for sculptors to have mastery over
+their carving-tools than it is for him who practises painting to be able
+to handle colours, it therefore happens that many who work very well in
+clay prove to be unable to carry their labours to any sort of perfection
+in marble; and some, on the contrary, work very well in marble, without
+having any more knowledge of design than a certain instinct for a good
+manner, I know not what, that they have in their minds, derived from the
+imitation of certain things which please their judgment, and which their
+imagination absorbs and proceeds to use for its own purposes. And it is
+almost a marvel to see the manner in which some sculptors, without in
+any way knowing how to draw on paper, nevertheless bring their works to
+a fine and praiseworthy completion with their chisels. This was seen in
+Andrea, a sculptor of Fiesole, the son of Piero di Marco Ferrucci, who
+learnt the rudiments of sculpture in his earliest boyhood from Francesco
+di Simone Ferrucci, another sculptor of Fiesole. And although at the
+beginning he learnt only to carve foliage, yet little by little he
+became so well practised in his work that it was not long before he set
+himself to making figures; insomuch that, having a swift and resolute
+hand, he executed his works in marble rather with a certain judgment and
+skill derived from nature than with any knowledge of design.
+Nevertheless, he afterwards gave a little more attention to art, when,
+in the flower of his youth, he followed Michele Maini, likewise a
+sculptor of Fiesole; which Michele made the S. Sebastian of marble in
+the Minerva at Rome, which was so much praised in those days.
+
+Andrea, then, having been summoned to work at Imola, built a chapel of
+grey-stone, which was much extolled, in the Innocenti in that city.
+After that work, he went to Naples at the invitation of Antonio di
+Giorgio of Settignano, a very eminent engineer, and architect to King
+Ferrante, with whom Antonio was in such credit, that he had charge not
+only of all the buildings in that kingdom, but also of all the most
+important affairs of State. On arriving in Naples, Andrea was set to
+work, and he executed many things for that King in the Castello di San
+Martino and in other parts of that city. Now Antonio died; and after the
+King had caused him to be buried with obsequies suited rather to a royal
+person than to an architect, and with twenty pairs of mourners following
+him to the grave, Andrea, recognizing that this was no country for him,
+departed from Naples and made his way back to Rome, where he stayed for
+some time, attending to the studies of his art, and also to some work.
+
+Afterwards, having returned to Tuscany, he built the marble chapel
+containing the baptismal font in the Church of S. Jacopo at Pistoia, and
+with much diligence executed the basin of that font, with all its
+ornamentation. And on the main wall of the chapel he made two lifesize
+figures in half-relief--namely, S. John baptizing Christ, a work
+executed very well and with a beautiful manner. At the same time he made
+some other little works, of which there is no need to make mention. I
+must say, indeed, that although these things were wrought by Andrea
+rather with the skill of his hand than with art, yet there may be
+perceived in them a boldness and an excellence of taste worthy of great
+praise. And, in truth, if such craftsmen had a thorough knowledge of
+design united to their practised skill and judgment, they would vanquish
+in excellence those who, drawing perfectly, only hack the marble when
+they set themselves to work it, and toil at it painfully with a sorry
+result, through not having practice and not knowing how to handle the
+tools with the skill that is necessary.
+
+After these works, Andrea executed a marble panel that was placed
+exactly between the two flights of steps that ascend to the upper choir
+in the Church of the Vescovado at Fiesole; in which panel he made three
+figures in the round and some scenes in low-relief. And for S. Girolamo,
+at Fiesole, he made the little marble panel that is built into the
+middle of the church. Having come into repute by reason of the fame of
+these works, Andrea was commissioned by the Wardens of Works of S. Maria
+del Fiore, at the time when Cardinal Giulio de' Medici was governing
+Florence, to make a statue of an Apostle four braccia in height; at that
+time, I mean, when four other similar statues were allotted at one and
+the same moment to four other masters--one to Benedetto da Maiano,
+another to Jacopo Sansovino, a third to Baccio Bandinelli, and the
+fourth to Michelagnolo Buonarroti; which statues were eventually to be
+twelve in number, and were to be placed in that part of that magnificent
+temple where there are the Apostles painted by the hand of Lorenzo di
+Bicci. Andrea, then, executed his rather with fine skill and judgment
+than with design; and he acquired thereby, if not as much praise as the
+others, at least the name of a good and practised master. Wherefore he
+was almost continually employed ever afterwards by the Wardens of Works
+of that church; and he made the head of Marsilius Ficinus that is to be
+seen therein, within the door that leads to the chapter-house. He made,
+also, a marble fountain that was sent to the King of Hungary, which
+brought him great honour; and by his hand was a marble tomb that was
+sent, likewise, to Strigonia, a city of Hungary. In this tomb was a
+Madonna, very well executed, with other figures; and in it was
+afterwards laid to rest the body of the Cardinal of Strigonia. To
+Volterra Andrea sent two Angels of marble in the round; and for Marco
+del Nero, a Florentine, he made a lifesize Crucifix of wood, which is
+now in the Church of S. Felicita at Florence. He made a smaller one for
+the Company of the Assumption in Fiesole. Andrea also delighted in
+architecture, and he was the master of Mangone, the stonecutter and
+architect, who afterwards erected many palaces and other buildings in
+Rome in a passing good manner.
+
+In the end, having grown old, Andrea gave his attention only to mason's
+work, like one who, being a modest and worthy person, loved a quiet
+life more than anything else. He received from Madonna Antonia Vespucci
+the commission for a tomb for her husband, Messer Antonio Strozzi; but
+since he could not work much himself, the two Angels were made for him
+by Maso Boscoli of Fiesole, his disciple, who afterwards executed many
+works in Rome and elsewhere, and the Madonna was made by Silvio Cosini
+of Fiesole, although it was not set into place immediately after it was
+finished, which was in the year 1522, because Andrea died, and was
+buried by the Company of the Scalzo in the Church of the Servi.
+
+[Illustration: FONT
+
+(_After_ Andrea da Fiesole [Andrea Ferrucci]. _Pistoia: Duomo_)
+
+_Brogi_]
+
+Silvio, when the said Madonna was set into place and the tomb of the
+Strozzi completely finished, pursued the art of sculpture with
+extraordinary zeal; wherefore he afterwards executed many works in a
+graceful and beautiful manner, and surpassed a host of other masters,
+above all in the bizarre fancy of his grotesques, as may be seen in the
+sacristy of Michelagnolo Buonarroti, from some carved marble capitals
+over the pilasters of the tombs, with some little masks so well hollowed
+out that there is nothing better to be seen. In the same place he made
+some friezes with very beautiful masks in the act of crying out;
+wherefore Buonarroti, seeing the genius and skill of Silvio, caused him
+to begin certain trophies to complete those tombs, but they remained
+unfinished, with other things, by reason of the siege of Florence.
+Silvio executed a tomb for the Minerbetti in their chapel in the
+tramezzo[1] of the Church of S. Maria Novella, as well as any man could,
+since, in addition to the beautiful shape of the sarcophagus, there are
+carved upon it various shields, helmet-crests, and other fanciful
+things, and all with as much design as could be desired in such a work.
+Being at Pisa in the year 1528, Silvio made there an Angel that was
+wanting over a column on the high-altar of the Duomo, to face the one by
+Tribolo; and he made it so like the other that it could not be more like
+even if it were by the same hand. In the Church of Monte Nero, near
+Livorno, he made a little panel of marble with two figures, for the
+Frati Ingesuati; and at Volterra he made a tomb for Messer Raffaello da
+Volterra, a man of great learning, wherein he portrayed him from nature
+on a sarcophagus of marble, with some ornaments and figures.
+Afterwards, while the siege of Florence was going on, Niccolo Capponi, a
+most honourable citizen, died at Castel Nuovo della Garfagnana on his
+return from Genoa, where he had been as Ambassador from his Republic to
+the Emperor; and Silvio was sent in great haste to make a cast of his
+head, to the end that he might afterwards make one in marble, having
+already executed a very beautiful one in wax.
+
+Now Silvio lived for some time with all his family in Pisa; and since he
+belonged to the Company of the Misericordia, which in that city
+accompanies those condemned to death to the place of execution, there
+once came into his head, being sacristan at that time, the strangest
+caprice in the world. One night he took out of the grave the body of one
+who had been hanged the day before; and, after having dissected it for
+the purposes of his art, being a whimsical fellow, and perhaps a wizard,
+and ready to believe in enchantments and suchlike follies, he flayed it
+completely, and with the skin, prepared after a method that he had been
+taught, he made a jerkin, which he wore for some time over his shirt,
+believing that it had some great virtue, without anyone ever knowing of
+it. But having once been upbraided by a good Father to whom he had
+confessed the matter, he pulled off the jerkin and laid it to rest in a
+grave, as the monk had urged him to do. Many other similar stories could
+be told of this man, but, since they have nothing to do with our
+history, I will pass them over in silence.
+
+After the death of his first wife in Pisa, Silvio went off to Carrara.
+There he remained to execute some works, and took another wife, with
+whom, no long time after, he went to Genoa, where, entering the service
+of Prince Doria, he made a most beautiful escutcheon of marble over the
+door of his palace, and many ornaments in stucco all over that palace,
+after the directions given to him by the painter Perino del Vaga. He
+made, also, a very beautiful portrait in marble of the Emperor Charles
+V. But since it was Silvio's habit never to stay long in one place--for
+he was a wayward person--he grew weary of his prosperity in Genoa, and
+set out to make his way to France. He departed, therefore, but before
+arriving at Monsanese he turned back, and, stopping at Milan, he
+executed in the Duomo some scenes and figures and many ornaments, with
+much credit for himself. And there, finally, he died at the age of
+forty-five. He was a man of fine genius, capricious, very dexterous in
+any kind of work, and a person who could execute with great diligence
+anything to which he turned his hand. He delighted in composing sonnets
+and improvising songs, and in his early youth he gave his attention to
+arms. If he had concentrated his mind on sculpture and design, he would
+have had no equal; and, even as he surpassed his master Andrea Ferrucci,
+so, had he lived, he would have surpassed many others who have enjoyed
+the name of excellent masters.
+
+There flourished at the same time as Andrea and Silvio another sculptor
+of Fiesole, called Il Cicilia, who was a person of much skill; and a
+work by his hand may be seen in the Church of S. Jacopo, in the Campo
+Corbolini at Florence--namely, the tomb of the Chevalier Messer Luigi
+Tornabuoni, which is much extolled, particularly because he made therein
+the escutcheon of that Chevalier, in the form of a horse's head, as if
+to show, according to the ancient belief, that the shape of shields was
+originally taken from the head of a horse.
+
+About the same time, also, Antonio da Carrara, a very rare sculptor,
+made three statues in Palermo for the Duke of Monteleone, a Neapolitan
+of the house of Pignatella, and Viceroy of Sicily--namely, three figures
+of Our Lady in different attitudes and manners, which were placed over
+three altars in the Duomo of Monteleone in Calabria. For the same patron
+he made some scenes in marble, which are in Palermo. He left behind him
+a son who is also a sculptor at the present day, and no less excellent
+than was his father.
+
+[Illustration: TOMB OF RAFFAELE MAFFEI
+
+(_After_ Silvio Cosini [Silvio da Fiesole]. _Volterra: S. Lino_)
+
+_Alinari_]
+
+FOOTNOTE:
+
+[1] See note on p. 57, Vol. I.
+
+
+
+
+VINCENZIO DA SAN GIMIGNANO AND TIMOTEO DA URBINO
+
+
+
+
+[Illustration: TIMOTEO DA URBINO (TIMOTEO VITI): A MUSE
+
+(_Florence: Corsini Gallery. Panel_)]
+
+
+
+
+LIVES OF VINCENZIO DA SAN GIMIGNANO AND TIMOTEO DA URBINO
+
+[_TIMOTEO DELLA VITE_]
+
+PAINTERS
+
+
+Having now to write, after the Life of the sculptor Andrea da Fiesole,
+the Lives of two excellent painters, Vincenzio da San Gimignano of
+Tuscany, and Timoteo da Urbino, I propose to speak first of Vincenzio,
+as the man whose portrait is above,[2] and immediately afterwards of
+Timoteo, since they lived almost at one and the same time, and were both
+disciples and friends of Raffaello.
+
+Vincenzio, then, working in company with many others in the Papal Loggie
+for the gracious Raffaello da Urbino, acquitted himself in such a manner
+that he was much extolled by Raffaello and by all the others. Having
+therefore been set to work in the Borgo, opposite to the Palace of
+Messer Giovanni Battista dall' Aquila, with great credit to himself he
+painted on a facade a frieze in terretta, in which he depicted the Nine
+Muses, with Apollo in the centre, and above them some lions, the device
+of the Pope, which are held to be very beautiful. Vincenzio showed great
+diligence in his manner and softness in his colouring, and his figures
+were very pleasing in aspect; in short, he always strove to imitate the
+manner of Raffaello da Urbino, as may also be seen in the same Borgo,
+opposite to the Palace of the Cardinal of Ancona, from the facade of a
+house that was built by Messer Giovanni Antonio Battiferro of Urbino,
+who, in consequence of the strait friendship that he had with Raffaello,
+received from him the design for that facade, and also, through his good
+offices, many benefits and rich revenues at the Court. In this design,
+then, which was afterwards carried into execution by Vincenzio,
+Raffaello drew, in allusion to the name of the Battiferri, the Cyclopes
+forging thunderbolts for Jove, and in another part Vulcan making arrows
+for Cupid, with some most beautiful nudes and other very lovely scenes
+and statues. The same Vincenzio painted a great number of scenes on a
+facade in the Piazza di S. Luigi de' Francesi at Rome, such as the Death
+of Caesar, a Triumph of Justice, and a battle of horsemen in a frieze,
+executed with spirit and much diligence; and in this work, close to the
+roof, between the windows, he painted some Virtues that are very well
+wrought. In like manner, on the facade of the Epifani, behind the Curia
+di Pompeo, and near the Campo di Fiore, he painted the Magi following
+the Star; with an endless number of other works throughout that city,
+the air and position of which seem to be in great measure the reason
+that men are inspired to produce marvellous works there. Experience
+teaches us, indeed, that very often the same man has not the same manner
+and does not produce work of equal excellence in every place, but makes
+it better or worse according to the nature of the place.
+
+[Illustration: THE BIRTH OF THE VIRGIN
+
+(_After the fresco by =Vincenzio da San Gimignano [Vincenzio Tamagni]=.
+San Gimignano: S. Agostino_)
+
+_Brogi_]
+
+Vincenzio being in very good repute in Rome, there took place in the
+year 1527 the ruin and sack of that unhappy city, which had been the
+mistress of the nations. Whereupon, grieved beyond measure, he returned
+to his native city of San Gimignano; and there, by reason of the
+sufferings that he had undergone, and the weakening of his love for art,
+now that he was away from the air which nourishes men of fine genius and
+makes them bring forth works of the rarest merit, he painted some things
+that I will pass over in silence, in order not to veil with them the
+renown and the great name that he had honourably acquired in Rome. It is
+enough to point out clearly that violence turns the most lofty
+intellects roughly aside from their chief goal, and makes them direct
+their steps into the opposite path; which may also be seen in a
+companion of Vincenzio, called Schizzone, who executed some works in the
+Borgo that were highly extolled, and also in the Campo Santo of Rome and
+in S. Stefano degl' Indiani, and who was likewise caused by the
+senseless soldiery to turn aside from art and in a short time to
+lose his life. Vincenzio died in his native city of San Gimignano,
+having had but little gladness in his life after his departure from
+Rome.
+
+[Illustration: MADONNA AND SAINTS, WITH A CHILD ANGEL
+
+(_After the painting by =Timoteo da Urbino [Timoteo della Vite]=. Milan:
+Brera, 508_)
+
+_Brogi_]
+
+Timoteo, a painter of Urbino, was the son of Bartolommeo della Vite, a
+citizen of good position, and Calliope, the daughter of Maestro Antonio
+Alberto of Ferrara, a passing good painter in his day, as is shown by
+his works at Urbino and elsewhere. While Timoteo was still a child, his
+father dying, he was left to the care of his mother Calliope, with good
+and happy augury, from the circumstance that Calliope is one of the Nine
+Muses, and the conformity that exists between poetry and painting. Then,
+after he had been brought discreetly through his boyhood by his wise
+mother, and initiated by her into the studies of the simpler arts and
+likewise of drawing, the young man came into his first knowledge of the
+world at the very time when the divine Raffaello Sanzio was flourishing.
+Applying himself in his earliest years to the goldsmith's art, he was
+summoned by Messer Pier Antonio, his elder brother, who was then
+studying at Bologna, to that most noble city, to the end that he might
+follow that art, to which he seemed to be inclined by nature, under the
+discipline of some good master. While living, then, in Bologna, in which
+city he stayed no little time, and was much honoured and received by the
+noble and magnificent Messer Francesco Gombruti into his house with
+every sort of courtesy, Timoteo associated continually with men of
+culture and lofty intellect. Wherefore, having become known in a few
+months as a young man of judgment, and inclined much more to the
+painter's than to the goldsmith's art, of which he had given proofs in
+some very well-executed portraits of his friends and of others, it
+seemed good to his brother, wishing to encourage the young man's natural
+genius, and also persuaded to this by his friends, to take him away from
+his files and chisels, and to make him devote himself entirely to the
+study of drawing. At which he was very content, and applied himself
+straightway to drawing and to the labours of art, copying and drawing
+all the best works in that city; and establishing a close intimacy with
+painters, he set out to such purpose on his new road, that it was a
+marvel to see the progress that he made from one day to another, and all
+the more because he learnt with facility the most difficult things
+without any particular teaching from any appointed master. And so,
+becoming enamoured of his profession, and learning many secrets of
+painting merely by sometimes seeing certain painters of no account
+making their mixtures and using their brushes, and guided by himself and
+by the hand of nature, he set himself boldly to colouring, and acquired
+a very pleasing manner, very similar to that of the new Apelles, his
+compatriot, although he had seen nothing by his hand save a few works at
+Bologna. Thereupon, after executing some works on panel and on walls
+with very good results, guided by his own good intellect and judgment,
+and believing that in comparison with other painters he had succeeded
+very well in everything, he pursued the studies of painting with great
+ardour, and to such purpose, that in course of time he found that he had
+gained a firm footing in his art, and was held in good repute and vast
+expectation by all the world.
+
+Having then returned to his own country, now a man twenty-six years of
+age, he stayed there for some months, giving excellent proofs of his
+knowledge. Thus he executed, to begin with, the altar-piece of the
+Madonna for the altar of S. Croce in the Duomo, containing, besides the
+Virgin, S. Crescenzio and S. Vitale; and there is a little Angel seated
+on the ground, playing on a viola with a grace truly angelic and a
+childlike simplicity expressed with art and judgment. Afterwards he
+painted another altar-piece for the high-altar of the Church of the
+Trinita, together with a S. Apollonia on the left hand of that altar.
+
+By means of these works and certain others, of which there is no need to
+make mention, the name and fame of Timoteo spread abroad, and he was
+invited with great insistence by Raffaello to Rome; whither having gone
+with the greatest willingness, he was received with that loving kindness
+that was as peculiar to Raffaello as was his excellence in art. Working,
+then, with Raffaello, in little more than a year he made a great
+advance, not only in art, but also in prosperity, for in that time he
+sent home a good sum of money. While working with his master in the
+Church of S. Maria della Pace, he made with his own hand and invention
+the Sibyls that are in the lunettes on the right hand, so much esteemed
+by all painters. That they are his is maintained by some who still
+remember having seen them painted; and we have also testimony in the
+cartoons which are still to be found in the possession of his
+successors. On his own account, likewise, he afterwards painted the bier
+and the dead body contained therein, with the other things, so highly
+extolled, that are around it, in the Scuola of S. Caterina da Siena; and
+although certain men of Siena, carried away by love of their own
+country, attribute these works to others, it may easily be recognized
+that they are the handiwork of Timoteo, both from the grace and
+sweetness of the colouring, and from other memorials of himself that he
+left in that most noble school of excellent painters.
+
+Now, although Timoteo was well and honourably placed in Rome, yet, not
+being able to endure, as many do, the separation from his own country,
+and also being invited and urged every moment to come home by the
+counsels of his friends and by the prayers of his mother, now an old
+woman, he returned to Urbino, much to the displeasure of Raffaello, who
+loved him dearly for his good qualities. And not long after, having
+taken a wife in Urbino at the suggestion of his family, and having
+become enamoured of his country, in which he saw that he was highly
+honoured, besides the circumstance, even more important, that he had
+begun to have children, Timoteo made up his mind firmly never again to
+consent to go abroad, notwithstanding, as may still be seen from some
+letters, that he was invited back to Rome by Raffaello. But he did not
+therefore cease to work, and he made many works in Urbino and in the
+neighbouring cities. At Forli he painted a chapel in company with
+Girolamo Genga, his friend and compatriot; and afterwards he painted
+entirely with his own hand a panel that was sent to Citta di Castello,
+and likewise another for the people of Cagli. At Castel Durante, also,
+he executed some works in fresco, which are truly worthy of praise, as
+are all the other works by his hand, which bear witness that he was a
+graceful painter in figures, landscapes, and every other field of
+painting. In Urbino, at the instance of Bishop Arrivabene of Mantua, he
+painted the Chapel of S. Martino in the Duomo, in company with the same
+Genga; but the altar-panel and the middle of the chapel are entirely by
+the hand of Timoteo. For the same church, also, he painted a Magdalene
+standing, clothed in a short mantle, and covered below this by her own
+tresses, which reach to the ground and are so beautiful and natural,
+that the wind appears to move them; not to mention the divine beauty of
+the expression of her countenance, which reveals clearly the love that
+she bore to her Master.
+
+In S. Agata there is another panel by the hand of the same man, with
+some very good figures. And for S. Bernardino, without that city, he
+made that work so greatly renowned that is at the right hand upon the
+altar of the Buonaventuri, gentlemen of Urbino; wherein the Virgin is
+represented with most beautiful grace as having received the
+Annunciation, standing with her hands clasped and her face and eyes
+uplifted to Heaven. Above, in the sky, in the centre of a great circle
+of light, stands a little Child, with His foot on the Holy Spirit in the
+form of a Dove, and holding in His left hand a globe symbolizing the
+dominion of the world, while, with the other hand raised, He gives the
+benediction; and on the right of the Child is an angel, who is pointing
+Him out with his finger to the Madonna. Below--that is, on the level of
+the Madonna, to her right--is the Baptist, clothed in a camel's skin,
+which is torn on purpose that the nude figure may be seen; and on her
+left is a S. Sebastian, wholly naked, and bound in a beautiful attitude
+to a tree, and wrought with such diligence that the figure could not
+have stronger relief nor be in any part more beautiful.
+
+At the Court of the most illustrious Dukes of Urbino, in a little
+private study, may be seen an Apollo and two half-nude Muses by his
+hand, beautiful to a marvel. For the same patrons he executed many
+pictures, and made some decorations for apartments, which are very
+beautiful. And afterwards, in company with Genga, he painted some
+caparisons for horses, which were sent to the King of France, with such
+beautiful figures of various animals that they appeared to all who
+beheld them to have life and movement. He made, also, some triumphal
+arches similar to those of the ancients, on the occasion of the marriage
+of the most illustrious Duchess Leonora to the Lord Duke Francesco
+Maria, to whom they gave vast satisfaction, as they did to the whole
+Court; on which account he was received for many years into the
+household of that Duke, with an honourable salary.
+
+[Illustration: THE MAGDALENE
+
+(_After the panel by =Timoteo da Urbino [Timoteo della Vite]=. Bologna:
+Accademia, 204_)
+
+_Anderson_]
+
+Timoteo was a bold draughtsman, and even more notable for the sweetness
+and charm of his colouring, insomuch that his works could not have been
+executed with more delicacy or greater diligence. He was a merry fellow,
+gay and festive by nature, and most acute and witty in his sayings and
+discourses. He delighted in playing every sort of instrument, and
+particularly the lyre, to which he sang, improvising upon it with
+extraordinary grace. He died in the year of our salvation 1524, the
+fifty-fourth of his life, leaving his native country as much enriched by
+his name and his fine qualities as it was grieved by his loss. He left
+in Urbino some unfinished works, which were finished afterwards by
+others and show by comparison how great were the worth and ability of
+Timoteo.
+
+In our book are some drawings by his hand, very beautiful and truly
+worthy of praise, which I received from the most excellent and gentle
+Messer Giovanni Maria, his son--namely, a pen-sketch for the portrait of
+the Magnificent Giuliano de' Medici, which Timoteo made when Giuliano
+was frequenting the Court of Urbino and that most famous academy, a
+"Noli me tangere," and a S. John the Evangelist sleeping while Christ is
+praying in the Garden, all very beautiful.
+
+FOOTNOTE:
+
+[2] In the original edition of 1568.
+
+
+
+
+ANDREA DAL MONTE SANSOVINO
+
+
+
+
+LIFE OF ANDREA DAL MONTE SANSOVINO
+
+[_ANDREA CONTUCCI_]
+
+SCULPTOR AND ARCHITECT
+
+
+Although Andrea, the son of Domenico Contucci of Monte Sansovino, was
+born from a poor father, a tiller of the earth, and rose from the
+condition of shepherd, nevertheless his conceptions were so lofty, his
+genius so rare, and his mind so ready, both in his works and in his
+discourses on the difficulties of architecture and perspective, that
+there was not in his day a better, rarer, or more subtle intellect than
+his, nor one that was more able than he was to render the greatest
+doubts clear and lucid; wherefore he well deserved to be held in his own
+times, by all who were qualified to judge, to be supreme in those
+professions. Andrea was born, so it is said, in the year 1460; and in
+his childhood, while looking after his flocks, he would draw on the sand
+the livelong day, as is also told of Giotto, and copy in clay some of
+the animals that he was guarding. So one day it happened that a
+Florentine citizen, who is said to have been Simone Vespucci, at that
+time Podesta of the Monte, passing by the place where Andrea was looking
+after his little charges, saw the boy standing all intent on drawing or
+modelling in clay. Whereupon he called to him, and, having seen what was
+the boy's bent, and heard whose son he was, he asked for him from
+Domenico Contucci, who graciously granted his request; and Simone
+promised to place him in the way of learning design, in order to see
+what virtue there might be in that inclination of nature, if assisted by
+continual study.
+
+Having returned to Florence, then, Simone placed him to learn art with
+Antonio del Pollaiuolo, under whom Andrea made such proficience, that in
+a few years he became a very good master. In the house of that Simone,
+on the Ponte Vecchio, there may still be seen a cartoon executed by him
+at that time, of Christ being scourged at the Column, drawn with much
+diligence; and, in addition, two marvellous heads in terra-cotta, copied
+from ancient medals, one of the Emperor Nero, and the other of the
+Emperor Galba, which heads served to adorn a chimney-piece; but the
+Galba is now at Arezzo, in the house of Giorgio Vasari. Afterwards,
+while still living in Florence, he made an altar-piece in terra-cotta
+for the Church of S. Agata at Monte Sansovino, with a S. Laurence and
+some other saints, and little scenes most beautifully executed. And no
+long time after this he made another like it, containing a very
+beautiful Assumption of Our Lady, S. Agata, S. Lucia, and S. Romualdo;
+which altar-piece was afterwards glazed by the Della Robbia family.
+
+[Illustration: ALTAR-PIECE
+
+(_After_ Andrea dal Monte Sansovino [Andrea Contucci]. _Florence: S.
+Spirito_)
+
+_Alinari_]
+
+Then, pursuing the art of sculpture, he made in his youth for Simone del
+Pollaiuolo, otherwise called Il Cronaca, two capitals for pilasters in
+the Sacristy of S. Spirito, which brought him very great fame, and led
+to his receiving a commission to execute the antechamber that is between
+the said sacristy and the church; and since the space was very small,
+Andrea was forced to use great ingenuity. He made, therefore, a
+structure of grey-stone in the Corinthian Order, with twelve round
+columns, six on either side; and having laid architrave, frieze, and
+cornice over these columns, he then raised a barrel-shaped vault, all of
+the same stone, with a coffer-work surface full of carvings, which was
+something novel, rich and varied, and much extolled. It is true, indeed,
+that if the mouldings of that coffer-work ceiling, which serve to divide
+the square and round panels by which it is adorned, had been contrived
+so as to fall in a straight line with the columns, with truer proportion
+and harmony, this work would be wholly perfect in every part; and it
+would have been an easy thing to do this. But, according to what I once
+heard from certain old friends of Andrea, he used to defend himself by
+saying that he had adhered in his vault to the method of the coffering
+in the Ritonda at Rome, wherein the ribs that radiate from the round
+window in the centre above, from which that temple gets its light, serve
+to enclose the square sunk panels containing the rosettes, which
+diminish little by little, as likewise do the ribs; and for that reason
+they do not fall in a straight line with the columns. Andrea used to
+add that if he who built the Temple of the Ritonda, which is the best
+designed and proportioned that there is, and made with more harmony than
+any other, paid no attention to this in a vault of such size and
+importance, much less should he do so in a coffered ceiling with far
+smaller panels. Nevertheless many craftsmen, and Michelagnolo in
+particular, have been of the opinion that the Ritonda was built by three
+architects, of whom the first carried it as far as the cornice that is
+above the columns, and the second from the cornice upwards, the part,
+namely, that contains those windows of more graceful workmanship, for in
+truth this second part is very different in manner from the part below,
+since the vaulting was carried out without any relation between the
+coffering and the straight lines of what is below. The third is believed
+to have made the portico, which was a very rare work. And for these
+reasons the masters who practise this art at the present day should not
+fall into such an error and then make excuses, as did Andrea.
+
+After that work, having received from the family of the Corbinelli the
+commission for the Chapel of the Sacrament in the same church, he
+carried it out with much diligence, imitating in the low-reliefs Donato
+and other excellent craftsmen, and sparing no labour in his desire to do
+himself credit, as, indeed, he did. In two niches, one on either side of
+a very beautiful tabernacle, he placed two saints somewhat more than one
+braccio in height, S. James and S. Matthew, executed with such spirit
+and excellence, that every sort of merit is revealed in them and not one
+fault. Equally good, also, are two Angels in the round that are the
+crowning glory of this work, with the most beautiful draperies--for they
+are in the act of flying--that are anywhere to be seen; and in the
+centre is a little naked Christ full of grace. There are also some
+scenes with little figures in the predella and over the tabernacle, all
+so well executed that the point of a brush could scarcely do what Andrea
+did with his chisel. But whosoever wishes to be amazed by the diligence
+of this extraordinary man should look at the architecture of this work
+as a whole, for it is so well executed and joined together in its small
+proportions that it appears to have been chiselled out of one single
+stone. Much extolled, also, is a large Pieta of marble that he made in
+half-relief on the front of the altar, with the Madonna and S. John
+weeping. Nor could one imagine any more beautiful pieces of casting than
+are the bronze gratings that enclose that chapel, with their ornaments
+of marble, and with stags, the device, or rather the arms, of the
+Corbinelli, which serve as adornments for the bronze candelabra. In
+short, this work was executed without any sparing of labour, and with
+all the best considerations that could possibly be imagined.
+
+By these and by other works the name of Andrea spread far and wide, and
+he was sought for from the elder Lorenzo de' Medici, the Magnificent, in
+whose garden, as has been related, he had pursued the studies of design,
+by the King of Portugal; and, being therefore sent to him by Lorenzo, he
+executed for that King many works of sculpture and of architecture, and
+in particular a very beautiful palace with four towers, and many other
+buildings. Part of the palace was painted after designs and cartoons by
+the hand of Andrea, who drew very well, as may be seen from some
+drawings by his own hand in our book, finished with a charcoal-point,
+and some other architectural drawings, showing excellent design. He also
+made for that King a carved altar of wood, containing some Prophets; and
+likewise a very beautiful battle-piece in clay, to be afterwards carved
+in marble, representing the wars that the King waged with the Moors, who
+were vanquished by him; and no work by the hand of Andrea was ever seen
+that was more spirited or more terrible than this, what with the
+movements and various attitudes of the horses, the heaps of dead, and
+the vehement fury of the soldiers in combat. And he made a figure of S.
+Mark in marble, which was a very rare work. While in the service of that
+King, Andrea also gave his attention to some difficult and fantastic
+architectural works, according to the custom of that country, in order
+to please the King; of which things I once saw a book at Monte Sansovino
+in the possession of his heirs, which is now in the hands of Maestro
+Girolamo Lombardo, who was his disciple, and to whom it fell, as will be
+related, to finish some works begun by Andrea.
+
+[Illustration: TOMB OF CARDINAL ASCANIO SFORZA
+
+(_After_ Andrea dal Monte Sansovino [Andrea Contucci]. _Rome: S. Maria
+del Popolo_)
+
+_Alinari_]
+
+Having been nine years in Portugal, and growing weary of that service,
+and desirous of seeing his relatives and friends in Tuscany again,
+Andrea determined, now that he had put together a good sum of money,
+to obtain leave from the King and return home. And so, having been
+granted permission, although not willingly, he returned to Florence,
+leaving behind him one who should complete such of his works as remained
+unfinished. After arriving in Florence, he began in the year 1500 a
+marble group of S. John baptizing Christ, which was to be placed over
+that door of the Temple of S. Giovanni that faces the Misericordia; but
+he did not finish it, because he was almost forced to go to Genoa, where
+he made two figures of marble, Christ, or rather S. John, and a Madonna,
+which are truly worthy of the highest praise. And those at Florence
+remained unfinished, and are still to be found at the present day in the
+Office of Works of the said S. Giovanni.
+
+He was then summoned to Rome by Pope Julius II, and received the
+commission for two tombs of marble, which were erected in S. Maria del
+Popolo--one for Cardinal Ascanio Sforza, and the other for the Cardinal
+of Recanati, a very near relative of the Pope--and these works were
+wrought so perfectly by Andrea that nothing more could be desired, since
+they were so well executed and finished, and with such purity, beauty,
+and grace, that they reveal the true consideration and proportion of
+art. There may be seen there, also, a Temperance with an hourglass in
+her hand, which is held to be a thing divine; and, indeed, it does not
+appear to be a modern work, but ancient and wholly perfect. And although
+there are other figures there similar to it, yet on account of its
+attitude and grace it is much the best; not to mention that nothing
+could be more pleasing and beautiful than the veil that she has around
+her, which is executed with such delicacy that it is a miracle to
+behold.
+
+In S. Agostino at Rome, on a pilaster in the middle of the church, he
+made in marble a S. Anne embracing a Madonna with the Child, a little
+less than lifesize. This work may be counted as one of the best of
+modern times, since, even as a lively and wholly natural gladness is
+seen in the old woman, and a divine beauty in the Madonna, so the figure
+of the Infant Christ is so well wrought, that no other was ever executed
+with such delicacy and perfection. Wherefore it well deserved that for
+many years a succession of sonnets and various other learned
+compositions should be attached to it, of which the friars of that
+place have a book full, which I myself have seen, to my no little
+marvel. And in truth the world was right in doing this, for the reason
+that the work can never be praised enough.
+
+[Illustration: THE MADONNA AND CHILD WITH S. ANNE
+
+(_After_ Andrea dal Monte Sansovino [Andrea Contucci]. _Rome: S.
+Agostino_)
+
+_Alinari_]
+
+The fame of Andrea having thereby grown greater, Leo X, who had resolved
+that the adornment with wrought marble of the Chamber of the Madonna in
+S. Maria at Loreto should be carried out, according to the beginning
+made by Bramante, ordained that Andrea should bring that work to
+completion. The ornamentation of that Chamber, which Bramante had begun,
+had at the corners four double projections, which, adorned by pillars
+with bases and carved capitals, rested on a socle rich with carvings,
+and two braccia and a half in height; over which socle, between the two
+aforesaid pillars, he had made a large niche to contain seated figures,
+and, above each of these niches, a smaller one, which, reaching to the
+collarino of the capitals of those pillars, left a frieze of the same
+height as the capitals. Above these were afterwards laid architrave,
+frieze, and richly carved cornice, which, going right round all the four
+walls, project over the four corners; and in the middle of each of the
+larger walls--for the Chamber is greater in length than in breadth--were
+left two spaces, since there was the same projection in the centre of
+those walls as there was at the corners; whence the larger niche below,
+with the smaller one above it, came to be enclosed by a space of five
+braccia on either side. In this space were two doors, one on either
+side, through which one entered into the chapel; and above the doors was
+a space of five braccia between one niche and another, wherein were to
+be carved scenes in marble. The front wall was the same, but without
+niches in the centre, and the height of the socle, with the projection,
+formed an altar, which was set off by the pillars and the niches at the
+corners. In the same front wall, in the centre, was a space of the same
+breadth as the spaces at the sides, to contain some scenes in the upper
+part, while below, the same in height as the spaces of the sides, but
+beginning immediately above the altar, was a bronze grating opposite to
+the inner altar, through which it was possible to hear the Mass and to
+see the inside of the Chamber and the aforesaid altar of the Madonna.
+Altogether, then, the spaces and compartments for the scenes were
+seven: one in front, above the grating, two on each of the longer sides,
+and two on the upper part--that is to say, behind the altar of the
+Madonna; and, in addition, there were eight large and eight small
+niches, with other smaller spaces for the arms and devices of the Pope
+and of the Church.
+
+Andrea, then, having found the work in this condition, distributed over
+these spaces, with a rich and beautiful arrangement, scenes from the
+life of the Madonna. In one of the two side-walls, he began in one part
+the Nativity of the Madonna, and executed half of it; and it was
+completely finished afterwards by Baccio Bandinelli. In the other part
+he began the Marriage of the Virgin, but this also remained unfinished,
+and after the death of Andrea it was completed as we see it by Raffaello
+da Montelupo. On the front wall he arranged that there should be made,
+in two small squares which are on either side of the bronze grating, in
+one the Visitation and in the other the scene of the Virgin and Joseph
+going to have themselves enrolled for taxes; which scenes were
+afterwards executed by Francesco da San Gallo, then a young man. Then,
+in that part where the greatest space is, Andrea made the Angel Gabriel
+bringing the Annunciation to the Virgin--which happened in that very
+chamber which these marbles enclose--with such grace and beauty that
+there is nothing better to be seen, for he made the Virgin wholly intent
+on that Salutation, and the Angel, kneeling, appears to be not of
+marble, but truly celestial, with "Ave Maria" issuing from his mouth. In
+company with Gabriel are two other Angels, in full-relief and detached
+from the marble, one of whom is walking after him and the other appears
+to be flying. Behind a building stand two other Angels, carved out by
+the chisel in such a way that they seem to be alive. In the air, on a
+cloud much undercut--nay, almost entirely detached from the marble--are
+many little boys upholding a God the Father, who is sending down the
+Holy Spirit by means of a ray of marble, which, descending from Him
+completely detached, appears quite real; as, likewise, is the Dove upon
+it, which represents the Holy Spirit. Nor can one describe how great is
+the beauty and how delicate the carving of a vase filled with flowers,
+which was made in this work by the gracious hand of Andrea, who
+lavished so much excellence on the plumes of the Angels, the hair, the
+grace of their features and draperies, and, in short, on every other
+thing, that this divine work cannot be extolled enough. And, in truth,
+that most holy place, which was the very house and habitation of the
+Mother of the Son of God, could not obtain from the resources of the
+world a greater, richer, or more beautiful adornment than that which it
+received from the architecture of Bramante and the sculpture of Andrea
+Sansovino; although, even if it were entirely of the most precious gems
+of the East, it would be little more than nothing in comparison with
+such merits.
+
+Andrea spent an almost incredible amount of time over this work, and
+therefore had no time to finish the others that he had begun; for, in
+addition to those mentioned above, he began in a space on one of the
+side-walls the Nativity of Jesus Christ, with the Shepherds and four
+Angels singing; and all these he finished so well that they seem to be
+wholly alive. But the story of the Magi, which he began above that one,
+was afterwards finished by Girolamo Lombardo, his disciple, and by
+others. On the back wall he arranged that two large scenes should be
+made, one above the other; in one, the Death of Our Lady, with the
+Apostles bearing her to her burial, four Angels in the air, and many
+Jews seeking to steal that most holy corpse; and this was finished after
+Andrea's lifetime by the sculptor Bologna. Below this one, then, he
+arranged that there should be made a scene of the Miracle of Loreto,
+showing in what manner that chapel, which was the Chamber of Our Lady,
+wherein she was born, brought up, and saluted by the Angel, and in which
+she reared her Son up to the age of twelve and lived ever after His
+Death, was finally carried by the Angels, first into Sclavonia,
+afterwards to a forest in the territory of Recanati, and in the end to
+the place where it is now held in such veneration and continually
+visited in solemn throng by all the Christian people. This scene, I say,
+was executed in marble on that wall, according to the arrangement made
+by Andrea, by the Florentine sculptor Tribolo, as will be related in due
+place. Andrea likewise blocked out the Prophets for the niches, but did
+not finish them completely, save one alone, and the others were
+afterwards finished by the aforesaid Girolamo Lombardo and by other
+sculptors, as will be seen in the Lives that are to follow. But with
+regard to all the works wrought by Andrea in this undertaking, they are
+the most beautiful and best executed works of sculpture that had ever
+been made up to that time.
+
+In like manner, the Palace of the Canons of the same church was also
+carried on by Andrea, after the arrangements made by Bramante at the
+commission of Pope Leo. But this, also, remained unfinished after the
+death of Andrea, and the building was continued under Clement VII by
+Antonio da San Gallo, and then by the architect Giovanni Boccalino,
+under the patronage of the very reverend Cardinal da Carpi, up to the
+year 1563. While Andrea was at work on the aforesaid Chapel of the
+Virgin, there were built the fortifications of Loreto and other works,
+which were highly extolled by the all-conquering Signor Giovanni de'
+Medici, with whom Andrea had a very strait friendship, having become
+first acquainted with him in Rome.
+
+Having four months of holiday in the year for repose while he was
+working at Loreto, he used to spend that time in agriculture at his
+native place of Monte Sansovino, enjoying meanwhile a most tranquil rest
+with his relatives and friends. Living thus at the Monte during the
+summer, he built there a commodious house for himself and bought much
+property; and for the Friars of S. Agostino in that place he had a
+cloister made, which, although small, is very well designed, but also
+out of the square, since those Fathers insisted on having it built over
+the old walls. Andrea, however, made the interior rectangular by
+increasing the thickness of the pilasters at the corners, in order to
+change it from an ill-proportioned structure into one with good and true
+measurements. He designed, also, for a Company that had its seat in that
+cloister, under the title of S. Antonio, a very beautiful door of the
+Doric Order; and likewise the tramezzo[3] and pulpit of the Church of S.
+Agostino. He also caused a little chapel to be built for the friars
+half-way down the hill on the descent to the fountain, without the door
+that leads to the old Pieve, although they had no wish for it. He made
+the design for the house of Messer Pietro, a most skilful astrologer, at
+Arezzo; and a large figure of terra-cotta for Montepulciano, of King
+Porsena, which was a rare work, although I have never seen it again
+since the first time, so that I fear that it may have come to an evil
+end. And for a German priest, who was his friend, he made a lifesize S.
+Rocco of terra-cotta, very beautiful; which priest had it placed in the
+Church of Battifolle, in the district of Arezzo. This was the last piece
+of sculpture that Andrea executed.
+
+He gave the design, also, for the steps ascending to the Vescovado of
+Arezzo; and for the Madonna delle Lagrime, in the same city, he made the
+design of a very beautiful ornament that was to be executed in marble,
+with four figures, each four braccia high; but this work was carried no
+farther, on account of the death of our Andrea. For he, having reached
+the age of sixty-eight, and being a man who would never stay idle, set
+to work to move some stakes from one place to another at his villa,
+whereby he caught a chill; and in a few days, worn out by a continuous
+fever, he died, in the year 1529.
+
+The death of Andrea grieved his native place by reason of the honour
+that he had brought it, and his sons and the women of his household, who
+lost both their dearest one and their support. And not long ago Muzio
+Camillo, one of the three aforesaid sons, who was displaying a most
+beautiful intellect in the studies of learning and letters, followed
+him, to the great loss of his family and displeasure of his friends.
+
+Andrea, in addition to his profession of art, was truly a person of much
+distinction, for he was wise in his discourse, and reasoned most
+beautifully on every subject. He was prudent and regular in his every
+action, much the friend of learned men, and a philosopher of great
+natural gifts. He gave much attention to the study of cosmography, and
+left to his family a number of drawings and writings on the subject of
+distances and measurements. He was somewhat small in stature, but robust
+and beautifully made. His hair was soft and long, his eyes light in
+colour, his nose aquiline, and his skin pink and white; but he had a
+slight impediment in his speech.
+
+His disciples were the aforesaid Girolamo Lombardo, the Florentine
+Simone Cioli, Domenico dal Monte Sansovino (who died soon after him),
+and the Florentine Leonardo del Tasso, who made the S. Sebastian of
+wood over his own tomb in S. Ambrogio at Florence, and the marble panel
+of the Nuns of S. Chiara. A disciple of Andrea, likewise, was the
+Florentine Jacopo Sansovino--so called after his master--of whom there
+will be a long account in the proper place.
+
+Architecture and sculpture, then, are much indebted to Andrea, in that
+he enriched the one with many rules of measurement and devices for
+drawing weights, and with a degree of diligence that had not been
+employed before, and in the other he brought his marble to perfection
+with marvellous judgment, care, and mastery.
+
+FOOTNOTE:
+
+[3] See note on p. 57, Vol. I.
+
+
+
+
+BENEDETTO DA ROVEZZANO
+
+
+
+
+LIFE OF BENEDETTO DA ROVEZZANO
+
+SCULPTOR
+
+
+Great, I think, must be the displeasure of those who, having executed
+some work of genius, yet, when they hope to enjoy the fruits of this in
+their old age, and to see the beautiful results achieved by other
+intellects in works similar to their own, and to be able to perceive
+what perfection there may be in that field of art that they themselves
+have practised, find themselves robbed by adverse fortune, by time, by a
+bad habit of body, or by some other cause, of the sight of their eyes;
+whence they are not able, as they were before, to perceive either the
+deficiencies or the perfection of men whom they hear of as living and
+practising their own professions. And even more are they grieved to hear
+the praises of the new masters, not through envy, but because they are
+not able to judge, like others, whether that fame be well-deserved or
+not.
+
+This misfortune happened to Benedetto da Rovezzano, a sculptor of
+Florence, of whom we are now about to write the Life, to the end that
+the world may know how able and practised a sculptor he was, and with
+what diligence he carved marble in strong relief against its ground in
+the marvellous works that he made. Among the first of many labours that
+this master executed in Florence, may be numbered a chimney-piece of
+grey-stone that is in the house of Pier Francesco Borgherini, wherein
+are capitals, friezes, and many other ornaments, carved by his hand in
+open-work with great diligence. In the house of Messer Bindo Altoviti,
+likewise, is a chimney-piece by the same hand, with a lavatory of
+marble, and some other things executed with much delicacy; but
+everything in these that has to do with architecture was designed by
+Jacopo Sansovino, then a young man.
+
+Next, in the year 1512, Benedetto received the commission for a tomb of
+marble, with rich ornaments, in the principal chapel of the Carmine in
+Florence, for Piero Soderini, who had been Gonfalonier in that city; and
+that work was executed by him with incredible diligence, seeing that,
+besides foliage, carved emblems of death, and figures, he made therein
+with basanite, in low-relief, a canopy in imitation of black cloth, with
+so much grace and such beautiful finish and lustre, that the stone
+appears to be exquisite black satin rather than basanite. And, to put it
+in a few words, for all that the hand of Benedetto did in this work
+there is no praise that would not seem too little.
+
+And since he also gave his attention to architecture, there was restored
+from the design of Benedetto a house near S. Apostolo in Florence,
+belonging to Messer Oddo Altoviti, Patron and Prior of that church.
+There Benedetto made the principal door in marble, and, over the door of
+the house, the arms of the Altoviti in grey-stone, with the wolf, lean,
+excoriated, and carved in such strong relief, that it seems to be almost
+separate from the shield; and some pendant ornaments carved in open-work
+with such delicacy, that they appear to be not of stone, but of the
+finest paper. In the same church, above the two chapels of Messer Bindo
+Altoviti, for which Giorgio Vasari of Arezzo painted the panel-picture
+of the Conception in oils, Benedetto made a marble tomb for the said
+Messer Oddo, surrounded by an ornament full of most masterly foliage,
+with a sarcophagus, likewise very beautiful.
+
+Benedetto also executed, in competition with Jacopo Sansovino and Baccio
+Bandinelli, as has been related, one of the Apostles, four and a half
+braccia in height, for S. Maria del Fiore--namely, a S. John the
+Evangelist, which is a passing good figure, wrought with fine design and
+skill. This figure is in the Office of Works, in company with the
+others.
+
+Next, in the year 1515, the chiefs and heads of the Order of
+Vallombrosa, wishing to transfer the body of S. Giovanni Gualberto from
+the Abbey of Passignano to the Church of S. Trinita, an abbey of the
+same Order, in Florence, commissioned Benedetto to make a design, upon
+which he was to set to work, for a chapel and tomb combined, with a vast
+number of lifesize figures in the round, which were to be suitably
+distributed over that work in some niches separated by pilasters filled
+with ornaments and friezes and with delicately carved grotesques. And
+below this whole work there was to be a base one braccio and a half in
+height, wherein were to be scenes from the life of the said S. Giovanni
+Gualberto; while endless numbers of other ornaments were to be round the
+sarcophagus, and as a crown to the work. On this tomb, then, Benedetto,
+assisted by many carvers, laboured continually for ten years, with vast
+expense to that Congregation; and he brought the work to completion in
+their house of Guarlondo, a place near San Salvi, without the Porta alla
+Croce, where the General of the Order that was having the work executed
+almost always lived. Benedetto, then, carried out the making of that
+chapel and tomb in such a manner as amazed Florence; but, as Fate would
+have it--for even marbles and the finest works of men of excellence are
+subject to the whims of fortune--after much discord among those monks,
+their government was changed, and the work remained unfinished in the
+same place until the year 1530. At which time, war raging round
+Florence, all those labours were ruined by soldiers, the heads wrought
+with such diligence were impiously struck off from the little figures,
+and the whole work was so completely destroyed and broken to pieces,
+that the monks afterwards sold what was left for a mere song. If any one
+wishes to see a part of it, let him go to the Office of Works of S.
+Maria del Fiore, where there are a few pieces, bought as broken marble
+not many years ago by the officials of that place. And, in truth, even
+as everything is brought to fine completion in those monasteries and
+other places where peace and concord reign, so, on the contrary, nothing
+ever reaches perfection or an end worthy of praise in places where there
+is naught save rivalry and discord, because what takes a good and wise
+man a hundred years to build up can be destroyed by an ignorant and
+crazy boor in one day. And it seems as if fortune wishes that those who
+know the least and delight in nothing that is excellent, should always
+be the men who govern and command, or rather, ruin, everything: as was
+also said of secular Princes, with no less learning than truth, by
+Ariosto, at the beginning of his seventeenth canto. But returning to
+Benedetto: it was a sad pity that all his labours and all the money
+spent by that Order should have come to such a miserable end.
+
+By the same architect were designed the door and vestibule of the Badia
+of Florence, and likewise some chapels, among them that of S. Stefano,
+erected by the family of the Pandolfini. Finally, Benedetto was summoned
+to England into the service of the King, for whom he executed many works
+in marble and in bronze, and, in particular, his tomb; from which works,
+through the liberality of that King, he gained enough to be able to live
+in comfort for the rest of his life. Thereupon he returned to Florence;
+but, after he had finished some little things, a sort of giddiness,
+which even in England had begun to affect his eyes, and other troubles
+caused, so it was said, by standing too long over the fire in the
+founding of metals, or by some other reasons, in a short time robbed him
+completely of the sight of his eyes; wherefore he ceased to work about
+the year 1550, and to live a few years after that. Benedetto endured
+that blindness during the last years of his life with the patience of a
+good Christian, thanking God that He had first enabled him, by means of
+his labours, to live an honourable life.
+
+Benedetto was a courteous gentleman, and he always delighted in the
+society of men of culture. His portrait was copied from one made, when
+he was a young man, by Agnolo di Donnino. This original is in our book
+of drawings, wherein there are also some drawings very well executed by
+the hand of Benedetto, who deserves, on account of all those works, to
+be numbered among our most excellent craftsmen.
+
+[Illustration: TOMB OF PIETRO SODERINI
+
+(_After_ Benedetto da Rovezzano. _Florence: S. Maria del Carmine_)
+
+_Alinari_]
+
+
+
+
+BACCIO DA MONTELUPO AND RAFFAELLO, HIS SON
+
+
+
+
+LIVES OF BACCIO DA MONTELUPO
+
+SCULPTOR
+
+AND OF RAFFAELLO, HIS SON
+
+
+So strong is the belief of mankind that those who are negligent in the
+arts which they profess to practise can never arrive at any perfection
+in them, that it was in the face of the judgment of many that Baccio da
+Montelupo learnt the art of sculpture; and this happened to him because
+in his youth, led astray by pleasures, he would scarcely ever study,
+and, although he was exhorted and upbraided by many, he thought little
+or nothing of art. But having come to years of discretion, which bring
+sense with them, he was forced straightway to learn how far he was from
+the good way. Whereupon, seeing with shame that others were going ahead
+of him in that art, he resolved with a stout heart to follow and
+practise with all possible zeal that which in his idleness he had
+hitherto shunned. This resolution was the reason that he produced in
+sculpture such fruits as the opinions of many no longer expected from
+him.
+
+Having thus devoted himself with all his powers to his art, and
+practising it continually, he became a rare and excellent master. And of
+this he gave a proof in a work in hard-stone, wrought with the chisel,
+on the corner of the garden attached to the Palace of the Pucci in
+Florence; which was the escutcheon of Pope Leo X, with two children
+supporting it, executed in a beautiful and masterly manner. He made a
+Hercules for Pier Francesco de' Medici; and from the Guild of Porta
+Santa Maria he received the commission for a statue of S. John the
+Evangelist, to be executed in bronze, in securing which he had many
+difficulties, since a number of masters made models in competition with
+him. This figure was afterwards placed on the corner of S. Michele in
+Orto, opposite to the Ufficio; and the work was finished by him with
+supreme diligence. It is said that when he had made the figure in clay,
+all who saw the arrangement of the armatures, and the moulds laid upon
+them, held it to be a beautiful piece of work, recognizing the rare
+ingenuity of Baccio in such an enterprise; and when they had seen it
+cast with the utmost facility, they gave Baccio credit for having shown
+supreme mastery, and having made a solid and beautiful casting. These
+labours endured in that profession, brought him the name of a good and
+even excellent master; and that figure is esteemed more than ever at the
+present day by all craftsmen, who hold it to be most beautiful.
+
+Setting himself also to work in wood, he carved lifesize Crucifixes, of
+which he made an endless number for all parts of Italy, and among them
+one that is over the door of the choir of the Monks of S. Marco at
+Florence. These are all excellent and full of grace, but there are some
+that are much more perfect than the rest, such as the one of the Murate
+in Florence, and another, no less famous than the first, in S. Pietro
+Maggiore; and for the Monks of SS. Fiora e Lucilla he made a similar
+one, which they placed over the high-altar of their abbey at Arezzo, and
+which is held to be much the most beautiful of them all. For the visit
+of Pope Leo X to Florence, Baccio erected between the Palace of the
+Podesta and the Badia a very beautiful triumphal arch of wood and clay;
+with many little works, which have either disappeared or been dispersed
+among the houses of citizens.
+
+Having grown weary, however, of living in Florence, he went off to
+Lucca, where he executed some works in sculpture, and even more in
+architecture, in the service of that city, and, in particular, the
+beautiful and well-designed Temple of S. Paulino, the Patron Saint of
+the people of Lucca, built with proofs of a fine and well-trained
+intelligence both within and without, and richly adorned. Living in that
+city, then, up to the eighty-eighth year of his life, he ended his days
+there, and received honourable burial in the aforesaid S. Paulino from
+those whom he had honoured when alive.
+
+[Illustration: S. JOHN THE EVANGELIST
+
+(_After_ Baccio da Montelupo. _Florence: Or San Michele_)
+
+_Alinari_]
+
+A contemporary of Baccio was Agostino, a very famous sculptor and carver
+of Milan, who began in S. Maria, at Milan, the tomb of Monsignore de
+Foix, which remains unfinished even now; and in it may still be seen
+many large figures, some finished, some half completed, and others only
+blocked out, with a number of scenes in half-relief, in pieces and not
+built in, and a great quantity of foliage and trophies. For the Biraghi,
+also, he made another tomb, which is finished and erected in S.
+Francesco, with six large figures, the base wrought with scenes, and
+other very beautiful ornaments, which bear witness to the masterly skill
+of that valiant craftsman.
+
+Baccio left at his death, among other sons, Raffaello, who applied
+himself to sculpture, and not merely equalled his father, but surpassed
+him by a great measure. This Raffaello, beginning in his youth to work
+in clay, in wax, and in bronze, acquired the name of an excellent
+sculptor, and was therefore taken by Antonio da San Gallo to Loreto,
+together with many others, in order to finish the ornamentation of that
+Chamber, according to the directions left by Andrea Sansovino; where
+Raffaello completely finished the Marriage of Our Lady, begun by the
+said Sansovino, executing many things in a beautiful and perfect manner,
+partly over the beginnings of Andrea, and partly from his own invention.
+Wherefore he was deservedly esteemed to be one of the best craftsmen who
+worked there in his time.
+
+He had finished this work, when Michelagnolo, by order of Pope Clement
+VII, proceeded to finish the new sacristy and the library of S. Lorenzo
+in Florence; and that master, having recognized the talent of Raffaello,
+made use of him in that work, and caused him to execute, among other
+things, after the model that he himself had made, the S. Damiano of
+marble which is now in that sacristy--a very beautiful statue, very
+highly extolled by all men. After the death of Clement, Raffaello
+attached himself to Duke Alessandro de' Medici, who was then having the
+fortress of Prato built; and he made for him in grey-stone, on one of
+the extremities of the chief bastion of that fortress--namely, on the
+outer side--the escutcheon of the Emperor Charles V, upheld by two nude
+and lifesize Victories, which were much extolled, as they still are. And
+for the extremity of another bastion, in the direction of the city, on
+the southern side, he made the arms of Duke Alessandro in the same kind
+of stone, with two figures. Not long after, he executed a large Crucifix
+of wood for the Nuns of S. Apollonia; and for Alessandro Antinori, a
+very rich and noble merchant of Florence at that time, he prepared a
+most magnificent festival for the marriage of his daughter, with
+statues, scenes, and many other most beautiful ornaments.
+
+Having then gone to Rome, he received from Buonarroti a commission to
+make two figures of marble, each five braccia high, for the tomb of
+Julius II, which was finished and erected at that time by Michelagnolo
+in S. Pietro in Vincula. But Raffaello, falling ill while he was
+executing this work, was not able to put into it his usual zeal and
+diligence, on which account he lost credit thereby, and gave little
+satisfaction to Michelagnolo. At the visit of the Emperor Charles V to
+Rome, for which Pope Paul III prepared a festival worthy of that
+all-conquering Prince, Raffaello made with clay and stucco, on the Ponte
+S. Angelo, fourteen statues so beautiful, that they were judged to be
+the best that had been made for that festival. And, what is more, he
+executed them with such rapidity that he was in time to come to
+Florence, where the Emperor was likewise expected, to make within the
+space of five days and no more, on the abutment of the Ponte a S.
+Trinita two Rivers of clay, each five braccia high, the Rhine to stand
+for Germany and the Danube for Hungary.
+
+After this, having been summoned to Orvieto, he made in marble, in a
+chapel wherein the excellent sculptor Mosca had previously executed many
+most beautiful ornaments, the story of the Magi in half-relief, which
+proved to be a very fine work, on account of the great variety of
+figures and the good manner with which he executed them.
+
+[Illustration: HEAD OF GASTON DE FOIX, FROM THE TOMB
+
+(_After_ Agostino Busti [Il Bambaja]. _Milan: Brera_)
+
+_Alinari_]
+
+Then, having returned to Rome, he was appointed by Tiberio Crispo, at
+that time Castellan of the Castello di S. Angelo, as architect of that
+great structure; whereupon he set in order many rooms there, adorning
+them with carvings in many kinds of stone and various sorts of
+variegated marbles on the chimney-pieces, windows, and doors. In
+addition to this, he made a marble statue, five braccia high, of the
+Angel of that Castle, which is on the summit of the great square tower
+in the centre, where the standard flies, after the likeness of that
+Angel that appeared to S. Gregory, who, having prayed that the people
+should be delivered from a most grievous pestilence, saw him sheathing
+his sword in the scabbard. Later, when the said Crispo had been
+made a Cardinal, he sent Raffaello several times to Bolsena, where he
+was building a palace. Nor was it long before the very reverend Cardinal
+Salviati and Messer Baldassarre Turini da Pescia commissioned Raffaello,
+who had already left the service of the Castle and of Cardinal Crispo,
+to make the statue of Pope Leo that is now over his tomb in the Minerva
+at Rome. That work finished, Raffaello made a tomb for the same Messer
+Baldassarre in the Church of Pescia, where that gentleman had built a
+chapel of marble. And for a chapel in the Consolazione, at Rome, he made
+three figures of marble in half-relief. But afterwards, having given
+himself up to the sort of life fit rather for a philosopher than for a
+sculptor, and wishing to live in peace, he retired to Orvieto, where he
+undertook the charge of the building of S. Maria, in which he made many
+improvements; and with this he occupied himself for many years, growing
+old before his time.
+
+[Illustration: S. DAMIANO
+
+(_After_ Raffaello da Montelupo. _Florence: New Sacristy of S. Lorenzo_)
+
+_Alinari_]
+
+I believe that Raffaello, if he had undertaken great works, as he might
+have done, would have executed more things in art, and better, than he
+did. But he was too kindly and considerate, avoiding all conflict, and
+contenting himself with that wherewith fortune had provided him; and
+thus he neglected many opportunities of making works of distinction.
+Raffaello was a very masterly draughtsman, and he had a much better
+knowledge of all matters of art than had been shown by his father
+Baccio. In our book are some drawings by the hand both of the one and of
+the other; but those of Raffaello are much the finer and more graceful,
+and executed with better art. In his architectural decorations Raffaello
+followed in great measure the manner of Michelagnolo, as is proved by
+the chimney-pieces, doors, and windows that he made in the aforesaid
+Castello di S. Angelo, and by some chapels built under his direction, in
+a rare and beautiful manner, at Orvieto.
+
+But returning to Baccio: his death was a great grief to the people of
+Lucca, who had known him as a good and upright man, courteous to all,
+and very loving. Baccio's works date about the year of our Lord 1533.
+His dearest friend, who learnt many things from him, was Zaccaria da
+Volterra, who executed many works in terra-cotta at Bologna, some of
+which are in the Church of S. Giuseppe.
+
+
+
+
+LORENZO DI CREDI
+
+
+
+
+[Illustration: LORENZO DI CREDI: VENUS
+
+(_Florence: Uffizi_, 3452. _Panel_)]
+
+
+
+
+LIFE OF LORENZO DI CREDI
+
+PAINTER OF FLORENCE
+
+
+The while that Maestro Credi, an excellent goldsmith in his day, was
+working in Florence with very good credit and repute, Andrea
+Sciarpelloni placed with him, to the end that he might learn that craft,
+his son Lorenzo, a young man of beautiful intellect and excellent
+character. And since the ability and willingness of the master to teach
+were not greater than the zeal and readiness with which the disciple
+absorbed whatever was shown to him, no long time passed before Lorenzo
+became not only a good and diligent designer, but also so able and
+finished a goldsmith, that no young man of that time was his equal; and
+this brought such honour to Credi, that from that day onward Lorenzo was
+always called by everyone, not Lorenzo Sciarpelloni, but Lorenzo di
+Credi.
+
+Growing in courage, then, Lorenzo attached himself to Andrea Verrocchio,
+who at that time had taken it into his head to devote himself to
+painting; and under him, having Pietro Perugino and Leonardo da Vinci as
+his companions and friends, although they were rivals, he set himself
+with all diligence to learn to paint. And since Lorenzo took an
+extraordinary pleasure in the manner of Leonardo, he contrived to
+imitate it so well that there was no one who came nearer to it than he
+did in the high finish and thorough perfection of his works, as may be
+seen from many drawings that are in our book, executed with the style,
+with the pen, or in water-colours, among which are some drawings made
+from models of clay covered with waxed linen cloths and with liquid
+clay, imitated with such diligence, and finished with such patience, as
+it is scarcely possible to conceive, much less to equal.
+
+For these reasons, then, Lorenzo was so beloved by his master, that,
+when Andrea went to Venice to cast in bronze the horse and the statue
+of Bartolommeo da Bergamo, he left to Lorenzo the whole management and
+administration of his revenues and affairs, and likewise all his
+drawings, reliefs, statues, and art materials. And Lorenzo, on his part,
+loved his master Andrea so dearly, that, besides occupying himself with
+incredible zeal with his interests in Florence, he also went more than
+once to Venice to see him and to render him an account of his good
+administration, which was so much to the satisfaction of his master,
+that, if Lorenzo had consented, Andrea would have made him his heir. Nor
+did Lorenzo prove in any way ungrateful for this good-will, for, after
+the death of Andrea, he went to Venice and brought his body to Florence;
+and then he handed over to his heirs everything that was found to belong
+to Andrea, except his drawings, pictures, sculptures, and all other
+things connected with art.
+
+The first paintings of Lorenzo were a round picture of Our Lady, which
+was sent to the King of Spain (the design of which picture he copied
+from one by his master Andrea), and a picture, much better than the
+other, which was likewise copied by Lorenzo from one by Leonardo da
+Vinci, and also sent to Spain; and so similar was it to that by
+Leonardo, that no difference could be seen between the one and the
+other. By the hand of Lorenzo is a Madonna in a very well executed
+panel, which is beside the great Church of S. Jacopo at Pistoia; and
+another, also, which is in the Hospital of the Ceppo, and is one of the
+best pictures in that city. Lorenzo painted many portraits, and when he
+was a young man he made that one of himself which is now in the
+possession of his disciple, Gian Jacopo, a painter in Florence, together
+with many other things left to him by Lorenzo, among which are the
+portrait of Pietro Perugino and that of Lorenzo's master, Andrea
+Verrocchio. He also made a portrait of Girolamo Benivieni, a man of
+great learning, and much his friend.
+
+[Illustration: ANDREA VERROCCHIO
+
+(_After the panel by =Lorenzo di Credi=. Florence: Uffizi, 1163_)
+
+_Anderson_]
+
+For the Company of S. Sebastiano, behind the Church of the Servi in
+Florence, he executed a panel-picture of Our Lady, S. Sebastian, and
+other saints; and for the altar of S. Giuseppe, in S. Maria del Fiore,
+he painted the first-named saint. To Montepulciano he sent a panel that
+is now in the Church of S. Agostino, containing a Crucifix, Our Lady,
+and S. John, painted with much diligence. But the best work that
+Lorenzo ever executed, and that to which he devoted the greatest care
+and zeal, in order to surpass himself, was the one that is in a chapel
+at Cestello, a panel containing Our Lady, S. Julian, and S. Nicholas;
+and whoever wishes to know how necessary it is for a painter to work
+with a high finish in oils if he desires that his pictures should remain
+fresh, must look at this panel, which is painted with such a finish as
+could not be excelled.
+
+While still a young man, Lorenzo painted a S. Bartholomew on a pilaster
+in Orsanmichele, and for the Nuns of S. Chiara, in Florence, a
+panel-picture of the Nativity of Christ, with some shepherds and angels;
+in which picture, besides other things, he took great pains with the
+imitation of some herbage, painting it so well that it appears to be
+real. For the same place he made a picture of S. Mary Magdalene in
+Penitence; and in a round picture that is in the house of Messer
+Ottaviano de' Medici he painted a Madonna. For S. Friano he painted a
+panel; and he executed some figures in S. Matteo at the Hospital of
+Lelmo. For S. Reparata he painted a picture with the Angel Michael, and
+for the Company of the Scalzo he made a panel-picture, executed with
+much diligence. And, in addition to these works, he made many pictures
+of Our Lady and others, which are dispersed among the houses of citizens
+in Florence.
+
+Having thus got together a certain sum of money by means of these
+labours, and being a man who loved quiet more than riches, Lorenzo
+retired to S. Maria Nuova in Florence, where he lived and had a
+comfortable lodging until his death. Lorenzo was much inclined to the
+sect of Fra Girolamo of Ferrara, and always lived like an upright and
+orderly man, showing a friendly courtesy whenever the occasion arose.
+Finally, having come to the seventy-eighth year of his life, he died of
+old age, and was buried in S. Pietro Maggiore, in the year 1530.
+
+He showed such a perfection of finish in his works, that any other
+painting, in comparison with his, must always seem merely sketched and
+dirty. He left many disciples, and among them Giovanni Antonio Sogliani
+and Tommaso di Stefano. Of Sogliani there will be an account in another
+place; and as for Tommaso, he imitated his master closely in his high
+finish, and made many works in Florence and abroad, including a
+panel-picture for Marco del Nero at his villa of Arcetri, of the
+Nativity of Christ, executed with great perfection of finish. But
+ultimately it became Tommaso's principal profession to paint on cloth,
+insomuch that he painted church-hangings better than any other man. Now
+Stefano, the father of Tommaso, had been an illuminator, and had also
+done something in architecture; and Tommaso, after his father's death,
+in order to follow in his steps, rebuilt the bridge of Sieve, which had
+been destroyed by a flood about that time, at a distance of ten miles
+from Florence, and likewise that of S. Piero a Ponte on the River
+Bisenzio, which is a beautiful work; and afterwards he erected many
+buildings for monasteries and other places. Then, being architect to the
+Guild of Wool, he made the model for the new buildings which were
+constructed by that Guild behind the Nunziata; and, finally, having
+reached the age of seventy or more, he died in the year 1564, and was
+buried in S. Marco, to which he was followed by an honourable train of
+the Academy of Design.
+
+But returning to Lorenzo: he left many works unfinished at his death,
+and, in particular, a very beautiful picture of the Passion of Christ,
+which came into the hands of Antonio da Ricasoli, and a panel painted
+for M. Francesco da Castiglioni, Canon of S. Maria del Fiore, who sent
+it to Castiglioni. Lorenzo had no wish to make many large works, because
+he took great pains in executing his pictures, and devoted an incredible
+amount of labour to them, for the reason, above all, that the colours
+which he used were ground too fine; besides which, he was always
+purifying and distilling his nut-oils, and he made mixtures of colours
+on his palette in such numbers, that from the first of the light tints
+to the last of the darks there was a gradual succession involving an
+over-careful and truly excessive elaboration, so that at times he had
+twenty-five or thirty of them on his palette. For each tint he kept a
+separate brush; and where he was working he would never allow any
+movement that might raise dust. Such excessive care is perhaps no more
+worthy of praise than the other extreme of negligence, for in all things
+one should observe a certain mean and avoid extremes, which are
+generally harmful.
+
+[Illustration: MADONNA AND CHILD WITH SAINTS
+
+(_After the panel by =Lorenzo di Credi=. Paris: Louvre, 1263_)
+
+_Alinari_]
+
+[Illustration: THE NATIVITY
+
+(_After the panel by =Lorenzo di Credi=. Florence: Accademia, 92_)
+
+_Anderson_]
+
+
+
+
+LORENZETTO AND BOCCACCINO
+
+[Illustration: BERNARDINO DEL LUPINO (LUINI): S. CATHARINE BORNE TO HER
+TOMB BY ANGELS
+
+(_Milan: Brera, 288. Fresco_)]
+
+
+
+
+LIVES OF LORENZETTO
+
+SCULPTOR AND ARCHITECT OF FLORENCE
+
+AND OF BOCCACCINO
+
+PAINTER OF CREMONA
+
+
+It happens at times, after Fortune has kept the talent of some fine
+intellect subjected for a period by poverty, that she thinks better of
+it, and at an unexpected moment provides all sorts of benefits for one
+who has hitherto been the object of her hatred, so as to atone in one
+year for the affronts and discomforts of many. This was seen in Lorenzo,
+the son of Lodovico the bell-founder, a Florentine, who was engaged in
+the work both of architecture and of sculpture, and was loved so dearly
+by Raffaello da Urbino, that he not only was assisted by him and
+employed in many enterprises, but also received from the same master a
+wife in the person of a sister of Giulio Romano, a disciple of
+Raffaello.
+
+Lorenzetto[4]--for thus he was always called--finished in his youth the
+tomb of Cardinal Forteguerra, formerly begun by Andrea Verrocchio, which
+was erected in S. Jacopo at Pistoia; and there, among other things, is a
+Charity by the hand of Lorenzetto, which is not otherwise than passing
+good. And a little afterwards he made a figure for Giovanni Bartolini,
+to adorn his garden; which finished, he went to Rome, where in his first
+years he executed many works, of which there is no need to make any
+further record. Then, receiving from Agostino Chigi, at the instance of
+Raffaello da Urbino, the commission to make a tomb for him in S. Maria
+del Popolo, where Agostino had built a chapel, Lorenzo set himself to
+work on this with all the zeal, diligence, and labour in his power, in
+order to come out of it with credit and to give satisfaction to
+Raffaello, from whom he had reason to expect much favour and
+assistance, and also in the hope of being richly rewarded by the
+liberality of Agostino, a man of great wealth. Nor were these labours
+expended without an excellent result, for, assisted by Raffaello, he
+executed the figures to perfection: a nude Jonah delivered from the
+belly of the whale, as a symbol of the resurrection from the dead, and
+an Elijah, living by grace, with his cruse of water and his bread baked
+in the ashes, under the juniper-tree. These statues, then, were brought
+to the most beautiful completion by Lorenzetto with all the art and
+diligence at his command, but he did not by any means obtain for them
+that reward which his great labours and the needs of his family called
+for, since, death having closed the eyes of Agostino, and almost at the
+same time those of Raffaello, the heirs of Agostino, with scant respect,
+allowed these figures to remain in Lorenzetto's workshop, where they
+stood for many years. In our own day, indeed, they have been set into
+place on that tomb in the aforesaid Church of S. Maria del Popolo; but
+Lorenzo, robbed for those reasons of all hope, found for the present
+that he had thrown away his time and labour.
+
+[Illustration: ELIJAH
+
+(_After_ Lorenzetto. _Rome: S. Maria del Popolo, Chigi Chapel_)
+
+_Anderson_]
+
+Next, by way of executing the testament of Raffaello, Lorenzo was
+commissioned to make a marble statue of Our Lady, four braccia high, for
+the tomb of Raffaello in the Temple of S. Maria Ritonda, where the
+tabernacle was restored by order of that master. The same Lorenzo made a
+tomb with two children in half-relief, for a merchant of the Perini
+family, in the Trinita at Rome. And in architecture he made the designs
+for many houses; in particular, that of the Palace of Messer Bernardino
+Caffarelli, and in the Valle, for Cardinal Andrea della Valle, the inner
+facade, and also the design of the stables and of the upper garden. In
+the composition of that work he included ancient columns, bases, and
+capitals, and around the whole, to serve as base, he distributed ancient
+sarcophagi covered with carved scenes. Higher up, below some large
+niches, he made another frieze with fragments of ancient works, and
+above this, in those niches, he placed some statues, likewise ancient
+and of marble, which, although they were not entire--some being without
+the head, some without arms, others without legs, and every one, in
+short, with something missing--nevertheless he arranged to the best
+advantage, having caused all that was lacking to be restored by
+good sculptors. This was the reason that other lords have since done the
+same thing and have restored many ancient works; as, for example,
+Cardinals Cesis, Ferrara, and Farnese, and, in a word, all Rome. And, in
+truth, antiquities restored in this way have more grace than those
+mutilated trunks, members without heads, or figures in any other way
+maimed and defective. But to return to the aforesaid garden: over the
+niches was placed the frieze that is still seen there, of supremely
+beautiful ancient scenes in half-relief; and this invention of Lorenzo's
+stood him in very good stead, since, after the troubles of Pope Clement
+had abated, he was employed by him with much honour and profit to
+himself. For the Pope had seen, when the fight for the Castello di S.
+Angelo was raging, that two little chapels of marble, which were at the
+head of the bridge, had been a source of mischief, in that some
+harquebusiers, standing in them, shot down all who exposed themselves at
+the walls, and, themselves in safety, inflicted great losses and baulked
+the defence; and his Holiness resolved to remove those chapels and to
+set up in place of them two marble statues on pedestals. And so, after
+the S. Paul of Paolo Romano, of which there has been an account in
+another Life, had been set in place, the commission for the other, a S.
+Peter, was given to Lorenzetto, who acquitted himself passing well, but
+did not surpass the work of Paolo Romano. These two statues were set up,
+and are to be seen at the present day at the head of the bridge.
+
+[Illustration: S. PETER
+
+(_After_ Lorenzetto. _Rome: Ponte S. Angelo_)
+
+_Anderson_]
+
+After Pope Clement was dead, Baccio Bandinelli was given the commissions
+for the tombs of that Pope and of Leo X, and Lorenzo was entrusted with
+the marble masonry that was to be executed for them; whereupon the
+latter spent no little time over that work. Finally, at the election of
+Paul III as Pontiff, when Lorenzo was in sorry straits and almost worn
+out, having nothing but a house which he had built for himself in the
+Macello de' Corbi, and being weighed down by his five children and by
+other expenses, Fortune changed and began to raise him and to set him
+back on a better path; for Pope Paul wishing to have the building of S.
+Pietro continued, and neither Baldassarre of Siena nor any of the others
+who had been employed in that work being now alive, Antonio da San
+Gallo appointed Lorenzo as architect for that structure, wherein the
+walls were being built at a fixed price of so much for every four
+braccia. Thereupon Lorenzo, without exerting himself, in a few years
+became more famous and prosperous than he had been after many years of
+endless labour, through having found God, mankind, and Fortune all
+propitious at that one moment. And if he had lived longer, he would have
+done even more towards wiping out those injuries that a cruel fate had
+unjustly brought upon him during his best period of work. But after
+reaching the age of forty-seven, he died of fever in the year 1541.
+
+The death of this master caused great grief to his many friends, who had
+always known him as a loving and reasonable man. And since he had always
+lived like an upright and orderly citizen, the Deputati of S. Pietro
+gave him honourable burial in a tomb, on which they placed the following
+epitaph:
+
+  SCULPTORI LAURENTIO FLORENTINO
+
+  ROMA MIHI TRIBUIT TUMULUM, FLORENTIA VITAM:
+  NEMO ALIO VELLET NASCI ET OBIRE LOCO.
+  MDXLI
+  VIX. ANN. XLVII, MEN. II, D. XV.
+
+[Illustration: MADONNA AND CHILD WITH SAINTS
+
+(_After the panel by =Boccaccino=. Rome: Doria Gallery, 125_)
+
+_Anderson_]
+
+Boccaccino of Cremona, who lived about the same time, had acquired the
+name of a rare and excellent painter in his native place and throughout
+all Lombardy, and his works were very highly extolled, when he went to
+Rome to see the works, so much renowned, of Michelagnolo; but no sooner
+had he seen them than he sought to the best of his power to disparage
+and revile them, believing that he could exalt himself almost exactly in
+proportion as he vilified a man who truly was in the matters of design,
+and indeed in all others without exception, supremely excellent. This
+master, then, was commissioned to paint the Chapel of S. Maria
+Traspontina; but when he had finished it and thrown it open to view, it
+was a revelation to all those who thought that he would soar above the
+heavens, for they saw that he could not reach even to the level of the
+lowest floor of a house. And so the painters of Rome, on seeing the
+Coronation of Our Lady that he had painted in that work, with some
+children flying around her, changed from marvel to laughter.
+
+From this it may be seen that when people begin to exalt with their
+praise men who are more excellent in name than in deeds, it is a
+difficult thing to contrive to bring such men down to their true level
+with words, however reasonable, before their own works, wholly contrary
+to their reputation, reveal what the masters so celebrated really are.
+And it is a very certain fact that the worst harm that one man can do to
+another is the giving of praise too early to any intellect engaged in
+work, since such praise, swelling him with premature pride, prevents him
+from going any farther, and a man so greatly extolled, on finding that
+his works have not that excellence which was expected, takes the censure
+too much to heart, and despairs completely of ever being able to do good
+work. Wise men, therefore, should fear praise much more than censure,
+for the first flatters and deceives, and the second, revealing the
+truth, gives instruction.
+
+Boccaccino, then, departing from Rome, where he felt himself wounded and
+torn to pieces, returned to Cremona, and there continued to practise
+painting to the best of his power and knowledge. In the Duomo, over the
+arches in the middle, he painted all the stories of the Madonna; and
+this work is much esteemed in that city. He also made other works
+throughout that city and in the neighbourhood, of which there is no need
+to make mention.
+
+He taught his art to a son of his own, called Camillo, who, applying
+himself to the art with more study, strove to make amends for the
+shortcomings of the boastful Boccaccino. By the hand of this Camillo are
+some works in S. Gismondo, which is a mile distant from Cremona; and
+these are esteemed by the people of Cremona as the best paintings that
+they have. He also painted the facade of a house on their Piazza, all
+the compartments of the vaulting and some panels in S. Agata, and the
+facade of S. Antonio, together with other works, which made him known as
+a practised master. If death had not snatched him from the world before
+his time, he would have achieved a most honourable success, for he was
+advancing on the good way; and even for those works that he has left to
+us, he deserves to have record made of him.
+
+But returning to Boccaccino; without having ever made any improvement in
+his art, he passed from this life at the age of fifty-eight. In his time
+there lived in Milan a passing good illuminator, called Girolamo, whose
+works may be seen in good numbers both in that city and throughout all
+Lombardy. A Milanese, likewise, living about the same time, was
+Bernardino del Lupino,[5] a very delicate and pleasing painter, as may
+be seen from many works by his hand that are in that city, and from a
+Marriage of Our Lady at Sarone, a place twelve miles distant from Milan,
+and other scenes that are in the Church of S. Maria, executed most
+perfectly in fresco. He also worked with a very high finish in oils, and
+he was a courteous person, and very liberal with his possessions;
+wherefore he deserves all the praise that is due to any craftsman who
+makes the works and ways of his daily life shine by the adornment of
+courtesy no less than do his works of art on account of their
+excellence.
+
+[Illustration: THE MARRIAGE OF THE VIRGIN
+
+(_After the fresco by =Bernardino del Lupino [Luini]=. Saronno:
+Santuario della Beata Vergine_)
+
+_Anderson_]
+
+FOOTNOTE:
+
+[4] Diminutive of Lorenzo.
+
+[5] Luini.
+
+
+
+
+BALDASSARRE PERUZZI
+
+
+
+
+LIFE OF BALDASSARRE PERUZZI
+
+PAINTER AND ARCHITECT OF SIENA
+
+
+Among all the gifts that Heaven distributes to mortals, none, in truth,
+can or should be held in more account than talent, with calmness and
+peace of soul, for the first makes us for ever immortal, and the second
+blessed. He, then, who is endowed with these gifts, in addition to the
+deep gratitude that he should feel towards God, must make himself known
+among other men almost as a light amid darkness. And even so, in our own
+times, did Baldassarre Peruzzi, a painter and architect of Siena, of
+whom we can say with certainty that the modesty and goodness which were
+revealed in him were no mean offshoots of that supreme serenity for
+which the minds of all who are born in this world are ever sighing, and
+that the works which he left to us are most honourable fruits of that
+true excellence which was infused in him by Heaven.
+
+Now, although I have called him above, Baldassarre of Siena, because he
+was always known as a Sienese, I will not withhold that even as seven
+cities contended for Homer, each claiming that he was her citizen, so
+three most noble cities of Tuscany--Florence, Volterra, and Siena--have
+each held that Baldassarre was her son. But, to tell the truth, each of
+them has a share in him, seeing that Antonio Peruzzi, a noble citizen of
+Florence, that city being harassed by civil war, went off, in the hope
+of a quieter life, to Volterra; and after living some time there, in the
+year 1482 he took a wife in that city, and in a few years had two
+children, one a boy, called Baldassarre, and the other a girl, who
+received the name of Virginia. Now it happened that war pursued this man
+who sought nothing but peace and quiet, and that no long time afterwards
+Volterra was sacked; whence Antonio was forced to fly to Siena, and to
+live there in great poverty, having lost almost all that he had.
+
+Meanwhile Baldassarre, having grown up, was for ever associating with
+persons of ability, and particularly with goldsmiths and draughtsmen;
+and thus, beginning to take pleasure in the arts, he devoted himself
+heart and soul to drawing. And not long after, his father being now
+dead, he applied himself to painting with such zeal, that in a very
+short time he made marvellous progress therein, imitating living and
+natural things as well as the works of the best masters. In this way,
+executing what work he could find, he was able to maintain himself, his
+mother, and his sister with his art, and to pursue the studies of
+painting.
+
+[Illustration: CUPOLA OF THE PONZETTI CHAPEL
+
+(_After the fresco by =Baldassarre Peruzzi=. Rome: S. Maria della Pace_)
+
+_Anderson_]
+
+His first work--apart from some things at Siena, not worthy of
+mention--was in a little chapel near the Porta Fiorentina at Volterra,
+wherein he executed some figures with such grace, that they led to his
+forming a friendship with a painter of Volterra, called Piero, who lived
+most of his time in Rome, and going off with that master to that city,
+where he was doing some work in the Palace for Alexander VI. But after
+the death of Alexander, Maestro Piero working no more in that place,
+Baldassarre entered the workshop of the father of Maturino, a painter of
+no great excellence, who at that time had always plenty of work to do in
+the form of commonplace commissions. That painter, then, placing a panel
+primed with gesso before Baldassarre, but giving him no scrap of drawing
+or cartoon, told him to make a Madonna upon it. Baldassarre took a piece
+of charcoal, and in a moment, with great mastery, he had drawn what he
+wished to paint in the picture; and then, setting his hand to the
+colouring, in a few days he painted a picture so beautiful and so well
+finished, that it amazed not only the master of the workshop, but also
+many painters who saw it; and they, recognizing his ability, contrived
+to obtain for him the commission to paint the Chapel of the High-Altar
+in the Church of S. Onofrio, which he executed in fresco with much grace
+and in a very beautiful manner. After this, he painted two other little
+chapels in fresco in the Church of S. Rocco a Ripa. Having thus begun to
+be in good repute, he was summoned to Ostia, where he painted most
+beautiful scenes in chiaroscuro in some apartments of the great tower of
+the fortress; in particular, a hand-to-hand battle after the manner
+in which the ancient Romans used to fight, and beside this a company of
+soldiers delivering an assault on a fortress, wherein the attackers,
+covered by their shields, are seen making a beautiful and spirited
+onslaught and planting their ladders against the walls, while the men
+within are hurling them back with the utmost fury. In this scene, also,
+he painted many antique instruments of war, and likewise various kinds
+of arms; with many other scenes in another hall, which are held to be
+among the best works that he ever made, although it is true that he was
+assisted in this work by Cesare da Milano.
+
+After these labours, having returned to Rome, Baldassarre formed a very
+strait friendship with Agostino Chigi of Siena, both because Agostino
+had a natural love for every man of talent, and because Baldassarre
+called himself a Sienese. And thus, with the help of so great a man, he
+was able to maintain himself while studying the antiquities of Rome, and
+particularly those in architecture, wherein, out of rivalry with
+Bramante, in a short time he made marvellous proficience, which
+afterwards brought him, as will be related, very great honour and
+profit. He also gave attention to perspective, and became such a master
+of that science, that we have seen few in our own times who have worked
+in it as well as he. Pope Julius II having meanwhile built a corridor in
+his Palace, with an aviary near the roof, Baldassarre painted there, in
+chiaroscuro, all the months of the year and the pursuits that are
+practised in each of them. In this work may be seen an endless number of
+buildings, theatres, amphitheatres, palaces, and other edifices, all
+distributed with beautiful invention in that place. He then painted, in
+company with other painters, some apartments in the Palace of S. Giorgio
+for Cardinal Raffaello Riario, Bishop of Ostia; and he painted a facade
+opposite to the house of Messer Ulisse da Fano, and also that of the
+same Messer Ulisse, wherein he executed stories of Ulysses that brought
+him very great renown and fame.
+
+Even greater was the fame that came to him from the model of the Palace
+of Agostino Chigi, executed with such beautiful grace that it seems not
+to have been built, but rather to have sprung into life; and with his
+own hand he decorated the exterior with most beautiful scenes in
+terretta. The hall, likewise, is adorned with rows of columns executed
+in perspective, which, with the depth of the intercolumniation, cause it
+to appear much larger. But what is the greatest marvel of all is a
+loggia that may be seen over the garden, painted by Baldassarre with
+scenes of the Medusa turning men into stone, such that nothing more
+beautiful can be imagined; and then there is Perseus cutting off her
+head, with many other scenes in the spandrels of that vaulting, while
+the ornamentation, drawn in perspective with colours, in imitation of
+stucco, is so natural and lifelike, that even to excellent craftsmen it
+appears to be in relief. And I remember that when I took the Chevalier
+Tiziano, a most excellent and honoured painter, to see that work, he
+would by no means believe that it was painted, until he had changed his
+point of view, when he was struck with amazement. In that place are some
+works executed by Fra Sebastiano Viniziano, in his first manner; and by
+the hand of the divine Raffaello, as has been related, there is a
+Galatea being carried off by sea-gods.
+
+[Illustration: PALAZZO DELLA FARNESINA
+
+(_After_ Baldassarre Peruzzi. _Rome_)
+
+_Alinari_]
+
+Baldassarre also painted, beyond the Campo di Fiore, on the way to the
+Piazza Giudea, a most beautiful facade in terretta with marvellous
+perspectives, for which he received the commission from a Groom of the
+Chamber to the Pope; and it is now in the possession of Jacopo Strozzi,
+the Florentine. In like manner, he wrought for Messer Ferrando Ponzetti,
+who afterwards became a Cardinal, a chapel at the entrance of the Church
+of the Pace, on the left hand, with little scenes from the Old
+Testament, and also with some figures of considerable size; and for a
+work in fresco this is executed with much diligence. But even more did
+he prove his worth in painting and perspective near the high-altar of
+the same church, where he painted a scene for Messer Filippo da Siena,
+Clerk of the Chamber, of Our Lady going into the Temple, ascending the
+steps, with many figures worthy of praise, such as a gentleman in
+antique dress, who, having dismounted from his horse, with his servants
+waiting, is giving alms to a beggar, quite naked and very wretched, who
+may be seen asking him for it with pitiful humility. In this place,
+also, are various buildings and most beautiful ornaments; and right
+round the whole work, executed likewise in fresco, are counterfeited
+decorations of stucco, which have the appearance of being attached to
+the wall with large rings, as if it were a panel painted in oils.
+
+And in the magnificent festival that the Roman people prepared on the
+Campidoglio when the baton of Holy Church was given to Duke Giuliano de'
+Medici, out of six painted scenes which were executed by six different
+painters of eminence, that by the hand of Baldassarre, twenty-eight
+braccia high and fourteen broad, showing the betrayal of the Romans by
+Julia Tarpeia, was judged to be without a doubt better than any of the
+others. But what amazed everyone most was the perspective-view or
+scenery for a play, which was so beautiful that it would be impossible
+to imagine anything finer, seeing that the variety and beautiful manner
+of the buildings, the various loggie, the extravagance of the doors and
+windows, and the other architectural details that were seen in it, were
+so well conceived and so extraordinary in invention, that one is not
+able to describe the thousandth part.
+
+For the house of Messer Francesco di Norcia, on the Piazza de' Farnesi,
+he made a very graceful door of the Doric Order; and for Messer
+Francesco Buzio he executed, near the Piazza degl' Altieri, a very
+beautiful facade, in the frieze of which he painted portraits from life
+of all the Roman Cardinals who were then alive, while on the wall itself
+he depicted the scenes of Caesar receiving tribute from all the world,
+and above he painted the twelve Emperors, who are standing upon certain
+corbels, being foreshortened with a view to being seen from below, and
+wrought with extraordinary art. For this whole work he rightly obtained
+vast commendation. In the Banchi he executed the escutcheon of Pope Leo,
+with three children, that seemed to be alive, so tender was their flesh.
+For Fra Mariano Fetti, Friar of the Piombo, he made a very beautiful S.
+Bernard in terretta in his garden at Montecavallo. And for the Company
+of S. Catherine of Siena, on the Strada Giulia, in addition to a bier
+for carrying the dead to burial, he executed many other things, all
+worthy of praise. In Siena, also, he gave the design for the organ of
+the Carmine; and he made some other works in that city, but none of much
+importance.
+
+Later, having been summoned to Bologna by the Wardens of Works of S.
+Petronio, to the end that he might make the model for the facade of that
+church, he made for this two large ground-plans and two elevations, one
+in the modern manner and the other in the German; and the latter is
+still preserved in the Sacristy of the same S. Petronio, as a truly
+extraordinary work, since he drew that building in such sharply-detailed
+perspective that it appears to be in relief. In the house of Count
+Giovan Battista Bentivogli, in the same city, he made several drawings
+for the aforesaid structure, which were so beautiful, that it is not
+possible to praise enough the wonderful expedients sought out by this
+man in order not to destroy the old masonry, but to join it in beautiful
+proportion with the new. For the Count Giovan Battista mentioned above
+he made the design of a Nativity with the Magi, in chiaroscuro, wherein
+it is a marvellous thing to see the horses, the equipage, and the courts
+of the three Kings, executed with supreme beauty and grace, as are also
+the walls of the temples and some buildings round the hut. This work was
+afterwards given to be coloured by the Count to Girolamo Trevigi, who
+brought it to fine completion. Baldassarre also made the design for the
+door of the Church of S. Michele in Bosco, a most beautiful monastery of
+the Monks of Monte Oliveto, without Bologna; and the design and model of
+the Duomo of Carpi, which was very beautiful, and was built under his
+direction according to the rules of Vitruvius. And in the same place he
+made a beginning with the Church of S. Niccola, but it was not finished
+at that time, because Baldassarre was almost forced to return to Siena
+in order to make designs for the fortifications of that city, which were
+afterwards carried into execution under his supervision.
+
+He then returned to Rome, where, after building the house that is
+opposite to the Farnese Palace, with some others within that city, he
+was employed in many works by Pope Leo X. That Pontiff wished to finish
+the building of S. Pietro, begun by Julius II after the design of
+Bramante, but it appeared to him that the edifice was too large and
+lacking in cohesion; and Baldassarre made a new model, magnificent and
+truly ingenious, and revealing such good judgment, that some parts of it
+have since been used by other architects. So diligent, indeed, was this
+craftsman, so rare and so beautiful his judgment, and such the method
+with which his buildings were always designed, that he has never had an
+equal in works of architecture, seeing that, in addition to his other
+gifts, he combined that profession with a good and beautiful manner of
+painting. He made the design of the tomb of Adrian VI, and all that is
+painted round it is by his hand; and Michelagnolo, a sculptor of Siena,
+executed that tomb in marble, with the help of our Baldassarre.
+
+When the Calandra, a play by Cardinal Bibbiena, was performed before the
+same Pope Leo, Baldassarre made the scenic setting, which was no less
+beautiful--much more so, indeed--than that which he had made on another
+occasion, as has been related above. In such works he deserved all the
+greater praise, because dramatic performances, and consequently the
+scenery for them, had been out of fashion for a long time, festivals and
+sacred representations taking their place. And either before or after
+(it matters little which) the performance of the aforesaid Calandra,
+which was one of the first plays in the vulgar tongue to be seen or
+performed, in the time of Leo X, Baldassarre made two such scenes, which
+were marvellous, and opened the way to those who have since made them in
+our own day. Nor is it possible to imagine how he found room, in a space
+so limited, for so many streets, so many palaces, and so many bizarre
+temples, loggie, and various kinds of cornices, all so well executed
+that it seemed that they were not counterfeited, but absolutely real,
+and that the piazza was not a little thing, and merely painted, but real
+and very large. He designed, also, the chandeliers and the lights within
+that illuminated the scene, and all the other things that were
+necessary, with much judgment, although, as has been related, the drama
+had fallen almost completely out of fashion. This kind of spectacle, in
+my belief, when it has all its accessories, surpasses any other kind,
+however sumptuous and magnificent.
+
+Afterwards, at the election of Pope Clement VII in the year 1524, he
+prepared the festivities for his coronation. He finished with
+peperino-stone the front of the principal chapel, formerly begun by
+Bramante, in S. Pietro; and in the chapel wherein is the bronze tomb of
+Pope Sixtus, he painted in chiaroscuro the Apostles that are in the
+niches behind the altar, besides making the design of the Tabernacle of
+the Sacrament, which is very graceful.
+
+Then in the year 1527, when the cruel sack of Rome took place, our poor
+Baldassarre was taken prisoner by the Spaniards, and not only lost all
+his possessions, but was also much maltreated and outraged, because he
+was grave, noble, and gracious of aspect, and they believed him to be
+some great prelate in disguise, or some other man able to pay a fat
+ransom. Finally, however, those impious barbarians having found that he
+was a painter, one of them, who had borne a great affection to Bourbon,
+caused him to make a portrait of that most rascally captain, the enemy
+of God and man, either letting Baldassarre see him as he lay dead, or
+giving him his likeness in some other way, with drawings or with words.
+After this, having slipped from their hands, Baldassarre took ship to go
+to Porto Ercole, and thence to Siena; but on the way he was robbed of
+everything and stripped to such purpose, that he went to Siena in his
+shirt. However, he was received with honour and reclothed by his
+friends, and a little time afterwards he was given a provision and a
+salary by the Commonwealth, to the end that he might give his attention
+to the fortification of that city. Living there, he had two children;
+and, besides what he did for the public service, he made many designs of
+houses for his fellow-citizens, and the design for the ornament of the
+organ, which is very beautiful, in the Church of the Carmine.
+
+[Illustration: COURTYARD OF PALAZZO MASSIMI
+
+(_After_ Baldassarre Peruzzi. _Rome_)
+
+_Anderson_]
+
+Meanwhile, the armies of the Emperor and the Pope had advanced to the
+siege of Florence, and his Holiness sent Baldassarre to the camp to
+Baccio Valori, the Military Commissary, to the end that Baccio might
+avail himself of his services for the purposes of his operations and for
+the capture of the city. But Baldassarre, loving the liberty of his
+former country more than the favour of the Pope, and in no way fearing
+the indignation of so great a Pontiff, would never lend his aid in any
+matter of importance. The Pope, hearing of this, for a short time bore
+him no little ill-will; but when the war was finished, Baldassarre
+desiring to return to Rome, Cardinals Salviati, Trivulzi, and Cesarino,
+to all of whom he had given faithful service in many works, restored him
+to the favour of the Pope and to his former appointments. He was thus
+able to return without hindrance to Rome, where, not many days after, he
+made for the Signori Orsini the designs of two very beautiful palaces,
+which were built on the way to Viterbo, and of some other edifices for
+Apuglia. But meanwhile he did not neglect the studies of astrology, nor
+those of mathematics and the others in which he much delighted, and he
+began a book on the antiquities of Rome, with a commentary on Vitruvius,
+making little by little illustrative drawings beside the writings of
+that author, some of which are still to be seen in the possession of
+Francesco da Siena, who was his disciple, and among them some papers
+with drawings of ancient edifices and of the modern manner of building.
+
+While living in Rome, also, he made the design for the house of the
+Massimi, drawn in an oval form, with a new and beautiful manner of
+building; and for the facade he made a vestibule of Doric columns
+showing great art and good proportion, with a beautiful distribution of
+detail in the court and in the disposition of the stairs; but he was not
+able to see this work finished, for he was overtaken by death.
+
+And yet, although the talents and labours of this noble craftsman were
+so great, they brought much more benefit to others than to himself; for,
+while he was employed by Popes, Cardinals, and other great and rich
+persons, not one of them ever gave him any remarkable reward. That this
+should have happened is not surprising, not so much through want of
+liberality in such patrons, although for the most part they are least
+liberal where they should be the very opposite, as through the timidity
+and excessive modesty, or rather, to be more exact in this case, the
+lack of shrewdness of Baldassarre. To tell the truth, in proportion as
+one should be discreet with magnanimous and liberal Princes, so should
+one always be pressing and importunate with such as are miserly,
+unthankful, and discourteous, for the reason that, even as in the case
+of the generous importunate asking would always be a vice, so with the
+miserly it is a virtue, and with such men it is discretion that would be
+the vice.
+
+In the last years of his life, then, Baldassarre found himself poor and
+weighed down by his family. Finally, having always lived a life without
+reproach, he fell grievously ill, and took to his bed; and Pope Paul
+III, hearing this, and recognizing too late the harm that he was like to
+suffer in the loss of so great a man, sent Jacopo Melighi, the
+accountant of S. Pietro, to give him a present of one hundred crowns,
+and to make him most friendly offers. However, his sickness increased,
+either because it was so ordained, or, as many believe, because his
+death was hastened with poison by some rival who desired his place, from
+which he drew two hundred and fifty crowns of salary; and, the
+physicians discovering this too late, he died, very unwilling to give up
+his life, more on account of his poor family than for his own sake, as
+he thought in what sore straits he was leaving them. He was much
+lamented by his children and his friends, and he received honourable
+burial, next to Raffaello da Urbino, in the Ritonda, whither he was
+followed by all the painters, sculptors, and architects of Rome, doing
+him honour and bewailing him; with the following epitaph:
+
+  BALTHASARI PERUTIO SENENSI, VIRO ET PICTURA ET ARCHITECTURA
+  ALIISQUE INGENIORUM ARTIBUS ADEO EXCELLENTI, UT SI PRISCORUM
+  OCCUBUISSET TEMPORIBUS, NOSTRA ILLUM FELICIUS LEGERENT. VIX.
+  ANN. LV, MENS. XI, DIES XX.
+  LUCRETIA ET JO. SALUSTIUS OPTIMO CONJUGI ET PARENTI, NON SINE LACRIMIS
+  SIMONIS, HONORII, CLAUDII, AEMILIAE, AC SULPITIAE, MINORUM FILIORUM,
+  DOLENTES POSUERUNT, DIE IIII JANUARII, MDXXXVI.
+
+The name and fame of Baldassarre became greater after his death than
+they had been during his lifetime; and then, above all, was his talent
+missed, when Pope Paul III resolved to have S. Pietro finished, because
+men recognized how great a help he would have been to Antonio da San
+Gallo. For, although Antonio had to his credit all that is to be seen
+executed by him, yet it is believed that in company with Baldassarre he
+would have done more towards solving some of the difficulties of that
+work. The heir to many of the possessions of Baldassarre was Sebastiano
+Serlio of Bologna, who wrote the third book on architecture and the
+fourth on the antiquities of Rome with their measurements; in which
+works the above-mentioned labours of Baldassarre were partly inserted in
+the margins, and partly turned to great advantage by the author. Most of
+these writings of Baldassarre came into the hands of Jacomo Melighino of
+Ferrara, who was afterwards chosen by Pope Paul as architect for his
+buildings, and of the aforesaid Francesco da Siena, his former assistant
+and disciple, by whose hand is the highly renowned escutcheon of
+Cardinal Trani in Piazza Navona, with some other works. From this
+Francesco we received the portrait of Baldassarre, and information about
+some matters which I was not able to ascertain when this book was
+published for the first time. Another disciple of Baldassarre was
+Virgilio Romano, who executed a facade with some prisoners in
+sgraffito-work in the centre of the Borgo Nuovo in his native city, and
+many other beautiful works. From the same master, also, Antonio del
+Rozzo, a citizen of Siena and a very excellent engineer, learnt the
+first principles of architecture; and Baldassarre was followed, in like
+manner, by Riccio, a painter of Siena, who, however, afterwards imitated
+to no small extent the manner of Giovanni Antonio Sodoma of Vercelli.
+And another of his pupils was Giovan Battista Peloro, an architect of
+Siena, who gave much attention to mathematics and cosmography, and made
+with his own hand mariner's compasses, quadrants, many irons and
+instruments for measuring, and likewise the ground-plans of many
+fortifications, most of which are in the possession of Maestro Giuliano,
+a goldsmith of Siena, who was very much his friend. This Giovan Battista
+made for Duke Cosimo de' Medici a plan of Siena, all in relief and
+altogether marvellous, with the valleys and the surroundings for a mile
+and a half round--the walls, the streets, the forts, and, in a word, a
+most beautiful model of the whole place. But, since he was unstable by
+nature, he left Duke Cosimo, although he had a good allowance from that
+Prince; and, thinking to do better, he made his way into France, where
+he followed the Court without any success for a long time, and finally
+died at Avignon. And although he was an able and well-practised
+architect, yet in no place are there to be seen any buildings erected by
+him or after his design, for he always stayed such a short time in any
+one place, that he could never bring anything to completion; wherefore
+he consumed all his time with designs, measurements, models, and
+caprices. Nevertheless, as a follower of our arts, he has deserved to
+have record made of him.
+
+Baldassarre drew very well in every manner, with great judgment and
+diligence, but more with the pen, in water-colours, and in chiaroscuro,
+than in any other way, as may be seen from many drawings by his hand
+that belong to different craftsmen. Our book, in particular, contains
+various drawings; and in one of these is a scene full of invention and
+caprice, showing a piazza filled with arches, colossal figures,
+theatres, obelisks, pyramids, temples of various kinds, porticoes, and
+other things, all after the antique, while on a pedestal stands a
+Mercury, round whom are all sorts of alchemists with bellows large and
+small, retorts, and other instruments for distilling, hurrying about and
+giving him a clyster in order to purge his body--an invention as
+ludicrous as it is beautiful and bizarre.
+
+Friends and intimate companions of Baldassarre, who was always
+courteous, modest, and gentle with every man, were Domenico Beccafumi of
+Siena, an excellent painter, and Il Capanna, who, in addition to many
+other works that he painted in Siena, executed the facade of the house
+of the Turchi and another that is on the Piazza.
+
+
+
+
+GIOVAN FRANCESCO PENNI OF FLORENCE AND PELLEGRINO DA MODENA
+
+
+
+
+LIVES OF GIOVAN FRANCESCO PENNI OF FLORENCE
+
+[_CALLED IL FATTORE_]
+
+AND OF PELLEGRINO DA MODENA
+
+PAINTERS
+
+
+Giovan Francesco Penni, called Il Fattore, a painter of Florence, was no
+less indebted to Fortune than he was to the goodness of his own nature,
+in that his ways of life, his inclination for painting, and his other
+qualities brought it about that Raffaello da Urbino took him into his
+house and educated him together with Giulio Romano, looking on both of
+them ever afterwards as his children, and proving at his death how much
+he thought both of the one and of the other by leaving them heirs to his
+art and to his property alike. Now Giovan Francesco, who began from his
+boyhood, when he first entered the house of Raffaello, to be called Il
+Fattore, and always retained that name, imitated in his drawings the
+manner of Raffaello, and never ceased to follow it, as may be perceived
+from some drawings by his hand that are in our book. And it is nothing
+wonderful that there should be many of these to be seen, all finished
+with great diligence, because he delighted much more in drawing than in
+colouring.
+
+The first works of Giovan Francesco were executed by him in the Papal
+Loggie at Rome, in company with Giovanni da Udine, Perino del Vaga, and
+other excellent masters; and in these may be seen a marvellous grace,
+worthy of a master striving at perfection of workmanship. He was very
+versatile, and he delighted much in making landscapes and buildings. He
+was a good colourist in oils, in fresco, and in distemper, and made
+excellent portraits from life; and he was much assisted in every respect
+by nature, so that he gained great mastery over all the secrets of art
+without much study. He was a great help to Raffaello, therefore, in
+painting a large part of the cartoons for the tapestries of the Pope's
+Chapel and of the Consistory, and particularly the ornamental borders.
+He also executed many other things from the cartoons and directions of
+Raffaello, such as the ceiling for Agostino Chigi in the Trastevere,
+with many pictures, panels, and various other works, in which he
+acquitted himself so well, that every day he won greater affection from
+Raffaello. On the Monte Giordano, in Rome, he painted a facade in
+chiaroscuro, and in S. Maria de Anima, by the side-door that leads to
+the Pace, a S. Christopher in fresco, eight braccia high, which is a
+very good figure; and in this work is a hermit with a lantern in his
+hand, in a grotto, executed with good draughtsmanship, harmony, and
+grace.
+
+Giovan Francesco then came to Florence, and painted for Lodovico Capponi
+at Montughi, a place without the Porta a San Gallo, a shrine with a
+Madonna, which is much extolled.
+
+Raffaello having meanwhile been overtaken by death, Giulio Romano and
+Giovan Francesco, who had been his disciples, remained together for a
+long time, and finished in company such of Raffaello's works as had been
+left unfinished, and in particular those that he had begun in the Vigna
+of the Pope, and likewise those of the Great Hall in the Palace, wherein
+are painted by the hands of these two masters the stories of
+Constantine, with excellent figures, executed in an able and beautiful
+manner, although the invention and the sketches of these stories came in
+part from Raffaello. While these works were in progress, Perino del
+Vaga, a very excellent painter, took to wife a sister of Giovan
+Francesco; on which account they executed many works in company. And
+afterwards Giulio and Giovan Francesco, continuing to work together,
+painted a panel in two parts, containing the Assumption of Our Lady,
+which went to Monteluci, near Perugia; and also other works and pictures
+for various places.
+
+[Illustration: THE BAPTISM OF CONSTANTINE
+
+(_After the fresco by =Giovanni Francesco Penni [Il Fattore]=. Rome: The
+Vatican_)
+
+_Anderson_]
+
+Then, receiving a commission from Pope Clement to paint a panel-picture
+like the one by Raffaello (which is in S. Pietro a Montorio), which was
+to be sent to France, whither Raffaello had meant to send the first,
+they began it; but soon afterwards, having fallen out with each other,
+they divided their inheritance of drawings and everything else left
+to them by Raffaello, and Giulio went off to Mantua, where he executed
+an endless number of works for the Marquis. Thither, not long
+afterwards, Giovan Francesco also made his way, drawn either by love of
+Giulio or by the hope of finding work; but he received so cold a welcome
+from Giulio that he soon departed, and, after travelling round Lombardy,
+he returned to Rome. And from Rome he went to Naples by ship in the
+train of the Marchese del Vasto, taking with him the now finished copy
+of the panel-picture of S. Pietro a Montorio, with other works, which he
+left in Ischia, an island belonging to the Marquis, while the panel was
+placed where it is at the present day, in the Church of S. Spirito degli
+Incurabili at Naples. Having thus settled in Naples, where he occupied
+himself with drawing and painting, Giovan Francesco was entertained and
+treated with great kindness by Tommaso Cambi, a Florentine merchant, who
+managed the affairs of that nobleman. But he did not live there long,
+because, being of a sickly habit of body, he fell ill and died, to the
+great grief of the noble Marquis and of all who knew him.
+
+He had a brother called Luca, likewise a painter, who worked in Genoa
+with his brother-in-law Perino, as well as at Lucca and many other
+places in Italy. In the end he went to England, where, after executing
+certain works for the King and for some merchants, he finally devoted
+himself to making designs for copper-plates for sending abroad, which he
+had engraved by Flemings. Of such he sent abroad a great number, which
+are known by his name as well as by the manner; and by his hand, among
+others, is a print wherein are some women in a bath, the original of
+which, by the hand of Luca himself, is in our book.
+
+A disciple of Giovan Francesco was Leonardo, called Il Pistoia because
+he came from that city, who executed some works at Lucca, and made many
+portraits from life in Rome. At Naples, for Diomede Caraffa, Bishop of
+Ariano, and now a Cardinal, he painted a panel-picture of the Stoning of
+S. Stephen for his chapel in S. Domenico. And for Monte Oliveto he
+painted another, which was placed on the high-altar, although it was
+afterwards removed to make room for a new one, similar in subject, by
+the hand of Giorgio Vasari of Arezzo. Leonardo earned large sums from
+these Neapolitan nobles, but he accumulated little, for he squandered it
+all as it came to his hand; and finally he died in Naples, leaving
+behind him the reputation of having been a good colourist, but not of
+having shown much excellence in draughtsmanship.
+
+Giovan Francesco lived forty years, and his works date about 1528.
+
+A friend of Giovan Francesco, and likewise a disciple of Raffaello, was
+Pellegrino da Modena, who, having acquired in his native city the name
+of a man of fine genius for painting, and having heard of the marvels of
+Raffaello da Urbino, determined, in order to justify by means of labour
+the hopes already conceived of him, to go to Rome. Arriving there, he
+placed himself under Raffaello, who never refused anything to men of
+ability. There were then in Rome very many young men who were working at
+painting and seeking in mutual rivalry to surpass one another in
+draughtsmanship, in order to win the favour of Raffaello and to gain a
+name among men; and thus Pellegrino, giving unceasing attention to his
+studies, became not only a good draughtsman, but also a well-practised
+master of the whole of his art. And when Leo X commissioned Raffaello to
+paint the Loggie, Pellegrino also worked there, in company with the
+other young men; and so well did he succeed, that Raffaello afterwards
+made use of him in many other things.
+
+He executed three figures in fresco in S. Eustachio at Rome, over an
+altar near the entrance into the church; and in the Church of the
+Portuguese, near the Scrofa, he painted in fresco the Chapel of the
+High-Altar, as well as the altar-piece. Afterwards, Cardinal Alborense
+having caused a chapel richly adorned with marbles to be erected in S.
+Jacopo, the Church of the Spanish people, with a S. James of marble by
+Jacopo Sansovino, four braccia and a half in height, and much extolled,
+Pellegrino painted there in fresco the stories of that Apostle, giving
+an air of great sweetness to his figures in imitation of his master
+Raffaello, and designing the whole composition so well, that the work
+made him known as an able man with a fine and beautiful genius for
+painting. This work finished, he made many others in Rome, both by
+himself and in company with others.
+
+[Illustration: THE LAST SUPPER
+
+(_After the fresco by =Gaudenzio Milanese [Gaudenzio Ferrari]=. Milan:
+S. Maria della Passione_)
+
+_Anderson_]
+
+But finally, when death had come upon Raffaello, Pellegrino returned to
+Modena, where he executed many works; among others, he painted for a
+Confraternity of Flagellants a panel-picture in oils of S. John
+baptizing Christ, and another panel for the Church of the Servi,
+containing S. Cosimo and S. Damiano, with other figures. Afterwards,
+having taken a wife, he had a son, who was the cause of his death. For
+this son, having come to words with some companions, young men of
+Modena, killed one of them; the news of which being carried to
+Pellegrino, he, in order to help his son from falling into the hands of
+justice, set out to smuggle him away. But he had not gone far from his
+house, when he stumbled against the relatives of the dead youth, who
+were going about searching for the murderer; and they, confronting
+Pellegrino, who had no time to escape, and full of fury because they had
+not been able to catch his son, gave him so many wounds that they left
+him dead on the ground. This event was a great grief to the people of
+Modena, who knew that by the death of Pellegrino they had been robbed of
+a spirit truly excellent and rare.
+
+A contemporary of this craftsman was the Milanese Gaudenzio, a resolute,
+well-practised, and excellent painter, who made many works in fresco at
+Milan; and in particular, for the Frati della Passione, a most beautiful
+Last Supper, which remained unfinished by reason of his death. He also
+painted very well in oils, and there are many highly-esteemed works by
+his hand at Vercelli and Veralla.
+
+
+
+
+ANDREA DEL SARTO
+
+
+
+
+LIFE OF ANDREA DEL SARTO
+
+A MOST EXCELLENT PAINTER OF FLORENCE
+
+
+At length, after the Lives of many craftsmen who have been excellent,
+some in colouring, some in drawing, and others in invention, we have
+come to the most excellent Andrea del Sarto, in whose single person
+nature and art demonstrated all that painting can achieve by means of
+draughtsmanship, colouring, and invention, insomuch that, if Andrea had
+possessed a little more fire and boldness of spirit, to correspond to
+his profound genius and judgment in his art, without a doubt he would
+have had no equal. But a certain timidity of spirit and a sort of
+humility and simplicity in his nature made it impossible that there
+should be seen in him that glowing ardour and that boldness which, added
+to his other qualities, would have made him truly divine in painting;
+for which reason he lacked those adornments and that grandeur and
+abundance of manners which have been seen in many other painters. His
+figures, however, for all their simplicity and purity, are well
+conceived, free from errors, and absolutely perfect in every respect.
+The expressions of his heads, both in children and in women, are
+gracious and natural, and those of men, both young and old, admirable in
+their vivacity and animation; his draperies are beautiful to a marvel,
+and his nudes very well conceived. And although his drawing is simple,
+all that he coloured is rare and truly divine.
+
+Andrea was born in Florence, in the year 1478, to a father who was all
+his life a tailor; whence he was always called Andrea del Sarto by
+everyone. Having come to the age of seven, he was taken away from his
+reading and writing school and apprenticed to the goldsmith's craft. But
+in this he was always much more willing to practise his hand in
+drawing, to which he was drawn by a natural inclination, than in using
+the tools for working in silver or gold; whence it came to pass that
+Gian Barile, a painter of Florence, but one of gross and vulgar taste,
+having seen the boy's good manner of drawing, took him under his
+protection, and, making him abandon his work as goldsmith, directed him
+to the art of painting. Andrea, beginning with much delight to practise
+it, recognized that nature had created him for that profession; and in a
+very short space of time, therefore, he was doing such things with
+colours as filled Gian Barile and the other craftsmen in the city with
+marvel. Now after three years, through continual study, he had acquired
+an excellent mastery over his work, and Gian Barile saw that by
+persisting in his studies the boy was likely to achieve an extraordinary
+success. Having therefore spoken of him to Piero di Cosimo, who was held
+at that time to be one of the best painters in Florence, he placed
+Andrea with Piero. And Andrea, as one full of desire to learn, laboured
+and studied without ceasing; while nature, which had created him to be a
+painter, so wrought in him, that he handled and managed his colours with
+as much grace as if he had been working for fifty years. Wherefore Piero
+conceived an extraordinary love for him, feeling marvellous pleasure in
+hearing that when Andrea had any time to himself, particularly on
+feast-days, he would spend the whole day in company with other young
+men, drawing in the Sala del Papa, wherein were the cartoons of
+Michelagnolo and Leonardo da Vinci, and that, young as he was, he
+surpassed all the other draughtsmen, both native and foreign, who were
+always competing there with one another.
+
+[Illustration: "NOLI ME TANGERE"
+
+(_After the panel by =Andrea del Sarto=. Florence: Uffizi, 93_)
+
+_Alinari_]
+
+Among these young men, there was one who pleased Andrea more than any
+other with his nature and conversation, namely, the painter
+Franciabigio; and Franciabigio, likewise, was attracted by Andrea.
+Having become friends, therefore, Andrea said to Franciabigio that he
+could no longer endure the caprices of Piero, who was now old, and that
+for this reason he wished to take a room for himself. Hearing this,
+Franciabigio, who was obliged to do the same thing because his master
+Mariotto Albertinelli had abandoned the art of painting, said to his
+companion Andrea that he also was in need of a room, and that it would
+be to the advantage of both of them if they were to join forces.
+Having therefore taken a room on the Piazza del Grano, they executed
+many works in company; among others, the curtains that cover the
+panel-pictures on the high-altar of the Servi; for which they received
+the commission from a sacristan very closely related to Franciabigio. On
+one of those curtains, that which faces the choir, they painted the
+Annunciation of the Virgin; and on the other, which is in front, a
+Deposition of Christ from the Cross, like that of the panel-picture
+which was there, painted by Filippo and Pietro Perugino.
+
+The men of that company in Florence which is called the Company of the
+Scalzo used to assemble at the head of the Via Larga, above the houses
+of the Magnificent Ottaviano de' Medici, and opposite to the garden of
+S. Marco, in a building dedicated to S. John the Baptist, which had been
+built in those days by a number of Florentine craftsmen, who had made
+there, among other things, an entrance-court of masonry with a loggia
+which rested on some columns of no great size. And some of them,
+perceiving that Andrea was on the way to becoming known as an excellent
+painter, and being richer in spirit than in pocket, determined that he
+should paint round that cloister twelve pictures in chiaroscuro--that is
+to say, in fresco with terretta--containing twelve scenes from the life
+of S. John the Baptist. Whereupon, setting his hand to this, he painted
+in the first the scene of S. John baptizing Christ, with much diligence
+and great excellence of manner, whereby he gained credit, honour, and
+fame to such an extent, that many persons turned to him with commissions
+for works, as to one whom they thought to be destined in time to reach
+that honourable goal which was foreshadowed by his extraordinary
+beginnings in his profession.
+
+Among other works that he made in that first manner, he painted a
+picture which is now in the house of Filippo Spini, held in great
+veneration in memory of so able a craftsman. And not long after this he
+was commissioned to paint for a chapel in S. Gallo, the Church of the
+Eremite Observantines of the Order of S. Augustine, without the Porta a
+S. Gallo, a panel-picture of Christ appearing in the garden to Mary
+Magdalene in the form of a gardener; which work, what with the colouring
+and a certain quality of softness and harmony, is sweetness itself, and
+so well executed, that it led to his painting two others not long
+afterwards for the same church, as will be related below. This panel is
+now in S. Jacopo tra Fossi, on the Canto degli Alberti, together with
+the two others.
+
+After these works, Andrea and Franciabigio, leaving the Piazza del
+Grano, took new rooms in the Sapienza, near the Convent of the Nunziata;
+whence it came about that Andrea and Jacopo Sansovino, who was then a
+young man and was working at sculpture in the same place under his
+master Andrea Contucci, formed so warm and so strait a friendship
+together, that neither by day nor by night were they ever separated one
+from another. Their discussions were for the most part on the
+difficulties of art, so that it is no marvel that both of them should
+have afterwards become most excellent, as is now being shown of Andrea
+and as will be related in the proper place of Jacopo.
+
+[Illustration: THE LAST SUPPER
+
+(_After the fresco by =Andrea del Sarto=. Florence: S. Salvi_)
+
+_Anderson_]
+
+There was at this same time in the Convent of the Servi, selling the
+candles at the counter, a friar called Fra Mariano dal Canto alla
+Macine, who was also sacristan; and he heard everyone extolling Andrea
+mightily and saying that he was by way of making marvellous proficience
+in painting. Whereupon he planned to fulfil a desire of his own without
+much expense; and so, approaching Andrea, who was a mild and guileless
+fellow, on the side of his honour, he began to persuade him under the
+cloak of friendship that he wished to help him in a matter which would
+bring him honour and profit and would make him known in such a manner,
+that he would never be poor any more. Now many years before, as has been
+related above, Alesso Baldovinetti had painted a Nativity of Christ in
+the first cloister of the Servi, on the wall that has the Annunciation
+behind it; and in the same cloister, on the other side, Cosimo Rosselli
+had begun a scene of S. Filippo, the founder of that Servite Order,
+assuming the habit. But Cosimo had not carried that scene to completion,
+because death came upon him at the very moment when he was working at
+it. The friar, then, being very eager to see the rest finished, thought
+of serving his own ends by making Andrea and Franciabigio, who, from
+being friends, had become rivals in art, compete with one another, each
+doing part of the work. This, besides effecting his purpose very
+well, would make the expense less and their efforts greater. Thereupon,
+revealing his mind to Andrea, he persuaded him to undertake that
+enterprise, by pointing out to him that since it was a public and much
+frequented place, he would become known on account of such a work no
+less by foreigners than by the Florentines; that he should not look for
+any payment in return, or even for an invitation to undertake it, but
+should rather pray to be allowed to do it; and that if he were not
+willing to set to work, there was Franciabigio, who, in order to make
+himself known, had offered to accept it and to leave the matter of
+payment to him. These incitements did much to make Andrea resolve to
+undertake the work, and the rather as he was a man of little spirit; and
+the last reference to Franciabigio induced him to make up his mind
+completely and to come to an agreement, in the form of a written
+contract, with regard to the whole work, on the terms that no one else
+should have a hand in it. The friar, then, having thus pledged him and
+given him money, demanded that he should begin by continuing the life of
+S. Filippo, without receiving more than ten ducats from him in payment
+of each scene; and he told Andrea that he was giving him even that out
+of his own pocket, and was doing it more for the benefit and advantage
+of the painter than through any want or need of the convent.
+
+Andrea, therefore, pursuing that work with the utmost diligence, like
+one who thought more of honour than of profit, after no long time
+completely finished the first three scenes and unveiled them. One was
+the scene of S. Filippo, now a friar, clothing the naked. In another he
+is shown rebuking certain gamesters, who blasphemed God and laughed at
+S. Filippo, mocking at his admonition, when suddenly there comes a
+lightning-flash from Heaven, which, striking a tree under the shade of
+which they were sheltering, kills two of them and throws the rest into
+an incredible panic. Some, with their hands to their heads, cast
+themselves forward in dismay; others, crying aloud in their terror, turn
+to flight; a woman, beside herself with fear at the sound of the
+thunder, is running away so naturally that she appears to be truly
+alive; and a horse, breaking loose amid this uproar and confusion,
+reveals with his leaps and fearsome movements what fear and terror are
+caused by things so sudden and so unexpected. In all this one can see
+how carefully Andrea looked to variety of incident in the representation
+of such events, with a forethought truly beautiful and most necessary
+for one who practises painting. In the third he painted the scene of S.
+Filippo delivering a woman from evil spirits, with all the most
+characteristic considerations that could be imagined in such an action.
+All these scenes brought extraordinary fame and honour to Andrea; and
+thus encouraged, he went on to paint two other scenes in the same
+cloister. On one wall is S. Filippo lying dead, with his friars about
+him making lamentation; and in addition there is a dead child, who,
+touching the bier on which S. Filippo lies, comes to life again, so that
+he is first seen dead, and then revived and restored to life, and all
+with a very beautiful, natural, and appropriate effect. In the last
+picture on that side he represented the friars placing the garments of
+S. Filippo on the heads of certain children; and there he made a
+portrait of Andrea della Robbia, the sculptor, in an old man clothed in
+red, who comes forward, stooping, with a staff in his hand. There, too,
+he portrayed Luca, his son; even as in the other scene mentioned above,
+in which S. Filippo lies dead, he made a portrait of another son of
+Andrea, named Girolamo, a sculptor and very much his friend, who died
+not long since in France.
+
+Having thus finished that side of the cloister, and considering that if
+the honour was great, the payment was small, Andrea resolved to give up
+the rest of the work, however much the friar might complain. But the
+latter would not release him from his bond without Andrea first
+promising that he would paint two other scenes, at his own leisure and
+convenience, however, and with an increase of payment; and thus they
+came to terms.
+
+[Illustration: THE ARRIVAL OF THE MAGI
+
+(_After the fresco by =Andrea del Sarto=. Florence: SS. Annunziata_)
+
+_Alinari_]
+
+Having come into greater repute by reason of these works, Andrea
+received commissions for many pictures and works of importance; among
+others, one from the General of the Monks of Vallombrosa, for painting
+an arch of the vaulting, with a Last Supper on the front wall, in the
+Refectory of the Monastery of S. Salvi, without the Porta alla Croce. In
+four medallions on that vault he painted four figures, S. Benedict, S.
+Giovanni Gualberto, S. Salvi the Bishop, and S. Bernardo degli Uberti
+of Florence, a friar of that Order and a Cardinal; and in the centre
+he made a medallion containing three faces, which are one and the same,
+to represent the Trinity. All this was very well executed for a work in
+fresco, and Andrea, therefore, came to be valued at his true worth in
+the art of painting. Whereupon he was commissioned at the instance of
+Baccio d' Agnolo to paint in fresco, in a close on the steep path of
+Orsanmichele, which leads to the Mercato Nuovo, the Annunciation still
+to be seen there, executed on a minute scale, which brought him but
+little praise; and this may have been because Andrea, who worked well
+without over-exerting himself or forcing his powers, is believed to have
+tried in this work to force himself and to paint with too much care.
+
+As for the many pictures that he executed after this for Florence, it
+would take too long to try to speak of them all; and I will only say
+that among the most distinguished may be numbered the one that is now in
+the apartment of Baccio Barbadori, containing a full-length Madonna with
+a Child in her arms, S. Anne, and S. Joseph, all painted in a beautiful
+manner and held very dear by Baccio. He made one, likewise well worthy
+of praise, which is now in the possession of Lorenzo di Domenico
+Borghini, and another of Our Lady for Leonardo del Giocondo, which at
+the present day is in the hands of Piero, the son of Leonardo. For Carlo
+Ginori he painted two of no great size, which were bought afterwards by
+the Magnificent Ottaviano de' Medici; and one of these is now in his
+most beautiful villa of Campi, while the other, together with many other
+modern pictures executed by the most excellent masters, is in the
+apartment of the worthy son of so great a father, Signor Bernardetto,
+who not only esteems and honours the works of famous craftsmen, but is
+also in his every action a truly generous and magnificent nobleman.
+
+Meanwhile the Servite friar had allotted to Franciabigio one of the
+scenes in the above-mentioned cloister; but that master had not yet
+finished making the screen, when Andrea, becoming apprehensive, since it
+seemed to him that Franciabigio was an abler and more dexterous master
+than himself in the handling of colours in fresco, executed, as it were
+out of rivalry, the cartoons for his two scenes, which he intended to
+paint on the angle between the side-door of S. Bastiano and the smaller
+door that leads from the cloister into the Nunziata. Having made the
+cartoons, he set to work in fresco; and in the first scene he painted
+the Nativity of Our Lady, a composition of figures beautifully
+proportioned and grouped with great grace in a room, wherein some women
+who are friends and relatives of the newly delivered mother, having come
+to visit her, are standing about her, all clothed in such garments as
+were customary at that time, and other women of lower degree, gathered
+around the fire, are washing the newborn babe, while others are
+preparing the swathing-bands and doing other similar services. Among
+them is a little boy, full of life, who is warming himself at the fire,
+with an old man resting in a very natural attitude on a couch, and
+likewise some women carrying food to the mother who is in bed, with
+movements truly lifelike and appropriate. And all these figures,
+together with some little boys who are hovering in the air and
+scattering flowers, are most carefully considered in their expressions,
+their draperies, and every other respect, and so soft in colour, that
+the figures appear to be of flesh and everything else rather real than
+painted.
+
+In the other scene Andrea painted the three Magi from the East, who,
+guided by the Star, went to adore the Infant Jesus Christ. He
+represented them dismounted, as though they were near their destination;
+and that because there was only the space embracing the two doors to
+separate them from the Nativity of Christ which may be seen there, by
+the hand of Alesso Baldovinetti. In this scene Andrea painted the Court
+of those three Kings coming behind them, with baggage, much equipment,
+and many people following in their train, among whom, in a corner, are
+three persons portrayed from life and wearing the Florentine dress, one
+being Jacopo Sansovino, a full-length figure looking straight at the
+spectator, while another, with an arm in foreshortening, who is leaning
+against him and making a sign, is Andrea, the master of the work, and a
+third head, seen in profile behind Jacopo, is that of Ajolle, the
+musician. There are, in addition, some little boys who are climbing on
+the walls, in order to be able to see the magnificent procession and the
+fantastic animals that those three Kings have brought with them. This
+scene is quite equal in excellence to that mentioned above; nay, in
+both the one and the other he surpassed himself, not to speak of
+Franciabigio, who also finished his.
+
+At this same time Andrea painted for the Abbey of S. Godenzo, a benefice
+belonging to the same friars, a panel which was held to be very well
+executed. And for the Friars of S. Gallo he made a panel-picture of Our
+Lady receiving the Annunciation from the Angel, wherein may be seen a
+very pleasing harmony of colouring, while the heads of some Angels
+accompanying Gabriel show a sweet gradation of tints and a perfectly
+executed beauty of expression in their features; and the predella below
+this picture was painted by Jacopo da Pontormo, who was a disciple of
+Andrea at that time, and gave proofs at that early age that he was
+destined to produce afterwards those beautiful works which he actually
+did execute in Florence with his own hand, although in the end he became
+one might say another painter, as will be related in his Life.
+
+Andrea then painted for Zanobi Girolami a picture with figures of no
+great size, wherein was a story of Joseph, the son of Jacob, which was
+finished by him with unremitting diligence, and therefore held to be a
+very beautiful painting. Not long after this, he undertook to execute
+for the men of the Company of S. Maria della Neve, situated behind the
+Nunnery of S. Ambrogio, a little panel with three figures--Our Lady, S.
+John the Baptist, and S. Ambrogio; which work, when finished, was placed
+in due time on the altar of that Company.
+
+Meanwhile, thanks to his talent, Andrea had become intimate with
+Giovanni Gaddi, afterwards appointed Clerk of the Chamber, who, always
+delighting in the arts of design, was then keeping Jacopo Sansovino
+continually at work. Being pleased, therefore, with the manner of
+Andrea, he caused him to paint a picture of Our Lady for himself, which
+was very beautiful, for Andrea painted various patterns and other
+ingenious devices round it, so that it was considered to be the most
+beautiful work that he had executed up to that time. After this he made
+for Giovanni di Paolo, the mercer, another picture of Our Lady, which,
+being truly lovely, gave infinite pleasure to all who saw it. And for
+Andrea Santini he executed another, containing Our Lady, Christ, S.
+John, and S. Joseph, all wrought with such diligence that the painting
+has always been esteemed in Florence as worthy of great praise.
+
+All these works acquired such a name for Andrea in his city, that among
+the many, both young and old, who were painting at that time, he was
+considered one of the most excellent who were handling brushes and
+colours. Wherefore he found himself not only honoured, but even,
+although he exacted the most paltry prices for his labours, in a
+condition to do something to help and support his family, and also to
+shelter himself from the annoyances and anxieties which afflict those of
+us who live in poverty. But he became enamoured of a young woman, and a
+little time afterwards, when she had been left a widow, he took her for
+his wife; and then he had more than enough to do for the rest of his
+life, and much more trouble than he had suffered in the past, for the
+reason that, in addition to the labours and annoyances that such
+entanglements generally involve, he undertook others into the bargain,
+such as that of letting himself be harassed now by jealousy, now by one
+thing, and now by another.
+
+[Illustration: ANDREA DEL SARTO: MADONNA DELL' ARPIE
+
+(_Florence: Uffizi, 1112. Panel_)]
+
+But to return to the works of his hand, which were as rare as they were
+numerous: after those of which mention has been made above, he painted
+for a friar of S. Croce, of the Order of Minorites, who was then
+Governor of the Nunnery of S. Francesco in Via Pentolini, and delighted
+much in paintings, a panel-picture destined for the Church of those
+Nuns, of Our Lady standing on high upon an octagonal pedestal, at the
+corners of which are seated some Harpies, as it were in adoration of the
+Virgin; and she, using one hand to uphold her Son, who is clasping her
+most tenderly round the neck with His arms, in a very beautiful
+attitude, is holding a closed book in the other hand and gazing on two
+little naked boys, who, while helping her to stand upright, serve as
+ornaments about her person. This Madonna has on her right a beautifully
+painted S. Francis, in whose face may be seen the goodness and
+simplicity that truly belonged to that saintly man; besides which, the
+feet are marvellous, and so are the draperies, because Andrea always
+rounded off his figures with a very rich flow of folds and with certain
+most delicate curves, in such a way as to reveal the nude below. On her
+left hand she has a S. John the Evangelist, represented as a young
+man and in the act of writing his Gospel, in a very beautiful manner. In
+this work, moreover, over the building and the figures, is a film of
+transparent clouds, which appear to be really moving. This picture,
+among all Andrea's works, is held at the present day to be one of
+singular and truly rare beauty. For the joiner Nizza, also, he made a
+picture of Our Lady, which was considered to be no less beautiful than
+any of his other works.
+
+After this, the Guild of Merchants determined to have some triumphal
+chariots made of wood after the manner of those of the ancient Romans,
+to the end that these might be drawn in procession on the morning of S.
+John's day, in place of certain altar-cloths and wax tapers which the
+cities and townships carry in token of tribute, passing before the Duke
+and the chief magistrates; and out of ten that were made at that time,
+Andrea painted some with scenes in oils and in chiaroscuro, which were
+much extolled. But although it was proposed that some should be made
+every year, until such time as every city and district had one of its
+own, which would have produced a show of extraordinary magnificence,
+nevertheless this custom was abandoned in the year 1527.
+
+Now, while Andrea was adorning his city with these and other works, and
+his name was growing greater every day, the men of the Company of the
+Scalzo resolved that he should finish the work in their cloister, which
+he had formerly begun by painting the scene of the Baptism of Christ.
+Having resumed that work, therefore, more willingly, he executed two
+scenes there, with two very beautiful figures of Charity and Justice to
+adorn the door that leads into the building of the Company. In one of
+these scenes he represented S. John preaching to the multitude in a
+spirited attitude, lean in person, as befitted the life that he was
+leading, and with an expression of countenance filled with inspiration
+and thoughtfulness. Marvellous, likewise, are the variety and the
+vivacity of his hearers, some being shown in admiration, and all in
+astonishment, at hearing that new message and a doctrine so singular and
+never heard before. Even more did Andrea exert his genius in painting
+the same John baptizing with water a vast number of people, some of whom
+are stripping off their clothes, some receiving the baptism, and
+others, naked, waiting for him to finish baptizing those who are before
+them. In all of them Andrea showed a vivid emotion, with a burning
+desire in the gestures of those who are eager to be purified of their
+sins; not to mention that all the figures are so well executed in that
+chiaroscuro, that the whole has the appearance of a real and most
+lifelike scene in marble.
+
+I will not refrain from saying that while Andrea was employed on these
+and other pictures, there appeared certain copper engravings by Albrecht
+Duerer, and Andrea made use of them, taking some of the figures and
+transforming them into his manner. And this has caused some people,
+while not saying that it is a bad thing for a man to make adroit use of
+the good work of others, to believe that Andrea had not much invention.
+
+At that time there came to Baccio Bandinelli, then a draughtsman of
+great repute, a desire to learn to paint in oils. Whereupon, knowing
+that no man in Florence knew how to do that better than our Andrea, he
+commissioned him to paint his portrait, which was a good likeness of him
+at that age, as may be seen even yet; and thus, by watching him paint
+that work and others, he saw his method of colouring, although
+afterwards, either by reason of the difficulty or from lack of
+inclination, he did not pursue the use of colours, finding more
+satisfaction in sculpture.
+
+Andrea executed for Alessandro Corsini a picture of a Madonna seated on
+the ground with a Child in her arms, surrounded by many little boys,
+which was finished with beautiful art and with very pleasing colour; and
+for a mercer, much his friend, who kept a shop in Rome, he made a most
+beautiful head. Giovan Battista Puccini of Florence, likewise, taking
+extraordinary pleasure in the manner of Andrea, commissioned him to
+paint a picture of Our Lady for sending into France; but it proved to be
+so fine that he kept it for himself, and would by no means send it.
+However, having been asked, while transacting the affairs of his
+business in France, to undertake to send choice paintings to that
+country, he caused Andrea to paint a picture of a Dead Christ surrounded
+by some Angels, who were supporting Him and contemplating with gestures
+of sorrow and compassion their Maker sunk to such a pass through the
+sins of the world. This work, when finished, gave such universal
+satisfaction, that Andrea, urged by many entreaties, had it engraved in
+Rome by the Venetian Agostino; but it did not succeed very well, and he
+would never again give any of his works to be engraved. But to return to
+the picture: it gave no less satisfaction in France, whither it was
+sent, than it had done in Florence, insomuch that the King, kindled with
+even greater desire to have works by Andrea, gave orders that he should
+execute others; which was the reason that Andrea, encouraged by his
+friends, resolved to go in a short time to France.
+
+But meanwhile the Florentines, hearing in the year 1515 that Pope Leo X
+wished to grace his native city with his presence, ordained for his
+reception extraordinary festivities and a sumptuous and magnificent
+spectacle, with so many arches, facades, temples, colossal figures, and
+other statues and ornaments, that there had never been seen up to that
+time anything richer, more gorgeous, or more beautiful; for there was
+then flourishing in that city a greater abundance of fine and exalted
+intellects than had ever been known at any other period. At the entrance
+of the Porta di S. Piero Gattolini, Jacopo di Sandro, in company with
+Baccio da Montelupo, made an arch covered with historical scenes.
+Giuliano del Tasso made another at S. Felice in Piazza, with some
+statues and the obelisk of Romulus at S. Trinita, and Trajan's Column in
+the Mercato Nuovo. In the Piazza de' Signori, Antonio, the brother of
+Giuliano da San Gallo, erected an octagonal temple, and Baccio
+Bandinelli made a Giant for the Loggia. Between the Badia and the Palace
+of the Podesta there was an arch erected by Granaccio and Aristotele da
+San Gallo, and Il Rosso made another on the Canto de' Bischeri with a
+very beautiful design and a variety of figures. But what was admired
+more than everything else was the facade of S. Maria del Fiore, made of
+wood, and so well decorated with various scenes in chiaroscuro by our
+Andrea, that nothing more could have been desired. The architecture of
+this work was by Jacopo Sansovino, as were some scenes in low-relief and
+many figures carved in the round; and it was declared by the Pope that
+this structure--which was designed by Lorenzo de' Medici, father of that
+Pontiff, when he was alive--could not have been more beautiful, even if
+it had been of marble. The same Jacopo made a horse similar to the one
+in Rome, which was held to be a miracle of beauty, on the Piazza di S.
+Maria Novella. An endless number of ornaments, also, were executed for
+the Sala del Papa in the Via della Scala, and that street was half
+filled with most beautiful scenes wrought by the hands of many
+craftsmen, but designed for the most part by Baccio Bandinelli.
+Wherefore, when Leo entered Florence, on the third day of September in
+the same year, this spectacle was pronounced to be the grandest that had
+ever been devised, and the most beautiful.
+
+But to return now to Andrea: being again requested to make another
+picture for the King of France, in a short time he finished one wherein
+he painted a very beautiful Madonna, which was sent off immediately, the
+merchants receiving for it four times as much as they had paid. Now at
+that very time Pier Francesco Borgherini had caused to be made by Baccio
+d' Agnolo some panelling, chests, chairs, and a bed, all carved in
+walnut-wood, for the furnishing of an apartment; wherefore, to the end
+that the paintings therein might be equal in excellence to the rest of
+the work, he commissioned Andrea to paint part of the scenes on these
+with figures of no great size, representing the acts of Joseph the son
+of Jacob, in competition with some of great beauty that had been
+executed by Granaccio and Jacopo da Pontormo. Andrea, then, devoting an
+extraordinary amount of time and diligence to the work, strove to bring
+it about that they should prove to be more perfect than those of the
+others mentioned above; in which he succeeded to a marvel, for in the
+variety of events happening in the stories he showed how great was his
+worth in the art of painting. So excellent were those scenes, that an
+attempt was made by Giovan Battista della Palla, on account of the siege
+of Florence, to remove them from the places where they were fixed, in
+order to send them to the King of France; but, since they were fixed in
+such a way that it would have meant spoiling the whole work, they were
+left where they were, together with a picture of Our Lady, which is held
+to be a very choice work.
+
+[Illustration: CHARITY
+
+(_After the painting by =Andrea del Sarto=. Paris: Louvre, 1514_)
+
+_Neurdein_]
+
+After this Andrea executed a head of Christ, now kept by the Servite
+Friars on the altar of the Nunziata, of such beauty, that I for my part
+do not know whether any more beautiful image of the head of Christ
+could be conceived by the intellect of man. For the chapels in the
+Church of S. Gallo, without the Porta S. Gallo, there had been painted,
+in addition to the two panel-pictures by Andrea, a number of others,
+which were not equal to his; wherefore, since there was a commission to
+be given for another, those friars contrived to persuade the owner of
+the chapel to give it to Andrea; and he, beginning it immediately, made
+therein four figures standing, engaged in a disputation about the
+Trinity. One of these is S. Augustine, who, robed as a Bishop and truly
+African in aspect, is moving impetuously towards S. Peter Martyr, who is
+holding up an open book in a proud and sublime attitude: and the head
+and figure of the latter are much extolled. Beside him is a S. Francis
+holding a book in one hand and pressing the other against his breast;
+and he appears to be expressing with his lips a glowing ardour that
+makes him almost melt away in the heat of the discussion. There is also
+a S. Laurence, who, being young, is listening, and seems to be yielding
+to the authority of the others. Below them are two figures kneeling, one
+a Magdalene with most beautiful draperies, whose countenance is a
+portrait of Andrea's wife; for in no place did he paint a woman's
+features without copying them from her, and if perchance it happened at
+times that he took them from other women, yet, from his being used to
+see her continually, and from the circumstance that he had drawn her so
+often, and, what is more, had her impressed on his mind, it came about
+that almost all the heads of women that he made resembled her. The other
+kneeling figure is a S. Sebastian, who, being naked, shows his back,
+which appears to all who see it to be not painted, but of living flesh.
+And indeed, among so many works in oils, this was held by craftsmen to
+be the best, for the reason that there may be seen in it signs of
+careful consideration in the proportions of the figures, and much order
+in the method, with a sense of fitness in the expressions of the faces,
+the heads of the young showing sweetness of expression, those of the old
+hardness, and those of middle age a kind of blend that inclines both to
+the first and to the second. In a word, this panel is most beautiful in
+all its parts; and it is now to be found in S. Jacopo tra Fossi on the
+Canto degli Alberti, together with others by the hand of the same
+master.
+
+While Andrea was living poorly enough in Florence, engaged in these
+works, but without bettering himself a whit, the two pictures that he
+had sent to France had been duly considered in that country by King
+Francis I; and among many others which had been sent from Rome, from
+Venice, and from Lombardy, they had been judged to be by far the best.
+The King therefore praising them mightily, it was remarked to him that
+it would be an easy matter to persuade Andrea to come to France to serve
+his Majesty; which news was so agreeable to the King, that he gave
+orders that all that was necessary should be done, and that money for
+the journey should be paid to Andrea in Florence. Andrea then set out
+for France with a glad heart, taking with him his assistant Andrea
+Sguazzella; and, having arrived at last at the Court, they were received
+by the King with great kindness and rejoicing. Before the very day of
+his arrival had passed by, Andrea proved for himself how great were the
+courtesy and the liberality of that magnanimous King, receiving presents
+of money and rich and honourable garments. Beginning to work soon
+afterwards, he became so dear to the King and to all the Court, that he
+was treated lovingly by everyone, and it appeared to him that his
+departure from his country had brought him from one extreme of
+wretchedness to the other extreme of bliss. Among his first works was a
+portrait from life of the Dauphin, the son of the King, born only a few
+months before, and still in swaddling-clothes; and when he took this to
+the King, he received a present of three hundred gold crowns. Then,
+continuing to work, he painted for the King a figure of Charity, which
+was considered a very rare work and was held by that Sovereign in the
+estimation that it deserved. After that, his Majesty granted him a
+liberal allowance and did all that he could to induce Andrea to stay
+willingly with him, promising him that he should never want for
+anything; and this because he liked Andrea's resoluteness in his work,
+and also the character of the man, who was contented with everything.
+Moreover, giving great satisfaction to the whole Court, he executed many
+pictures and various other works; and if he had kept in mind the
+condition from which he had escaped and the place to which fortune had
+brought him, there is no doubt that he would have risen--to say nothing
+of riches--to a most honourable rank. But one day, when he was at work
+on a S. Jerome in Penitence for the mother of the King, there came to
+him some letters from Florence, written by his wife; and he began,
+whatever may have been the reason, to think of departing. He sought
+leave, therefore, from the King, saying that he wished to go to
+Florence, but would return without fail to his Majesty after settling
+some affairs; and he would bring his wife with him, in order to live
+more at his ease in France, and would come back laden with pictures and
+sculptures of value. The King, trusting in him, gave him money for that
+purpose; and Andrea swore on the Testament to return to him in a few
+months.
+
+Thus, then, he arrived in Florence, and for several months blissfully
+took his joy of his fair lady, his friends, and the city. And finally,
+the time at which he was to return having passed by, he found in the end
+that what with building, taking his pleasure, and doing no work, he had
+squandered all his money and likewise that of the King. Even so he
+wished to return, but he was more influenced by the sighs and prayers of
+his wife than by his own necessities and the pledge given to the King,
+so that, in order to please his wife, he did not go back; at which the
+King fell into such disdain, that for a long time he would never again
+look with a favourable eye on any painter from Florence, and he swore
+that if Andrea ever came into his hands he would give him a very
+different kind of welcome, with no regard whatever for his abilities.
+And thus Andrea, remaining in Florence, and sinking from the highest
+rung of the ladder to the very lowest, lived and passed the time as best
+he could.
+
+After Andrea's departure to France, the men of the Scalzo, thinking that
+he would never return, had entrusted all the rest of the work in their
+cloister to Franciabigio, who had already executed two scenes there,
+when, seeing Andrea back in Florence, they persuaded him to set his hand
+to the work once more; and he, continuing it, painted four scenes, one
+beside another. In the first is S. John taken before Herod. In the
+second are the Feast and the Dance of Herodias, with figures very well
+grouped and appropriate. In the third is the Beheading of S. John,
+wherein the minister of justice, a half-nude figure, is beautifully
+drawn, as are all the others. In the fourth Herodias is presenting the
+head; and here there are figures expressing their astonishment, which
+are wrought with most beautiful thought and care. These scenes have been
+for some time the study and school of many young men who are now
+excellent in our arts.
+
+In a shrine without the Porta a Pinti, at a corner where the road turns
+towards the Ingesuati, he painted in fresco a Madonna seated with a
+Child in her arms, and a little S. John who is smiling, a figure wrought
+with extraordinary art and with such perfect execution, that it is much
+extolled for its beauty and vivacity; and the head of the Madonna is a
+portrait of his wife from nature. This shrine, on account of the
+incredible beauty of the painting, which is truly marvellous, was left
+standing in 1530, when, because of the siege of Florence, the aforesaid
+Convent of the Ingesuati was pulled down, together with many other very
+beautiful buildings.
+
+About the same time the elder Bartolommeo Panciatichi, who was carrying
+on a great mercantile business in France, desiring to leave a memorial
+of himself in Lyons, ordered Baccio d' Agnolo to have a panel painted
+for him by Andrea, and to send it to him there; saying that he wanted
+the subject to be the Assumption of Our Lady, with the Apostles about
+the tomb. This work, then, Andrea carried almost to completion; but
+since the wood of the panel split apart several times, he would
+sometimes work at it, and sometimes leave it alone, so that at his death
+it remained not quite finished. Afterwards it was placed by the younger
+Bartolommeo Panciatichi in his house, as a work truly worthy of praise
+on account of the beautiful figures of the Apostles; not to speak of the
+Madonna, who is surrounded by a choir of little boys standing, while
+certain others are supporting her and bearing her upwards with
+extraordinary grace. And in the foreground of the panel, among the
+Apostles, is a portrait of Andrea, so natural that it seems to be alive.
+It is now at the villa of the Baroncelli, a little distance from
+Florence, in a small church built by Piero Salviati near his villa to do
+honour to the picture.
+
+At the head of the garden of the Servi, in two angles, Andrea painted
+two scenes of Christ's Vineyard, one showing the planting, staking, and
+binding of the vines, and then the husbandman summoning to the labour
+those who were standing idle, among whom is one who, being asked
+whether he wishes to join the work, sits rubbing his hands and pondering
+whether he will go among the other labourers, exactly as those idle
+fellows do who have but little mind to work. Even more beautiful is the
+other scene, wherein the same husbandman is causing them to be paid,
+while they murmur and complain, and one among them, who is counting over
+his money by himself, wholly intent on examining his share, seems
+absolutely alive, as also does the steward who is paying out the wages.
+These scenes are in chiaroscuro, and executed with extraordinary mastery
+in fresco. After them he painted a Pieta, coloured in fresco, which is
+very beautiful, in a niche at the head of a staircase in the noviciate
+of the same convent. He also painted another Pieta in a little picture
+in oils, in addition to a Nativity, for the room in that convent wherein
+the General, Angelo Aretino, once lived.
+
+The same master painted for Zanobi Bracci, who much desired to have some
+work by his hand, for one of his apartments, a picture of Our Lady, in
+which she is on her knees, leaning against a rock, and contemplating
+Christ, who lies on a heap of drapery and looks up at her, smiling;
+while a S. John, who stands there, is making a sign to the Madonna, as
+if to say that her Child is the true Son of God. Behind these figures is
+a S. Joseph with his head resting on his hands, which are lying on a
+rock; and he appears to be filled with joy at seeing the human race
+become divine through that Birth.
+
+Cardinal Giulio de' Medici having been commissioned by Pope Leo to see
+to the adorning with stucco and paintings of the ceiling in the Great
+Hall of Poggio a Caiano, a palatial villa of the Medici family, situated
+between Pistoia and Florence, the charge of arranging for that work and
+of paying out the money was given to the Magnificent Ottaviano de'
+Medici, as to a person who, not falling short of the standard of his
+ancestors, was well informed in such matters and a loving friend to all
+the masters of our arts, and delighted more than any other man to have
+his dwellings adorned with the works of the most excellent. Ottaviano
+ordained, therefore, although the commission for the whole work had
+already been given to Franciabigio, that he should have only a third,
+Andrea another, and Jacopo da Pontormo the last. But it was found
+impossible, for all the efforts that the Magnificent Ottaviano made to
+urge them on, and for all the money that he offered and even paid to
+them, to get the work brought to completion; and Andrea alone finished
+with great diligence a scene on one wall, representing Caesar being
+presented with tribute of all kinds of animals. The drawing for this
+work is in our book, with many others by his hand; it is in chiaroscuro,
+and is the most finished that he ever made. In this picture Andrea, in
+order to surpass Franciabigio and Jacopo, subjected himself to
+unexampled labour, drawing in it a magnificent perspective-view and a
+very masterly flight of steps, which formed the ascent to the throne of
+Caesar. And these steps he adorned with very well-designed statues, not
+being content with having proved the beauty of his genius in the variety
+of figures that are carrying on their backs all those different animals,
+such as the figure of an Indian who is wearing a yellow coat, and
+carrying on his shoulders a cage drawn in perspective with some parrots
+both within it and without, the whole being rarely beautiful; and such,
+also, as some who are leading Indian goats, lions, giraffes, panthers,
+lynxes, and apes, with Moors and other lovely things of fancy, all
+grouped in a beautiful manner and executed divinely well in fresco. On
+these steps, also, he made a dwarf seated and holding a box containing a
+chameleon, which is so well executed in all the deformity of its
+fantastic shape, that it is impossible to imagine more beautiful
+proportions than those that he gave it. But, as has been said, this work
+remained unfinished, on account of the death of Pope Leo; and although
+Duke Alessandro de' Medici had a great desire that Jacopo da Pontormo
+should finish it, he was not able to prevail on him to put his hand to
+it. And in truth it suffered a very grievous wrong in the failure to
+complete it, seeing that the hall, for one in a villa, is the most
+beautiful in the world.
+
+After returning to Florence, Andrea painted a picture with a nude
+half-length figure of S. John the Baptist, a very beautiful thing, which
+he executed at the commission of Giovan Maria Benintendi, who presented
+it afterwards to the Lord Duke Cosimo.
+
+[Illustration: CAESAR RECEIVING THE TRIBUTE OF EGYPT
+
+(_After the fresco by =Andrea del Sarto=. Florence: Poggio a Caiano_)
+
+_Alinari_]
+
+While affairs were proceeding in this manner, Andrea, remembering
+sometimes his connection with France, sighed from his heart: and if
+he had hoped to find pardon for the fault he had committed, there is no
+doubt that he would have gone back. Indeed, to try his fortune, he
+sought to see whether his talents might be helpful to him in the matter.
+Thus he painted a picture of a half-naked S. John the Baptist, meaning
+to send it to the Grand Master of France, to the end that he might
+occupy himself with restoring the painter to the favour of the King.
+However, whatever may have been the reason, he never sent it after all,
+but sold it to the Magnificent Ottaviano de' Medici, who always valued
+it much as long as he lived, even as he did two pictures of Our Lady
+executed for him by Andrea in one and the same manner, which are in his
+house at the present day.
+
+Not long afterwards he was commissioned by Zanobi Bracci to paint a
+picture for Monsignore di San Biause,[6] which he executed with all
+possible diligence, hoping that it might enable him to regain the favour
+of King Francis, to whose service he desired to return. He also executed
+for Lorenzo Jacopi a picture of much greater size than was usual,
+containing a Madonna seated with the Child in her arms, accompanied by
+two other figures that are seated on some steps; and the whole, both in
+drawing and in colouring, is similar to his other works. He painted for
+Giovanni d' Agostino Dini, likewise, a picture of Our Lady, which is now
+much esteemed for its beauty; and he made so good a portrait from life
+of Cosimo Lapi, that it seems absolutely alive.
+
+Afterwards, in the year 1523, the plague came to Florence and also to
+some places in the surrounding country; and Andrea, in order to avoid
+that pestilence and also to do some work, went at the instance of
+Antonio Brancacci to the Mugello to paint a panel for the Nuns of S.
+Piero a Luco, of the Order of Camaldoli, taking with him his wife and a
+stepdaughter, together with his wife's sister and an assistant. Living
+quietly there, then, he set his hand to the work. And since those
+venerable ladies showed more and more kindness and courtesy every day to
+his wife, to himself, and to the whole party, he applied himself with
+the greatest possible willingness to executing that panel, in which he
+painted a Dead Christ mourned by Our Lady, S. John the Evangelist, and
+the Magdalene, figures so lifelike, that they appear truly to have
+spirit and breath. In S. John may be seen the loving tenderness of that
+Apostle, with affection in the tears of the Magdalene, and bitter sorrow
+in the face and whole attitude of the Madonna, whose aspect, as she
+gazes on Christ, who seems to be truly a real corpse and in relief, is
+so pitiful, that she fills with helpless awe and bewilderment the minds
+of S. Peter and S. Paul, who are contemplating the Dead Saviour of the
+World in the lap of His mother. From these marvellous conceptions it is
+clear how much Andrea delighted in finish and perfection of art; and to
+tell the truth, this panel has given more fame to that convent than all
+the buildings and all the other costly works, however magnificent and
+extraordinary, that have been executed there.
+
+This picture finished, Andrea, seeing that the danger of the plague was
+not yet past, stayed some weeks more in the same place, where he was so
+well received and treated with such kindness. During that time, in order
+not to be idle, he painted not only a Visitation of Our Lady to S.
+Elizabeth, which is in the church, on the right hand above the Manger,
+serving as a crown to a little ancient panel, but also, on a canvas of
+no great size, a most beautiful head of Christ, somewhat similar to that
+on the altar of the Nunziata, but not so finished. This head, which may
+in truth be numbered among the better works that issued from the hands
+of Andrea, is now in the Monastery of the Monks of the Angeli at
+Florence, in the possession of that very reverend father, Don Antonio da
+Pisa, who loves not only the men of excellence in our arts, but every
+man of talent without exception. From this picture several copies have
+been taken, for Don Silvano Razzi entrusted it to the painter Zanobi
+Poggini, to the end that he might make a copy for Bartolommeo Gondi, who
+had asked him for one, and some others were made, which are held in vast
+veneration in Florence.
+
+In this manner, then, Andrea passed without danger the time of the
+plague, and those nuns received from the genius of that great man such a
+work as can bear comparison with the most excellent pictures that have
+been painted in our day; wherefore it is no marvel that Ramazzotto, the
+captain of mercenaries of Scaricalasino, sought to obtain it on several
+occasions during the siege of Florence, in order to send it to his
+chapel in S. Michele in Bosco at Bologna.
+
+On his return to Florence, Andrea executed for Beccuccio da Gambassi,
+the glass-blower, who was very much his friend, a panel-picture of Our
+Lady in the sky with the Child in her arms, and four figures below, S.
+John the Baptist, S. Mary Magdalene, S. Sebastian, and S. Rocco; and in
+the predella he made portraits from nature, which are most lifelike, of
+Beccuccio and his wife. This panel is now at Gambassi, a township in
+Valdelsa, between Volterra and Florence. For a chapel in the villa of
+Zanobi Bracci at Rovezzano, he painted a most beautiful picture of Our
+Lady suckling a Child, with a Joseph, all executed with such diligence
+that they stand out from the panel, so strong is the relief; and this
+picture is now in the house of M. Antonio Bracci, the son of that
+Zanobi. About the same time, also, and in the above-mentioned cloister
+of the Scalzo, Andrea painted two other scenes, in one of which he
+depicted Zacharias offering sacrifice and being made dumb by the Angel
+appearing to him, while in the other is the Visitation of Our Lady,
+beautiful to a marvel.
+
+Now Federigo II, Duke of Mantua, in passing through Florence on his way
+to make obeisance to Clement VII, saw over a door in the house of the
+Medici that portrait of Pope Leo between Cardinal Giulio de' Medici and
+Cardinal de' Rossi, which the most excellent Raffaello da Urbino had
+formerly painted; and being extraordinarily pleased with it, he
+resolved, being a man who delighted in pictures of such beauty, to make
+it his own. And so, when he was in Rome and the moment seemed to him to
+have come, he asked for it as a present from Pope Clement, who
+courteously granted his request. Thereupon orders were sent to Florence
+to Ottaviano de' Medici, under whose care and government were Ippolito
+and Alessandro, that he should have it packed up and taken to Mantua.
+This matter was very displeasing to the Magnificent Ottaviano, who would
+never have consented to deprive Florence of such a picture, and he
+marvelled that the Pope should have given it up so readily. However, he
+answered that he would not fail to satisfy the Duke; but that, since
+the frame was bad, he was having a new one made, and when it had been
+gilt he would send the picture with every possible precaution to Mantua.
+This done, Messer Ottaviano, in order to "save both the goat and the
+cabbage," as the saying goes, sent privately for Andrea and told him how
+the matter stood, and how there was no way out of it but to make an
+exact copy of the picture with the greatest care and send it to the
+Duke, secretly retaining the one by the hand of Raffaello. Andrea, then,
+having promised to do all in his power and knowledge, caused a panel to
+be made similar in size and in every respect, and painted it secretly in
+the house of Messer Ottaviano. And to such purpose did he labour, that
+when it was finished even Messer Ottaviano, for all his understanding in
+matters of art, could not tell the one from the other, nor distinguish
+the real and true picture from the copy; especially as Andrea had
+counterfeited even the spots of dirt, exactly as they were in the
+original. And so, after they had hidden the picture of Raffaello, they
+sent the one by the hand of Andrea, in a similar frame, to Mantua; at
+which the Duke was completely satisfied, and above all because the
+painter Giulio Romano, a disciple of Raffaello, had praised it, failing
+to detect the trick. This Giulio would always have been of the same
+opinion, and would have believed it to be by the hand of Raffaello, but
+for the arrival in Mantua of Giorgio Vasari, who, having been as it were
+the adoptive child of Messer Ottaviano, and having seen Andrea at work
+on that picture, revealed the truth. For Giulio making much of Vasari,
+and showing him, after many antiquities and paintings, that picture of
+Raffaello's, as the best work that was there, Giorgio said to him, "A
+beautiful work it is, but in no way by the hand of Raffaello." "What?"
+answered Giulio. "Should I not know it, when I recognize the very
+strokes that I made with my own brush?" "You have forgotten them," said
+Giorgio, "for this picture is by the hand of Andrea del Sarto; and to
+prove it, there is a sign (to which he pointed) that was made in
+Florence, because when the two were together they could not be
+distinguished." Hearing this, Giulio had the picture turned round, and
+saw the mark; at which he shrugged his shoulders and said these words,
+"I value it no less than if it were by the hand of Raffaello--nay, even
+more, for it is something out of the course of nature that a man of
+excellence should imitate the manner of another so well, and should make
+a copy so like. It is enough that it should be known that Andrea's
+genius was as valiant in double harness as in single." Thus, then, by
+the wise judgment of Messer Ottaviano, satisfaction was given to the
+Duke without depriving Florence of so choice a work, which, having been
+presented to him afterwards by Duke Alessandro, he kept in his
+possession for many years; and finally he gave it to Duke Cosimo, who
+has it in his guardaroba together with many other famous pictures.
+
+While Andrea was making this copy, he also painted for the same Messer
+Ottaviano a picture with only the head of Cardinal Giulio de' Medici,
+who afterwards became Pope Clement; and this head, which was similar to
+that by Raffaello, and very beautiful, was presented eventually by
+Messer Ottaviano to old Bishop de' Marzi.
+
+Not long after, Messer Baldo Magini of Prato desiring to have a most
+beautiful panel-picture painted for the Madonna delle Carcere in his
+native city, for which he had already caused a very handsome ornament of
+marble to be made, one of the many painters proposed to him was Andrea.
+Wherefore Messer Baldo, having more inclination for him than for any of
+the others, although he had no great understanding in such a matter, had
+almost given him to believe that he and no other should do the work,
+when a certain Niccolo Soggi of Sansovino, who had some interest at
+Prato, was suggested to Messer Baldo for the undertaking, and assisted
+to such purpose by the assertion that there was not a better master to
+be found, that the work was given to him. Meanwhile, Andrea's supporters
+sending for him, he, holding it as settled that the work was to be his,
+went off to Prato with Domenico Puligo and other painters who were his
+friends. Arriving there, he found that Niccolo not only had persuaded
+Messer Baldo to change his mind, but also was bold and shameless enough
+to say to him in the presence of Messer Baldo that he would compete with
+Andrea for a bet of any sum of money in painting something, the winner
+to take the whole. Andrea, who knew what Niccolo was worth, answered,
+although he was generally a man of little spirit, "Here is my assistant,
+who has not been long in our art. If you will bet with him, I will put
+down the money for him; but with me you shall have no bet for any money
+in the world, seeing that, if I were to beat you, it would do me no
+honour, and if I were to lose, it would be the greatest possible
+disgrace." And, saying to Messer Baldo that he should give the work to
+Niccolo, because he would execute it in such a manner as would please
+the folk that went to market, he returned to Florence.
+
+There he was commissioned to paint a panel for Pisa, divided into five
+pictures, which were afterwards placed round the Madonna of S. Agnese,
+beside the walls of that city, between the old Citadel and the Duomo.
+Making one figure, then, in each picture, he painted in two of them S.
+John the Baptist and S. Peter, one on either side of the Madonna that
+works miracles; and in the others are S. Catharine the Martyr, S.
+Agnese, and S. Margaret, each a figure by itself, and all so beautiful
+as to fill with marvel anyone who beholds them, and considered to be the
+most gracious and lovely women that he ever painted.
+
+M. Jacopo, a Servite friar, in releasing and absolving a woman from a
+vow, had told her that she must have a figure of Our Lady painted over
+the outer side of that lateral door of the Nunziata which leads into the
+cloister; and therefore, finding Andrea, he said to him that he had this
+money to spend, and that although it was not much it seemed to him
+right, since the other works executed by Andrea in that place had
+brought him such fame, that he and no other should paint this one as
+well. Andrea, who was nothing if not an amiable man, moved by the
+persuasions of the friar and by his own desire for profit and glory,
+answered that he would do it willingly; and shortly afterwards, putting
+his hand to the work, he painted in fresco a most beautiful Madonna
+seated with her Son in her arms, and S. Joseph leaning on a sack, with
+his eyes fixed upon an open book. And of such a kind was this work, in
+draughtsmanship, grace, and beauty of colouring, as well as in vivacity
+and relief, that it proved that he outstripped and surpassed by a great
+measure all the painters who had worked up to that time. Such, indeed,
+is this picture, that by its own merit and without praise from any other
+quarter it makes itself clearly known as amazing and most rare.
+
+There was wanting only one scene in the cloister of the Scalzo for it to
+be completely finished; wherefore Andrea, who had added grandeur to his
+manner after having seen the figures that Michelagnolo had begun and
+partly finished for the Sacristy of S. Lorenzo, set his hand to
+executing this last scene. In this, giving the final proof of his
+improvement, he painted the Birth of S. John the Baptist, with figures
+that were very beautiful and much better and stronger in relief than the
+others made by him before in the same place. Most beautiful, among
+others in this work, are a woman who is carrying the newborn babe to the
+bed on which lies S. Elizabeth, who is likewise a most lovely figure,
+and Zacharias, who is writing on a paper that he has placed on his knee,
+holding it with one hand and with the other writing the name of his son,
+and all with such vivacity, that he lacks nothing save the breath of
+life. Most beautiful, also, is an old woman who is seated on a stool,
+smiling with gladness at the delivery of the other aged woman, and
+revealing in her attitude and expression all that would be seen in a
+living person after such an event.
+
+Having finished that work, which is certainly well worthy of all praise,
+he painted for the General of Vallombrosa a panel-picture with four very
+lovely figures, S. John the Baptist, S. Giovanni Gualberto, founder of
+that Order, S. Michelagnolo, and S. Bernardo, a Cardinal and a monk of
+the Order, with some little boys in the centre that could not be more
+vivacious or more beautiful. This panel is at Vallombrosa, on the summit
+of a rocky height, where certain monks live in some rooms called "the
+cells," separated from the others, and leading as it were the lives of
+hermits.
+
+After this he was commissioned by Giuliano Scala to paint a
+panel-picture, which was to be sent to Serrazzana, of a Madonna seated
+with the Child in her arms, and two half-length figures from the knees
+upwards, S. Celso and S. Julia, with S. Onofrio, S. Catharine, S.
+Benedict, S. Anthony of Padua, S. Peter, and S. Mark; which panel was
+held to be equal to the other works of Andrea. And in the hands of
+Giuliano Scala, in place of the balance due to him of a sum of money
+that he had paid for the owners of that work, there remained a lunette
+containing an Annunciation, which was to go above the panel, to complete
+it; and it is now in his chapel in the great tribune round the choir of
+the Church of the Servi.
+
+The Monks of S. Salvi had let many years pass by without thinking of
+having a beginning made with their Last Supper, which they had
+commissioned Andrea to execute at the time when he painted the arch with
+the four figures; but finally an Abbot, who was a man of judgment and
+breeding, determined that he should finish that work. Thereupon Andrea,
+who had already pledged himself to it on a previous occasion, far from
+making any demur, put his hand to the task, and, working at it one piece
+at a time when he felt so inclined, finished it in a few months, and
+that in such a manner, that the work was held to be, as it certainly is,
+the most spontaneous and the most vivacious in colouring and drawing
+that he ever made, or that ever could be made. For, among other things,
+he gave infinite grandeur, majesty, and grace to all the figures,
+insomuch that I know not what to say of this Last Supper that would not
+be too little, it being such that whoever sees it is struck with
+amazement. Wherefore it is no marvel that on account of its excellence
+it was left standing amid the havoc of the siege of Florence, in the
+year 1529, at which time the soldiers and destroyers, by command of
+those in authority, pulled down all the suburbs without the city, and
+all the monasteries, hospitals, and other buildings. These men, I say,
+having destroyed the Church and Campanile of S. Salvi, and beginning to
+throw down part of the convent, had come to the refectory where this
+Last Supper is, when their leader, seeing so marvellous a painting, of
+which he may have heard speak, abandoned the undertaking and would not
+let any more of that place be destroyed, reserving the task until such
+time as there should be no alternative.
+
+[Illustration: PORTRAIT OF THE ARTIST
+
+(_After the painting on a tile by =Andrea del Sarto=. Florence: Uffizi,
+280_)
+
+_Alinari_]
+
+Andrea then painted for the Company of S. Jacopo, called the Nicchio, on
+a banner for carrying in processions, a S. James fondling a little boy
+dressed as a Flagellant by stroking him under the chin, with another boy
+who has a book in his hand, executed with beautiful grace and
+naturalness. He made a portrait from life of a steward of the Monks of
+Vallombrosa, who lived almost always in the country on the affairs of
+his monastery; and this portrait was placed under a sort of bower, in
+which he had made pergole and contrivances of his own in various
+fanciful designs, so that it was buffeted by wind and rain, according to
+the pleasure of that steward, who was the friend of Andrea. And because,
+when the work was finished, there were some colours and lime left over,
+Andrea, taking a tile, called to his wife Lucrezia and said to her:
+"Come here, for these colours are left over, and I wish to make your
+portrait, so that all may see how well you have preserved your beauty
+even at your time of life, and yet may know how your appearance has
+changed, which will make this one different from your early portraits."
+But the woman, who may have had something else in her mind, would not
+stand still; and Andrea, as it were from a feeling that he was near his
+end, took a mirror and made a portrait of himself on that tile, of such
+perfection, that it seems alive and as real as nature; and that portrait
+is in the possession of the same Madonna Lucrezia, who is still living.
+
+He also portrayed a Canon of Pisa, very much his friend; and the
+portrait, which is lifelike and very beautiful, is still in Pisa. He
+then began for the Signoria the cartoons for the paintings to be
+executed on the balustrades of the Ringhiera in the Piazza, with many
+beautiful things of fancy to represent the quarters of the city, and
+with the banners of the Consuls of the chief Guilds supported by some
+little boys, and also ornaments in the form of images of all the
+virtues, and likewise the most famous mountains and rivers of the
+dominion of Florence. But this work, thus begun, remained unfinished on
+account of Andrea's death, as was also the case with a panel--although
+it was all but finished--which he painted for the Abbey of the Monks of
+Vallombrosa at Poppi in the Casentino. In that panel he painted an
+Assumption of Our Lady, who is surrounded by many little boys, with S.
+Giovanni Gualberto, S. Bernardo the Cardinal (a monk of their Order, as
+has been related), S. Catharine, and S. Fedele; and, unfinished as it
+is, the picture is now in that Abbey of Poppi. The same happened to a
+panel of no great size, which, when finished, was to have gone to Pisa.
+But he left completely finished a very beautiful picture which is now in
+the house of Filippo Salviati, and some others.
+
+About the same time Giovan Battista della Palla, having bought all the
+sculptures and pictures of note that he could obtain, and causing copies
+to be made of those that he could not buy, had despoiled Florence of a
+vast number of choice works, without the least scruple, in order to
+furnish a suite of rooms for the King of France, which was to be richer
+in suchlike ornaments than any other in the world. And this man,
+desiring that Andrea should return to the service and favour of the
+King, commissioned him to paint two pictures. In one of these Andrea
+painted Abraham in the act of trying to sacrifice his son; and that with
+such diligence, that it was judged that up to that time he had never
+done anything better. Beautifully expressed in the figure of the
+patriarch was seen that living and steadfast faith which made him ready
+without a moment of dismay or hesitation to slay his own son. The same
+Abraham, likewise, could be seen turning his head towards a very
+beautiful little angel, who appeared to be bidding him stay his hand. I
+will not describe the attitude, the dress, the foot-wear, and other
+details in the painting of that old man, because it is not possible to
+say enough of them; but this I must say, that the boy Isaac, tender and
+most beautiful, was to be seen all naked, trembling with the fear of
+death, and almost dead without having been struck. The same boy had only
+the neck browned by the heat of the sun, and white as snow those parts
+that his draperies had covered during the three days' journey. In like
+manner, the ram among the thorns seemed to be alive, and Isaac's
+draperies on the ground rather real and natural than painted. And in
+addition there were some naked servants guarding an ass that was
+browsing, and a landscape so well represented that the real scene of the
+event could not have been more beautiful or in any way different. This
+picture, having been bought by Filippo Strozzi after the death of Andrea
+and the capture of Battista, was presented by him to Signor Alfonso
+Davalos, Marchese del Vasto, who had it carried to the island of Ischia,
+near Naples, and placed in one of his apartments in company with other
+most noble paintings.
+
+In the other picture Andrea painted a very beautiful Charity, with three
+little boys; and this was afterwards bought from the wife of Andrea,
+after his death, by the painter Domenico Conti, who sold it later to
+Niccolo Antinori, who treasures it as a rare work, as indeed it is.
+
+During this time there came to the Magnificent Ottaviano de' Medici,
+seeing from that last picture how much Andrea had improved his manner, a
+desire to have a picture by his hand. Whereupon Andrea, who was eager to
+serve that lord, to whom he was much indebted, because he had always
+shown favour to men of lofty intellect, and particularly to painters,
+executed for him a picture of Our Lady seated on the ground with the
+Child riding astride on her knees, while He turns His head towards a
+little S. John supported by an old S. Elizabeth, a figure so natural and
+so well painted that she appears to be alive, even as every other thing
+is wrought with incredible diligence, draughtsmanship, and art. Having
+finished this picture, Andrea carried it to Messer Ottaviano; but since
+that lord had something else to think about, Florence being then
+besieged, he told Andrea, while thanking him profoundly and making his
+excuses, to dispose of it as he thought best. To which Andrea made no
+reply but this: "The labour was endured for you, and yours the work
+shall always be." "Sell it," answered Messer Ottaviano, "and use the
+money, for I know what I am talking about." Andrea then departed and
+returned to his house, nor would he ever give the picture to anyone, for
+all the offers that were made to him; but when the siege was raised and
+the Medici back in Florence, he took it once more to Messer Ottaviano,
+who accepted it right willingly, thanking him and paying him double. The
+work is now in the apartment of his wife, Madonna Francesca, sister to
+the very reverend Salviati, who holds the beautiful pictures left to her
+by her magnificent consort in no less account than she does the duty of
+retaining and honouring his friends.
+
+For Giovanni Borgherini Andrea painted another picture almost exactly
+like the one of Charity mentioned above, containing a Madonna, a little
+S. John offering to Christ a globe that represents the world, and a very
+beautiful head of S. Joseph.
+
+There came to Paolo da Terrarossa, a friend to the whole body of
+painters, who had seen the sketch for the aforesaid Abraham, a wish to
+have some work by the hand of Andrea. Having therefore asked him for a
+copy of that Abraham, Andrea willingly obliged him and made a copy of
+such a kind, that in its minuteness it was by no means inferior to the
+large original. Wherefore Paolo, well satisfied with it and wishing to
+pay him, asked him the price, thinking that it would cost him what it
+was certainly worth; but Andrea asked a mere song, and Paolo, almost
+ashamed, shrugged his shoulders and gave him all that he claimed. The
+picture was afterwards sent by him to Naples ...[7] and it is the most
+beautiful and the most highly honoured painting in that place.
+
+During the siege of Florence some captains had fled the city with the
+pay-chests; on which account Andrea was asked to paint on the facade of
+the Palace of the Podesta and in the Piazza not only those captains, but
+also some citizens who had fled and had been proclaimed outlaws. He said
+that he would do it; but in order not to acquire, like Andrea dal
+Castagno, the name of Andrea degl' Impiccati, he gave it out that he was
+entrusting the work to one of his assistants, called Bernardo del Buda.
+However, having made a great enclosure, which he himself entered and
+left by night, he executed those figures in such a manner that they
+appeared to be the men themselves, real and alive. The soldiers, who
+were painted on the facade of the old Mercatanzia in the Piazza, near
+the Condotta, were covered with whitewash many years ago, that they
+might be seen no longer; and the citizens, whom he painted entirely with
+his own hand on the Palace of the Podesta, were destroyed in like
+manner.
+
+After this, being very intimate in these last years of his life with
+certain men who governed the Company of S. Sebastiano, which is behind
+the Servite Convent, Andrea made for them with his own hand a S.
+Sebastian from the navel upwards, so beautiful that it might well have
+seemed that these were the last strokes of the brush which he was to
+make.
+
+The siege being finished, Andrea was waiting for matters to mend,
+although with little hope that his French project would succeed, since
+Giovan Battista della Palla had been taken prisoner, when Florence
+became filled with soldiers and stores from the camp. Among those
+soldiers were some lansquenets sick of the plague, who brought no
+little terror into the city and shortly afterwards left it infected.
+Thereupon, either through this apprehension or through some imprudence
+in eating after having suffered much privation in the siege, one day
+Andrea fell grievously ill and took to his bed with death on his brow;
+and finding no remedy for his illness, and being without much
+attention--for his wife, from fear of the plague, kept as far away from
+him as she could--he died, so it is said, almost without a soul being
+aware of it; and he was buried by the men of the Scalzo with scant
+ceremony in the Church of the Servi, near his own house, in the place
+where the members of that Company are always buried.
+
+The death of Andrea was a very great loss to the city and to art,
+because up to the age of forty-two, which he attained, he went on always
+improving from one work to another in such wise that, if he had lived
+longer, he would have continued to confer benefits on art; for the
+reason that it is better to go on making progress little by little,
+advancing with a firm and steady foot through the difficulties of art,
+than to seek to force one's intellect and nature in a single effort. Nor
+is there any doubt that if Andrea had stayed in Rome when he went there
+to see the works of Raffaello and Michelagnolo, and also the statues and
+ruins of that city, he would have enriched his manner greatly in the
+composition of scenes, and would one day have given more delicacy and
+greater force to his figures; which has never been thoroughly achieved
+save by one who has been some time in Rome, to study those works in
+detail and grow familiar with them. Having then from nature a sweet and
+gracious manner of drawing and great facility and vivacity of colouring,
+both in fresco-work and in oils, it is believed without a doubt that if
+he had stayed in Rome, he would have surpassed all the craftsmen of his
+time. But some believe that he was deterred from this by the abundance
+of works of sculpture and painting, both ancient and modern, that he saw
+in that city, and by observing the many young men, disciples of
+Raffaello and of others, resolute in draughtsmanship and working
+confidently and without effort, whom, like the timid fellow that he was,
+he did not feel it in him to excel. And so, not trusting himself, he
+resolved, as the best course for him, to return to Florence; where,
+reflecting little by little on what he had seen, he made such
+proficience that his works have been admired and held in price, and,
+what is more, imitated more often after his death than during his
+lifetime. Whoever has some holds them dear, and whoever has consented to
+sell them has received three times as much as was paid to him, for the
+reason that he never received anything but small prices for his works,
+both because he was timid by nature, as has been related, and also
+because certain master-joiners, who were executing the best works at
+that time in the houses of citizens, would never allow any commission to
+be given to Andrea (so as to oblige their friends), save when they knew
+that he was in great straits, for at such times he would accept any
+price. But this does not prevent his works from being most rare, or from
+being held in very great account, and that rightly, since he was one of
+the best and greatest masters who have lived even to our own day. In our
+book are many drawings by his hand, all good; but in particular there is
+one that is altogether beautiful, of the scene that he painted at
+Poggio, showing the tribute of all the animals from the East being
+presented to Caesar. This drawing, which is executed in chiaroscuro, is a
+rare thing, and the most finished that Andrea ever made; for when he
+drew natural objects for reproduction in his works, he made mere
+sketches dashed off on the spot, contenting himself with marking the
+character of the reality; and afterwards, when reproducing them in his
+works, he brought them to perfection. His drawings, therefore, served
+him rather as memoranda of what he had seen than as models from which to
+make exact copies in his pictures.
+
+The disciples of Andrea were innumerable, but they did not all pursue
+the same course of study under his discipline, for some stayed with him
+a long time, and some but little; which was the fault, not of Andrea,
+but of his wife, who, tyrannizing arrogantly over them all, and showing
+no respect to a single one of them, made all their lives a burden. Among
+his disciples, then, were Jacopo da Pontormo; Andrea Sguazzella, who
+adhered to the manner of Andrea and decorated a palace, a work which is
+much extolled, without the city of Paris in France; Solosmeo; Pier
+Francesco di Jacopo di Sandro, who has painted three panels that are in
+S. Spirito; Francesco Salviati; Giorgio Vasari of Arezzo, who was the
+companion of the aforesaid Salviati, although he did not stay long with
+Andrea; Jacopo del Conte of Florence; and Nannoccio, who is now in
+France with Cardinal de Tournon, in the highest credit. In like manner,
+Jacopo, called Jacone, was a disciple of Andrea and much his friend, and
+an imitator of his manner. This Jacone, while Andrea was alive, received
+no little help from him, as is evident in all his works, and
+particularly in the facade executed for the Chevalier Buondelmonti on
+the Piazza di S. Trinita.
+
+The heir to Andrea's drawings and other art-possessions, after his
+death, was Domenico Conti, who made little proficience in painting; but
+one night he was robbed--by some men of the same profession, so it is
+thought--of all the drawings, cartoons, and other things that he had
+from Andrea, nor was it ever discovered who these men were. Now
+Domenico, as one not ungrateful for the benefits received from his
+master, and desiring to render to him after his death the honours that
+he deserved, prevailed upon Raffaello da Montelupo to make for him out
+of courtesy a very handsome tablet of marble, which was built into a
+pilaster in the Church of the Servi, with the following epitaph, written
+for him by the most learned Messer Piero Vettori, then a young man:
+
+  ANDREAE SARTIO
+  ADMIRABILIS INGENII PICTORI, AC VETERIBUS ILLIS OMNIUM JUDICIO
+  COMPARANDO,
+  DOMINICUS CONTES DISCIPULUS, PRO LABORIBUS IN SE INSTITUENDO SUSCEPTIS,
+  GRATO ANIMO POSUIT.
+  VIXIT ANN. XLII, OB. ANN. MDXXX.
+
+After no long time, certain citizens, Wardens of Works of that church,
+rather ignorant than hostile to honoured memories, so went to work out
+of anger that the tablet should have been set up in that place without
+their leave, that they had it removed; nor has it yet been re-erected in
+any other place. Thus, perchance, Fortune sought to show that the power
+of the Fates prevails not only during our lives, but also over our
+memorials after death. In spite of them, however, the works and the
+name of Andrea are likely to live a long time, as are these my writings,
+I hope, to preserve their memory for many ages.
+
+We must conclude, then, that if Andrea showed poor spirit in the actions
+of his life, contenting himself with little, this does not mean that in
+art he was otherwise than exalted in genius, most resolute, and masterly
+in every sort of labour; and with his works, in addition to the
+adornment that they confer on the places where they are, he rendered a
+most valuable service to his fellow-craftsmen with regard to manner,
+drawing, and colouring, and that with fewer errors than any other
+painter of Florence, for the reason that, as has been said above, he
+understood very well the management of light and shade and how to make
+things recede in the darks, and painted his pictures with a sweetness
+full of vivacity; not to mention that he showed us the method of working
+in fresco with perfect unity and without doing much retouching on the
+dry, which makes his every work appear to have been painted in a single
+day. Wherefore he should serve in every place as an example to Tuscan
+craftsmen, and receive supreme praise and a palm of honour among the
+number of their most celebrated champions.
+
+FOOTNOTE:
+
+[6] Jacques de Beaune.
+
+[7] There is here a gap in the text.
+
+
+
+
+MADONNA PROPERZIA DE' ROSSI
+
+
+
+
+LIFE OF MADONNA PROPERZIA DE' ROSSI
+
+SCULPTOR[8] OF BOLOGNA
+
+
+It is an extraordinary thing that in all those arts and all those
+exercises wherein at any time women have thought fit to play a part in
+real earnest, they have always become most excellent and famous in no
+common way, as one might easily demonstrate by an endless number of
+examples. Everyone, indeed, knows what they are all, without exception,
+worth in household matters; besides which, in connection with war,
+likewise, it is known who were Camilla, Harpalice, Valasca, Tomyris,
+Penthesilea, Molpadia, Orizia, Antiope, Hippolyta, Semiramis, Zenobia,
+and, finally, Mark Antony's Fulvia, who so often took up arms, as the
+historian Dion tells us, to defend her husband and herself. But in
+poetry, also, they have been truly marvellous, as Pausanias relates.
+Corinna was very celebrated as a writer of verse, and Eustathius makes
+mention in his "Catalogue of the Ships of Homer"--as does Eusebius in
+his book of "Chronicles"--of Sappho, a young woman of great renown, who,
+in truth, although she was a woman, was yet such that she surpassed by a
+great measure all the eminent writers of that age. And Varro, on his
+part, gives extraordinary but well-deserved praise to Erinna, who, with
+her three hundred verses, challenged the fame of the brightest light of
+Greece, and counterbalanced with her one small volume, called the
+"Elecate," the ponderous "Iliad" of the great Homer. Aristophanes
+celebrates Carissena, a votary of the same profession, as a woman of
+great excellence and learning; and the same may be said for Teano,
+Merone, Polla, Elpe, Cornificia, and Telesilla, to the last of whom, in
+honour of her marvellous talents, a most beautiful statue was set up in
+the Temple of Venus.
+
+Passing by the numberless other writers of verse, do we not read that
+Arete was the teacher of the learned Aristippus in the difficulties of
+philosophy, and that Lastheneia and Assiotea were disciples of the
+divine Plato? In the art of oratory, Sempronia and Hortensia, women of
+Rome, were very famous. In grammar, so Athenaeus relates, Agallis was
+without an equal. And as for the prediction of the future, whether we
+class this with astrology or with magic, it is enough to say that
+Themis, Cassandra, and Manto had an extraordinary renown in their times;
+as did Isis and Ceres in matters of agriculture, and the Thespiades in
+the whole field of the sciences.
+
+But in no other age, for certain, has it been possible to see this
+better than in our own, wherein women have won the highest fame not only
+in the study of letters--as has been done by Signora Vittoria del Vasto,
+Signora Veronica Gambara, Signora Caterina Anguisciuola, Schioppa,
+Nugarola, Madonna Laura Battiferri, and a hundred others, all most
+learned as well in the vulgar tongue as in the Latin and the Greek--but
+also in every other faculty. Nor have they been too proud to set
+themselves with their little hands, so tender and so white, as if to
+wrest from us the palm of supremacy, to manual labours, braving the
+roughness of marble and the unkindly chisels, in order to attain to
+their desire and thereby win fame; as did, in our own day, Properzia de'
+Rossi of Bologna, a young woman excellent not only in household matters,
+like the rest of them, but also in sciences without number, so that all
+the men, to say nothing of the women, were envious of her.
+
+This Properzia was very beautiful in person, and played and sang in her
+day better than any other woman of her city. And because she had an
+intellect both capricious and very ready, she set herself to carve
+peach-stones, which she executed so well and with such patience, that
+they were singular and marvellous to behold, not only for the subtlety
+of the work, but also for the grace of the little figures that she made
+in them and the delicacy with which they were distributed. And it was
+certainly a miracle to see on so small a thing as a peach-stone the
+whole Passion of Christ, wrought in most beautiful carving, with a vast
+number of figures in addition to the Apostles and the ministers of the
+Crucifixion. This encouraged her, since there were decorations to be
+made for the three doors of the first facade of S. Petronio all in
+figures of marble, to ask the Wardens of Works, by means of her husband,
+for a part of that work; at which they were quite content, on the
+condition that she should let them see some work in marble executed by
+her own hand. Whereupon she straightway made for Count Alessandro de'
+Peppoli a portrait from life in the finest marble, representing his
+father, Count Guido, which gave infinite pleasure not only to them, but
+also to the whole city; and the Wardens of Works, therefore, did not
+fail to allot a part of the work to her. In this, to the vast delight of
+all Bologna, she made an exquisite scene, wherein--because at that time
+the poor woman was madly enamoured of a handsome young man, who seemed
+to care but little for her--she represented the wife of Pharaoh's
+Chamberlain, who, burning with love for Joseph, and almost in despair
+after so much persuasion, finally strips his garment from him with a
+womanly grace that defies description. This work was esteemed by all to
+be most beautiful, and it was a great satisfaction to herself, thinking
+that with this illustration from the Old Testament she had partly
+quenched the raging fire of her own passion. Nor would she ever do any
+more work in connection with that building, although there was no person
+who did not beseech her that she should go on with it, save only Maestro
+Amico, who out of envy always dissuaded her and went so far with his
+malignity, ever speaking ill of her to the Wardens, that she was paid a
+most beggarly price for her work.
+
+She also made two angels in very strong relief and beautiful
+proportions, which may now be seen, although against her wish, in the
+same building. In the end she devoted herself to copper-plate engraving,
+which she did without reproach, gaining the highest praise. And so the
+poor love-stricken young woman came to succeed most perfectly in
+everything, save in her unhappy passion.
+
+The fame of an intellect so noble and so exalted spread throughout all
+Italy, and finally came to the ears of Pope Clement VII, who,
+immediately after he had crowned the Emperor in Bologna, made inquiries
+after her; but he found that the poor woman had died that very week, and
+had been buried in the Della Morte Hospital, as she had directed in her
+last testament. At which the Pope, who was eager to see her, felt much
+sorrow at her death; but more bitter even was it for her
+fellow-citizens, who regarded her during her lifetime as one of the
+greatest miracles produced by nature in our days.
+
+In our book are some very good drawings by the hand of this Properzia,
+done with the pen and copied from the works of Raffaello da Urbino; and
+her portrait was given to me by certain painters who were very much her
+friends.
+
+[Illustration: TWO ANGELS, _after_ Madonna Properzia de' Rossi
+
+(THE ASSUMPTION OF THE VIRGIN, _after_ Tribolo)
+
+(_Bologna: S. Petronio_)
+
+_Alinari_]
+
+But, although Properzia drew very well, there have not been wanting
+women not only to equal her in drawing, but also to do as good work in
+painting as she did in sculpture. Of these the first is Sister
+Plautilla, a nun and now Prioress in the Convent of S. Caterina da
+Siena, on the Piazza di S. Marco in Florence. She, beginning little by
+little to draw and to imitate in colours pictures and paintings by
+excellent masters, has executed some works with such diligence, that she
+has caused the craftsmen to marvel. By her hand are two panels in the
+Church of that Convent of S. Caterina, of which the one with the Magi
+adoring Jesus is much extolled. In the choir of the Convent of S. Lucia,
+at Pistoia, there is a large panel, containing Our Lady with the Child
+in her arms, S. Thomas, S. Augustine, S. Mary Magdalene, S. Catherine of
+Siena, S. Agnese, S. Catherine the Martyr, and S. Lucia; and another
+large panel by the same hand was sent abroad by the Director of the
+Hospital of Lelmo. In the refectory of the aforesaid Convent of S.
+Caterina there is a great Last Supper, with a panel in the work-room,
+both by the hand of the same nun. And in the houses of gentlemen
+throughout Florence there are so many pictures, that it would be tedious
+to attempt to speak of them all. A large picture of the Annunciation
+belongs to the wife of the Spaniard, Signor Mondragone, and Madonna
+Marietta de' Fedini has another like it. There is a little picture of
+Our Lady in S. Giovannino, at Florence; and an altar-predella in S.
+Maria del Fiore, containing very beautiful scenes from the life of S.
+Zanobi. And because this venerable and talented sister, before
+executing panels and works of importance, gave attention to painting in
+miniature, there are in the possession of various people many
+wonderfully beautiful little pictures by her hand, of which there is no
+need to make mention. The best works from her hand are those that she
+has copied from others, wherein she shows that she would have done
+marvellous things if she had enjoyed, as men do, advantages for
+studying, devoting herself to drawing, and copying living and natural
+objects. And that this is true is seen clearly from a picture of the
+Nativity of Christ, copied from one which Bronzino once painted for
+Filippo Salviati. In like manner, the truth of such an opinion is proved
+by this, that in her works the faces and features of women, whom she has
+been able to see as much as she pleased, are no little better than the
+heads of the men, and much nearer to the reality. In the faces of women
+in some of her works she has portrayed Madonna Costanza de' Doni, who
+has been in our time an unexampled pattern of beauty and dignity;
+painting her so well, that it is impossible to expect more from a woman
+who, for the reasons mentioned above, has had no great practice in her
+art.
+
+With much credit to herself, likewise, has Madonna Lucrezia, the
+daughter of Messer Alfonso Quistelli della Mirandola, and now the wife
+of Count Clemente Pietra, occupied herself with drawing and painting, as
+she still does, after having been taught by Alessandro Allori, the pupil
+of Bronzino; as may be seen from many pictures and portraits executed by
+her hand, which are worthy to be praised by all. But Sofonisba of
+Cremona, the daughter of Messer Amilcaro Anguisciuola, has laboured at
+the difficulties of design with greater study and better grace than any
+other woman of our time, and she has not only succeeded in drawing,
+colouring, and copying from nature, and in making excellent copies of
+works by other hands, but has also executed by herself alone some very
+choice and beautiful works of painting. Wherefore she well deserved that
+King Philip of Spain, having heard of her merits and abilities from the
+Lord Duke of Alba, should have sent for her and caused her to be
+escorted in great honour to Spain, where he keeps her with a rich
+allowance about the person of the Queen, to the admiration of all that
+Court, which reveres the excellence of Sofonisba as a miracle. And it is
+no long time since Messer Tommaso Cavalieri, a Roman gentleman, sent to
+the Lord Duke Cosimo (in addition to a drawing by the hand of the divine
+Michelagnolo, wherein is a Cleopatra) another drawing by the hand of
+Sofonisba, containing a little girl laughing at a boy who is weeping
+because one of the cray-fish out of a basket full of them, which she has
+placed in front of him, is biting his finger; and there is nothing more
+graceful to be seen than that drawing, or more true to nature.
+Wherefore, in memory of the talent of Sofonisba, who lives in Spain, so
+that Italy has no abundance of her works, I have placed it in my book of
+drawings.
+
+We may truly say, then, with the divine Ariosto, that--
+
+  Le donne son venute in eccellenza
+  Di ciascun' arte ov' hanno posto cura.
+
+And let this be the end of the Life of Properzia, sculptor of Bologna.
+
+FOOTNOTE:
+
+[8] The translator is unwilling to use the somewhat ugly word
+"sculptress."
+
+
+
+
+ALFONSO LOMBARDI OF FERRARA, MICHELAGNOLO DA SIENA, GIROLAMO SANTA CROCE
+OF NAPLES, DOSSO AND BATTISTA DOSSI
+
+
+
+
+LIVES OF ALFONSO LOMBARDI OF FERRARA, MICHELAGNOLO DA SIENA, AND
+GIROLAMO SANTA CROCE OF NAPLES
+
+SCULPTORS
+
+AND DOSSO AND BATTISTA DOSSI
+
+PAINTERS OF FERRARA
+
+
+Alfonso of Ferrara, working in his early youth with stucco and wax, made
+an endless number of portraits from life on little medallions for many
+nobles and gentlemen of his own country. Some of these are still to be
+seen, white in colour and made of wax or stucco, and bear witness to the
+fine intellect and judgment that he possessed; such as those of Prince
+Doria, of Duke Alfonso of Ferrara, of Clement VII, of the Emperor
+Charles V, of Cardinal Ippolito de' Medici, of Bembo, of Ariosto, and of
+other suchlike personages. Finding himself in Bologna at the coronation
+of Charles V, he executed the decorations of the door of S. Petronio as
+a part of the preparations for that festival; and he had come into such
+repute through being the first to introduce the good method of making
+portraits from life in the form of medals, as has been related, that
+there was not a single man of distinction in those Courts for whom he
+did not execute some work, to his own great profit and honour. But, not
+being content with the gain and the glory that came to him from making
+works in clay, in wax, and in stucco, he set himself to work in marble;
+and such was the proficience that he showed in some things that he made,
+although these were of little importance, that he was commissioned to
+execute the tomb of Ramazzotto, which brought him very great fame and
+honour, in S. Michele in Bosco, without Bologna. After that work he made
+some little scenes of marble in half-relief on the predella of the
+altar at the tomb of S. Dominic, in the same city. And for the door of
+S. Petronio, also, on the left hand of the entrance into the church, he
+executed some little scenes in marble, containing a very beautiful
+Resurrection of Christ. But what pleased the people of Bologna most of
+all was the Death of Our Lady, wrought with a very hard mixture of clay
+and stucco, with figures in full-relief, in an upper room of the Della
+Vita Hospital; and marvellous, among other things in that work, is the
+Jew who leaves his hands fixed to the bier of the Madonna. With the same
+mixture, also, he made a large Hercules with the dead Hydra under his
+feet, for the upper room of the Governor in the Palazzo Pubblico of that
+city; which statue was executed in competition with Zaccaria da
+Volterra, who was greatly surpassed by the ability and excellence of
+Alfonso. For the Madonna del Baracane the same master made two Angels in
+stucco, who are upholding a canopy in half-relief; and in some
+medallions in the middle aisle of S. Giuseppe, between one arch and
+another, he made the twelve Apostles from the waist upwards, of
+terra-cotta and in full-relief. In terra-cotta, likewise, for the
+corners of the vaulting of the Madonna del Popolo in the same city, he
+executed four figures larger than life; namely, S. Petronio, S. Procolo,
+S. Francis, and S. Dominic, figures which are all very beautiful and
+grand in manner. And by the hand of the same man are some works in
+stucco at Castel Bolognese, and some others in the Company of S.
+Giovanni at Cesena.
+
+Let no one marvel that hitherto our account of this master has dealt
+with scarcely any work save in clay, wax, and stucco, and very little in
+marble, because--besides the fact that Alfonso was always inclined to
+that sort of work--after passing a certain age, being very handsome in
+person and youthful in appearance, he practised art more for pleasure
+and to satisfy his own vanity than with any desire to set himself to
+chisel stone. He used always to wear on his arms, on his neck, and in
+his clothing, ornaments of gold and suchlike fripperies, which showed
+him to be rather a courtier, vain and wanton, than a craftsman desirous
+of glory. Of a truth, just as such ornaments enhance the splendour of
+those to whom, on account of their wealth, high estate, and noble blood,
+they are becoming, so are they worthy of reproach in craftsmen and
+others, who should not measure themselves, some for one reason and some
+for another, with the rich, seeing that such persons, in place of being
+praised, are held in less esteem by men of judgment, and often laughed
+to scorn. Now Alfonso, charmed with himself and indulging in expressions
+and wanton excesses little worthy of a good craftsman, on one occasion
+robbed himself through this behaviour of all the glory that he had won
+by labouring at his profession. For one evening, chancing to be at a
+wedding in the house of a Count in Bologna, and having made love for
+some time to a lady of quality, he had the luck to be invited by her to
+dance the torch-dance; whereupon, whirling round with her, and overcome
+by the frenzy of his passion, he said with a trembling voice, sighing
+deeply, and gazing at his lady with eyes full of tenderness: "S'amor non
+e, che dunque e quel ch' io sento?"[9] Hearing this, the lady, who had a
+shrewd wit, answered, in order to show him his error: "A louse,
+perhaps." Which answer was heard by many, so that the saying ran through
+all Bologna, and he was held to scorn ever afterwards. Truly, if Alfonso
+had given his attention not to the vanities of the world, but to the
+labours of art, without a doubt he would have produced marvellous works;
+for if he achieved this in part without exerting himself much, what
+would he have done if he had faced the dust and heat?
+
+The aforesaid Emperor Charles V being in Bologna, and the most excellent
+Tiziano da Cadore having come to make a portrait of his Majesty, Alfonso
+likewise was seized with a desire to execute a portrait of that
+Sovereign. And having no other means of contriving to do that, he
+besought Tiziano, without revealing to him what he had in mind, that he
+should do him the favour of introducing him, in the place of one of
+those who used to carry his colours, into the presence of his Majesty.
+Wherefore Tiziano, who loved him much, like the truly courteous man that
+he has always been, took Alfonso with him into the apartments of the
+Emperor. Alfonso, as soon as Tiziano had settled down to work, took up a
+position behind him, in such a way that he could not be seen by the
+other, who was wholly intent on his portrait; and, taking up a little
+box in the shape of a medallion, he made therein a portrait of the
+Emperor in stucco, and had it finished at the very moment when Tiziano
+had likewise brought his picture to completion. The Emperor then rising,
+Alfonso closed the box and had already hidden it in his sleeve, to the
+end that Tiziano might not see it, when his Majesty said to him: "Show
+me what you have done." He was thus forced to give his portrait humbly
+into the hand of the Emperor, who, having examined it and praised it
+highly, said to him: "Would you have the courage to do it in marble?"
+"Yes, your sacred Majesty," answered Alfonso. "Do it, then," added the
+Emperor, "and bring it to me in Genoa." How unusual this proceeding must
+have seemed to Tiziano every man may imagine for himself. For my part, I
+believe that it must have appeared to him that he had compromised his
+credit. But what must have seemed to him most strange was this, that
+when his Majesty sent a present of a thousand crowns to Tiziano, he bade
+him give the half, or five hundred crowns, to Alfonso, keeping the other
+five hundred for himself, at which it is likely enough that Tiziano felt
+aggrieved. Alfonso, then, setting to work with the greatest zeal in his
+power, brought the marble head to completion with such diligence, that
+it was pronounced to be a very fine thing: which was the reason that,
+when he had taken it to the Emperor, his Majesty ordered that three
+hundred crowns more should be given to him.
+
+[Illustration: THE DEATH OF THE VIRGIN
+
+(_After the terra-cotta by =Alfonso Lombardi=. Bologna: S. Maria della
+Vita_)
+
+_Poppi_]
+
+Alfonso having come into great repute through the gifts and praises
+bestowed on him by the Emperor, Cardinal Ippolito de' Medici took him to
+Rome, where he kept many sculptors and painters about his person, in
+addition to a vast number of other men of ability; and he commissioned
+him to make a copy in marble of a very famous antique head of the
+Emperor Vitellius. In that work Alfonso justified the opinion held of
+him by the Cardinal and by all Rome, and he was charged by the same
+patron to make a portrait-bust in marble of Pope Clement VII, after the
+life, and shortly afterwards one of Giuliano de' Medici, father of the
+Cardinal; but the latter was left not quite finished. These heads were
+afterwards sold in Rome, and bought by me at the request of the
+Magnificent Ottaviano de' Medici, together with some pictures; and in
+our own day they have been placed by the Lord Duke Cosimo de' Medici in
+that hall of the new apartments of his palace wherein I have painted, on
+the ceiling and the walls, all the stories of Pope Leo X; they have been
+placed, I say, in that hall, over the doors made of that red veined
+marble which is found near Florence, in company with the heads of other
+illustrious men of the house of Medici.
+
+But returning to Alfonso; he then went on to execute many works in
+sculpture for the same Cardinal, but these, being small things, have
+disappeared. After the death of Clement, when a tomb had to be made for
+him and also for Leo, the work was allotted by Cardinal de' Medici to
+Alfonso; whereupon he made a model with figures of wax, which was held
+to be very beautiful, after some sketches by Michelagnolo Buonarroti,
+and went off to Carrara with money to have the marble quarried. But not
+long afterwards the Cardinal, having departed from Rome on his way to
+Africa, died at Itri, and the work slipped out of the hands of Alfonso,
+because he was dismissed by its executors, Cardinals Salviati, Ridolfi,
+Pucci, Cibo, and Gaddi, and it was entrusted by the favour of Madonna
+Lucrezia Salviati, daughter of the great Lorenzo de' Medici, the elder,
+and sister of Leo, to Baccio Bandinelli, a sculptor of Florence, who had
+made models for it during the lifetime of Clement.
+
+For this reason Alfonso, thus knocked off his high horse and almost
+beside himself, determined to return to Bologna; and, having arrived in
+Florence, he presented to Duke Alessandro a most beautiful head in
+marble of the Emperor Charles V, which is now in Carrara, whither it was
+sent by Cardinal Cibo, who removed it after the death of Duke Alessandro
+from the guardaroba of that Prince. The Duke, when Alfonso arrived in
+Florence, was in the humour to have his portrait taken; for it had
+already been done on medals by Domenico di Polo, a gem-engraver, and by
+Francesco di Girolamo dal Prato, for the coinage by Benvenuto Cellini,
+and in painting by Giorgio Vasari of Arezzo and Jacopo da Pontormo, and
+he wished that Alfonso should likewise portray him. Wherefore he made a
+very beautiful portrait of him in relief, much better than the one
+executed by Danese da Carrara, and then, since he was wholly set on
+going to Bologna, he was given the means to make one there in marble,
+after the model. And so, having received many gifts and favours from
+Duke Alessandro, Alfonso returned to Bologna, where, being still far
+from content on account of the death of the Cardinal, and sorely vexed
+by the loss of the tombs, there came upon him a pestilent and incurable
+disease of the skin, which wasted him away little by little, until,
+having reached the age of forty-nine, he passed to a better life, never
+ceasing to rail at Fortune, which had robbed him of a patron to whom he
+might have looked for all the blessings which could make him happy in
+this life, and saying that she should have closed his own eyes, since
+she had reduced him to such misery, rather than those of Cardinal
+Ippolito de' Medici. Alfonso died in the year 1536.
+
+[Illustration: TOMB OF ADRIAN VI
+
+(_After_ Michelagnolo da Siena. _Rome: S. Maria dell' Anima_)
+
+_Anderson_]
+
+Michelagnolo, a sculptor of Siena, after he had spent the best years of
+his life in Sclavonia with other excellent sculptors, made his way to
+Rome on the following occasion. After the death of Pope Adrian, Cardinal
+Hincfort, who had been the friend and favourite of that Pontiff,
+determined, as one not ungrateful for the benefits received from him, to
+erect to him a tomb of marble; and he gave the charge of this to
+Baldassarre Peruzzi, the painter of Siena. And that master, having made
+the model, desired that the sculptor Michelagnolo, his friend and
+compatriot, should undertake the work on his own account. Michelagnolo,
+therefore, made on that tomb a lifesize figure of Pope Adrian, lying
+upon the sarcophagus and portrayed from nature, with a scene, also in
+marble, below him, showing his arrival in Rome and the Roman people
+going to meet him and to do him homage. Around the tomb, moreover, in
+four niches, are four Virtues in marble, Justice, Fortitude, Peace, and
+Prudence, all executed with much diligence by the hand of Michelagnolo
+after the counsel of Baldassarre. It is true, indeed, that some of the
+things that are in this work were wrought by the Florentine sculptor,
+Tribolo, then a very young man, and these were considered the best of
+all; but Michelagnolo executed the minor details of the work with
+supreme diligence and subtlety, and the little figures that are in it
+deserve to be extolled more than all the rest. Among other things, there
+are some variegated marbles wrought with a high finish, and put
+together so well that nothing more could be desired. For these
+labours Michelagnolo received a just and honourable reward from the
+aforesaid Cardinal, and was treated with much favour by him for the rest
+of his life; and, in truth, with right good reason, seeing that this
+tomb and the Cardinal's gratitude have done as much to bring fame to him
+as did the work to give a name to Michelagnolo in his lifetime and
+renown after his death. This work finished, no long time elapsed before
+Michelagnolo passed from this life to the next, at about the age of
+fifty.
+
+Girolamo Santa Croce of Naples, although he was snatched from us by
+death in the very prime of life, at a time when greater things were
+looked for from him, yet showed in the works of sculpture that he made
+at Naples during his few years, what he would have done if he had lived
+longer; for the works that he executed in sculpture at Naples were
+wrought and finished with all the lovingness that could be desired in a
+young man who wishes to surpass by a great measure those who for many
+years before his day have held the sovereignty in some noble profession.
+In S. Giovanni Carbonaro at Naples he built the Chapel of the Marchese
+di Vico, which is a round temple, partitioned by columns and niches,
+with some tombs carved with much diligence. And because the altar-piece
+of this chapel, made of marble in half-relief and representing the Magi
+bringing their offerings to Christ, is by the hand of a Spaniard,
+Girolamo executed in emulation of this work a S. John in a niche, so
+beautifully wrought in full-relief, that it showed that he was not
+inferior to the Spaniard either in courage or in judgment; on which
+account he won such a name, that, although Giovanni da Nola was held in
+Naples to be a marvellous sculptor and better than any other,
+nevertheless Girolamo worked in competition with him as long as he
+lived, notwithstanding that his rival was now old and had executed a
+vast number of works in that city, where it is much the custom to make
+chapels and altar-pieces of marble. Competing with Giovanni, then,
+Girolamo undertook to execute a chapel in Monte Oliveto at Naples, just
+within the door of the church, on the left hand, while Giovanni executed
+another opposite to his, on the other side, in the same style. In his
+chapel Girolamo made a lifesize Madonna in the round, which is held to
+be a very beautiful figure; and since he took infinite pains in
+executing the draperies and the hands, and in giving bold relief to the
+marble by undercutting, he brought it to such perfection that it was the
+general opinion that he had surpassed all those who had handled tools
+for working marble at Naples in his time. This Madonna he placed between
+a S. John and a S. Peter, figures very well conceived and executed, and
+finished in a beautiful manner, as are also some children which are
+placed above them.
+
+In addition to these, he made two large and most beautiful statues in
+full-relief for the Church of Capella, a seat of the Monks of Monte
+Oliveto. He then began a statue of the Emperor Charles V, at the time of
+his return from Tunis; but after he had blocked it and carved it with
+the pointed chisel, and even in some places with the broad-toothed
+chisel, it remained unfinished, because fortune and death, envying the
+world such excellence, snatched him from us at the age of thirty-five.
+It was confidently expected that Girolamo, if he had lived, even as he
+had outstripped all his compatriots in his profession, would also have
+surpassed all the craftsmen of his time. Wherefore his death was a
+grievous blow to the Neapolitans, and all the more because he had been
+endowed by nature not only with a most beautiful genius, but also with
+as much modesty, sweetness, and gentleness as could be looked for in
+mortal man; so that it is no marvel if all those who knew him are not
+able to restrain their tears when they speak of him. His last sculptures
+were executed in 1537, in which year he was buried at Naples with most
+honourable obsequies.
+
+[Illustration: MADONNA AND CHILD, WITH SS. PETER AND JOHN
+
+(_After the altar-piece_ by Girolamo Santa Croce. _Naples: Monte
+Oliveto_)
+
+_Alinari_]
+
+Old as he was, Giovanni da Nola, who was a well-practised sculptor, as
+may be seen from many works made by him at Naples with good skill of
+hand, but not with much design, still remained alive. Him Don Pedro di
+Toledo, Marquis of Villafranca, and at that time Viceroy of Naples,
+commissioned to execute a tomb of marble for himself and his wife; and
+therein Giovanni made a great number of scenes of the victories obtained
+by that lord over the Turks, with many statues for the same work, which
+stands quite by itself, and was executed with much diligence. This tomb
+was to have been taken to Spain; but, since that nobleman did not do
+this while he was alive, it remained in Naples. Giovanni died at the age
+of seventy, and was buried in Naples, in the year 1558.
+
+About the same time that Heaven presented to Ferrara, or rather, to the
+world, the divine Lodovico Ariosto, there was born in the same city the
+painter Dosso, who, although he was not as rare among painters as
+Ariosto among poets, nevertheless acquitted himself in his art in such a
+manner, that, besides the great esteem wherein his works were held in
+Ferrara, his merits caused the learned poet, his intimate friend, to
+honour his memory by mentioning him in his most celebrated writings; so
+that the pen of Messer Lodovico has given more renown to the name of
+Dosso than did all the brushes and colours that he used in the whole of
+his life. Wherefore I, for my part, declare that there could be no
+greater good-fortune than that of those who are celebrated by such great
+men, since the might of the pen forces most of mankind to accept their
+fame, even though they may not wholly deserve it.
+
+Dosso was much beloved by Duke Alfonso of Ferrara: first for his good
+abilities in the art of painting, and then because he was a very
+pleasant and amiable person--a manner of man in whom the Duke greatly
+delighted. Dosso had the reputation in Lombardy of executing landscapes
+better than any other painter engaged in that branch of the profession,
+whether in mural painting, in oils, or in gouache; and all the more
+after the German manner became known. In Ferrara, for the Cathedral
+Church, he executed a panel-picture with figures in oils, which was held
+to be passing beautiful; and in the Duke's Palace he painted many rooms,
+in company with a brother of his, called Battista. These two were always
+enemies, one against the other, although they worked together by the
+wish of the Duke. In the court of the said palace they executed stories
+of Hercules in chiaroscuro, with an endless number of nudes on those
+walls; and in like manner they painted many works on panel and in fresco
+throughout all Ferrara. By their hands is a panel in the Duomo of
+Modena; and they painted many things in the Cardinal's Palace at Trento,
+in company with other painters.
+
+At this same time the painter and architect, Girolamo Genga, was
+executing various decorations in the Imperiale Palace, above Pesaro, as
+will be related in the proper place, for Duke Francesco Maria of Urbino;
+and among the number of painters who were summoned to that work by order
+of the same Signor Francesco Maria, invitations were sent to Dosso and
+Battista of Ferrara, principally for the painting of landscapes; many
+paintings having been executed long before in that palace by Francesco
+di Mirozzo[10] of Forli, Raffaello dal Colle of Borgo a San Sepolcro,
+and many others. Now, having arrived at the Imperiale, Dosso and
+Battista, according to the custom of men of their kidney, found fault
+with most of the paintings that they saw, and promised the Duke that
+they would do much better work; and Genga, who was a shrewd person,
+seeing how the matter was likely to end, gave them an apartment to paint
+by themselves. Thereupon, setting to work, they strove with all labour
+and diligence to display their worth; but, whatever may have been the
+reason, never in all the course of their lives did they do any work less
+worthy of praise, or rather, worse, than that one. It seems often to
+happen, indeed, that in their greatest emergencies, when most is
+expected of them, men become blinded and bewildered in judgment, and do
+worse work than at any other time; which may result, perchance, from
+their own malign and evil disposition to be always finding fault with
+the works of others, or from their seeking to force their genius
+overmuch, seeing that to proceed step by step according to the ruling of
+nature, yet without neglecting diligence and study, appears to be a
+better method than seeking to wrest from the brain, as it were by force,
+things that are not there; and it is a fact that in the other arts as
+well, but above all in that of writing, lack of spontaneity is only too
+easily recognized, and also, so to speak, over-elaboration in
+everything.
+
+[Illustration: DOSSO DOSSI: A NYMPH WITH A SATYR
+
+(_Florence: Pitti_, 147. _Canvas_)]
+
+Now, when the work of the Dossi was unveiled, it proved to be so
+ridiculous that they left the service of the Duke in disgrace; and he
+was forced to throw to the ground all that they had executed, and to
+have it repainted by others after the designs of Genga.
+
+[Illustration: MADONNA AND CHILD, WITH SS. GEORGE AND MICHAEL
+
+(_After the painting by =Dosso Dossi=. Modena: Pinacoteca, 437_)
+
+_Anderson_]
+
+Finally, they painted a very beautiful panel-picture in the Duomo of
+Faenza for the Chevalier, M. Giovan Battista de' Buosi, of Christ
+disputing in the Temple; in which work they surpassed themselves, by
+reason of the new manner that they used, and particularly in the
+portraits of that Chevalier and of others. That picture was set up in
+that place in the year 1536. Ultimately Dosso, having grown old, spent
+his last years without working, being pensioned until the close of his
+life by Duke Alfonso. And in the end Battista survived him, executing
+many works by himself, and maintaining himself in a good condition.
+Dosso was buried in his native city of Ferrara.
+
+There lived in the same times the Milanese Bernazzano, a very excellent
+painter of landscapes, herbage, animals, and other things of earth, air,
+and water. And since, as one who knew himself to have little aptitude
+for figures, he did not give much attention to them, he associated
+himself with Cesare da Sesto, who painted them very well and in a
+beautiful manner. It is said that Bernazzano executed in a courtyard
+some very beautiful landscapes in fresco, in which he painted a
+strawberry-bed full of strawberries, ripe, green, and in blossom, and so
+well imitated, that some peacocks, deceived by their natural appearance,
+were so persistent in picking at them as to make holes in the plaster.
+
+FOOTNOTE:
+
+[9] "What is it that I feel, if it is not love?"
+
+[10] This seems to be an error for Melozzo.
+
+
+
+
+GIOVANNI ANTONIO LICINIO OF PORDENONE, AND OTHER PAINTERS OF FRIULI
+
+
+
+
+LIVES OF GIOVANNI ANTONIO LICINIO OF PORDENONE, AND OF OTHER PAINTERS OF
+FRIULI
+
+
+It would seem, as has been remarked already in the same connection, that
+Nature, the kindly mother of the universe, sometimes presents the rarest
+things to certain places that never had any knowledge of such gifts, and
+that at times she creates in some country men so much inclined to design
+and to painting, that, without masters, but only by imitating living and
+natural objects, they become most excellent. And it also happens very
+often that when one man has begun, many set themselves to work in
+competition with him, and labour to such purpose, without seeing Rome,
+Florence, or any other place full of notable pictures, but merely
+through rivalry one with another, that marvellous works are seen to
+issue from their hands. All this may be seen to have happened more
+particularly in Friuli, where, in our own day, in consequence of such a
+beginning, there has been a vast number of excellent painters--a thing
+which had not occurred in those parts for many centuries.
+
+While Giovanni Bellini was working in Venice and teaching his art to
+many, as has been related, he had two disciples who were rivals one with
+another--Pellegrino da Udine, who, as will be told, was afterwards
+called Da San Daniele, and Giovanni Martini of Udine. Let us begin,
+then, by speaking of Giovanni. He always imitated the manner of Bellini,
+which was somewhat crude, hard, and dry; nor was he ever able to give it
+sweetness or softness, although he was a diligent and finished painter.
+This may have happened because he was always making trial of certain
+reflections, half-lights, and shadows, with which, cutting the relief in
+the middle, he contrived to define light and shade very abruptly, in
+such a way that the colouring of all his works was always crude and
+unpleasant, although he strove laboriously with his art to imitate
+Nature. By the hand of this master are numerous works in many places in
+Friuli, particularly in the city of Udine, in the Duomo of which there
+is a panel-picture executed in oils, of S. Mark seated with many figures
+round him, which is held to be the best of all that he ever painted.
+There is another on the altar of S. Ursula in the Church of the Friars
+of S. Pietro Martire, wherein the first-mentioned Saint is standing with
+some of her virgins round her, all painted with much grace and beautiful
+expressions of countenance. This Giovanni, besides being a passing good
+painter, was endowed by Nature with beauty and grace of features and an
+excellent character, and, what is most desirable, with such foresight
+and power of management, that, after his death, in default of heirs
+male, he left an inheritance of much property to his wife. And she,
+being, so I have heard, a lady as shrewd as she was beautiful, knew so
+well how to manage her life after the death of her husband, that she
+married two very beautiful daughters into the richest and most noble
+houses of Udine.
+
+Pellegrino da San Daniele, who was a rival of Giovanni, as has been
+related, and a man of greater excellence in painting, received at
+baptism the name of Martino. But Giovanni Bellini, judging that he was
+destined to become, as he afterwards did, a truly rare master of art,
+changed his name from Martino to Pellegrino.[11] And even as his name
+was changed, so he may be said by chance to have changed his country,
+since, living by preference at San Daniele, a township ten miles distant
+from Udine, and spending most of his time in that place, where he had
+taken a wife, he was called ever afterwards not Martino da Udine, but
+Pellegrino da San Daniele. He painted many pictures in Udine, and some
+may still be seen on the doors of the old organ, on the outer side of
+which is painted a sunken arch in perspective, containing a S. Peter
+seated among a multitude of figures and handing a pastoral staff to S.
+Ermacora the Bishop. On the inner side of the same doors, likewise, in
+some niches, he painted the four Doctors of the Church in the act of
+studying. For the Chapel of S. Giuseppe he executed a panel-picture in
+oils, drawn and coloured with much diligence, in the middle of which is
+S. Joseph standing in a beautiful attitude, with an air of dignity, and
+beside him is Our Lord as a little Child, while S. John the Baptist is
+below in the garb of a little shepherd-boy, gazing intently on his
+Master. And since this picture is much extolled, we may believe what is
+said of it--namely, that he painted it in competition with the aforesaid
+Giovanni, and that he put forward every effort to make it, as it proved
+to be, more beautiful than that which Giovanni painted of S. Mark, as
+has been related above. Pellegrino also painted at Udine, for the house
+of Messer Pre Giovanni, intendant to the illustrious Signori della
+Torre, a picture of Judith from the waist upwards, with the head of
+Holofernes in one hand, which is a very beautiful work. By the hand of
+the same man is a large panel in oils, divided into several pictures,
+which may be seen on the high-altar of the Church of S. Maria in the
+town of Civitale, at a distance of eight miles from Udine; and in it are
+some heads of virgins and other figures with great beauty of expression.
+And in his township of San Daniele, in a chapel of S. Antonio, he
+painted in fresco scenes of the Passion of Jesus Christ, and that so
+finely that he well deserved to be paid more than a thousand crowns for
+the work. He was much beloved for his talents by the Dukes of Ferrara,
+and, in addition to other favours and many gifts, he obtained through
+their good offices two Canonicates in the Duomo of Udine for two of his
+relatives.
+
+Among his pupils, of whom he had many, making much use of them and
+rewarding them liberally, was one of Greek nationality, a man of no
+little ability, who had a very beautiful manner and imitated Pellegrino
+closely. But Luca Monverde of Udine, who was much beloved by Pellegrino,
+would have been superior to the Greek, if he had not been snatched from
+the world prematurely when still a mere lad; although one work by his
+hand was left on the high-altar of S. Maria delle Grazie in Udine, a
+panel-picture in oils, his first and last, in which, in a recess in
+perspective, there is a Madonna seated on high with the Child in her
+arms, painted by him with a soft gradation of shadow, while on the level
+surface below there are two figures on either side, so beautiful that
+they show that if he had lived longer he would have become truly
+excellent.
+
+Another disciple of the same Pellegrino was Bastianello Florigorio, who
+painted a panel-picture that is over the high-altar of S. Giorgio in
+Udine, of a Madonna in the sky surrounded by an endless number of little
+angels in various attitudes, all adoring the Child that she holds in her
+arms; while below there is a very well executed landscape. There is also
+a very beautiful S. John, and a S. George in armour and on horseback,
+who, foreshortened in a spirited attitude, is slaying the Dragon with
+his lance; while the Maiden, who is there on one side, appears to be
+thanking God and the glorious Virgin for the succour sent to her. In the
+head of the S. George Bastianello is said to have made his own portrait.
+He also painted two pictures in fresco in the Refectory of the Friars of
+S. Pietro Martire: in one is Christ seated at table with the two
+disciples at Emmaus, and breaking the bread with a benediction, and in
+the other is the death of S. Peter Martyr. The same master painted in
+fresco in a niche on a corner of the Palace of M. Marguando, an
+excellent physician, a nude man in foreshortening, representing a S.
+John, which is held to be a good painting. Finally, he was forced
+through some dispute to depart from Udine, for the sake of peace, and to
+live like an exile in Civitale.
+
+Bastianello had a crude and hard manner, because he much delighted in
+drawing works in relief and objects of Nature by candle-light. He had
+much beauty of invention, and he took great pleasure in executing
+portraits from life, making them truly beautiful and very like; and at
+Udine, among others, he made one of Messer Raffaello Belgrado, and one
+of the father of M. Giovan Battista Grassi, an excellent painter and
+architect, from whose loving courtesy we have received much particular
+information touching our present subject of Friuli. Bastianello lived
+about forty years.
+
+Another disciple of Pellegrino was Francesco Floriani of Udine, who is
+still alive and is a very good painter and architect, like his younger
+brother, Antonio Floriani, who, thanks to his rare abilities in his
+profession, is now in the service of his glorious Majesty the Emperor
+Maximilian. Some of the pictures of that same Francesco were to be seen
+two years ago in the possession of the Emperor, who was then a King; one
+of these being a Judith who has cut off the head of Holofernes, painted
+with admirable judgment and diligence. And in the collection of that
+monarch there is a book of pen-drawings by the same master, full of
+lovely inventions, buildings, theatres, arches, porticoes, bridges,
+palaces, and many other works of architecture, all useful and very
+beautiful.
+
+Gensio Liberale was also a disciple of Pellegrino, and in his pictures,
+among other things, he imitated every sort of fish excellently well.
+This master is now in the service of the Archduke Ferdinand of Austria,
+a splendid position, which he deserves, for he is a very good painter.
+
+But among the most illustrious and renowned painters of the territory of
+Friuli, the rarest and most famous in our day--since he has surpassed
+those mentioned above by a great measure in the invention of scenes, in
+draughtsmanship, in boldness, in mastery over colour, in fresco work, in
+swiftness of execution, in strength of relief, and in every other
+department of our arts--is Giovanni Antonio Licinio, called by some
+Cuticello. This master was born at Pordenone, a township in Friuli,
+twenty-five miles from Udine; and since he was endowed by nature with a
+beautiful genius and an inclination for painting, he devoted himself
+without any teacher to the study of natural objects, imitating the style
+of Giorgione da Castelfranco, because that manner, seen by him many
+times in Venice, had pleased him much. Now, having learnt the rudiments
+of art, he was forced, in order to save his life from a pestilence that
+had fallen upon his native place, to take to flight; and thus, passing
+many months in the surrounding country, he executed various works in
+fresco for a number of peasants, gaining at their expense experience of
+using colour on plaster. Wherefore, since the surest and best method of
+learning is practice and a sufficiency of work, it came to pass that he
+became a well-practised and judicious master of that kind of painting,
+and learned to make colours produce the desired effect when used in a
+fluid state, which is done on account of the white, which dries the
+plaster and produces a brightness that ruins all softness. And so,
+having mastered the nature of colours, and having learnt by long
+practice to work very well in fresco, he returned to Udine, where he
+painted for the altar of the Nunziata, in the Convent of S. Pietro
+Martire, a panel-picture in oils containing the Madonna at the moment of
+receiving the Salutation from the Angel Gabriel; and in the sky he made
+a God the Father surrounded by many little boys, who is sending down the
+Holy Spirit. This work, which is executed with good drawing, grace,
+vivacity, and relief, is held by all craftsmen of judgment to be the
+best that he ever painted.
+
+In the Duomo of the same city, on the balustrade of the organ, below the
+doors already painted by Pellegrino, he painted a story of S. Ermacora
+and Fortunatus, also in oils, graceful and well designed. In the same
+city, in order to gain the friendship of the Signori Tinghi, he painted
+in fresco the facade of their palace; in which work, wishing to make
+himself known and to prove what a master he was of architectural
+invention and of working in fresco, he made a series of compartments and
+groups of varied ornaments full of figures in niches; and in three great
+spaces in the centre of the work he painted scenes with figures in
+colours, two spaces, high and narrow, being on either side, and one
+square in shape in the middle; and in the latter he painted a Corinthian
+column planted with its base in the sea, with a Siren on the right hand,
+holding the column upright, and a nude Neptune on the left supporting it
+on the other side; while above the capital of the column there is a
+Cardinal's hat, the device, so it is said, of Pompeo Colonna, who was
+much the friend of the owners of that palace. In one of the two other
+spaces are the Giants being slain with thunderbolts by Jove, with some
+dead bodies on the ground very well painted and most beautifully
+foreshortened. On the other side is a Heaven full of Gods, and on the
+earth two Giants who, club in hand, are in the act of striking at Diana,
+who, defending herself in a bold and spirited attitude, is brandishing a
+blazing torch as if to burn the arms of one of them.
+
+[Illustration: THE DISPUTATION OF S. CATHARINE
+
+(_After the fresco by =Giovanni Antonio Licinio of Pordenone=. Piacenza:
+S. Maria di Campagna_)
+
+_Alinari_]
+
+At Spelimbergo, a large place fifteen miles above Udine, the balustrade
+and the doors of the organ in the great church are painted by the hand
+of the same master; on the outer side of one door is the Assumption
+of Our Lady, and on the inner side S. Peter and S. Paul before Nero,
+gazing at Simon Magus in the air above; while on the other door there is
+the Conversion of S. Paul, and on the balustrade the Nativity of Christ.
+
+Through this work, which is very beautiful, and many others, Pordenone
+came into repute and fame, and was summoned to Vicenza, whence, after
+having executed some works there, he made his way to Mantua, where he
+coloured a facade in fresco with marvellous grace for M. Paris, a
+gentleman of that city. Among other beautiful inventions which are in
+that work, much praise is due to a frieze of antique letters, one
+braccio and a half in height, at the top, below the cornice, among
+which, passing in and out of them, are many little children in various
+attitudes, all most beautiful.
+
+That work finished, he returned in great credit to Vicenza, and there,
+besides many other works, he painted the whole of the tribune of S.
+Maria di Campagna, although by reason of his departure a part remained
+unfinished, which was afterwards finished with great diligence by
+Maestro Bernardo da Vercelli. In the same church he painted two chapels
+in fresco: one with stories of S. Catherine, and the other with the
+Nativity of Christ and the Adoration of the Magi, both being worthy of
+the highest praise. He then painted some poetical pictures in the
+beautiful garden of M. Barnaba dal Pozzo, a doctor; and, in the said
+Church of S. Maria di Campagna, the picture of S. Augustine, which is on
+the left hand as one enters the church. All these most beautiful works
+brought it about that the gentlemen of that city persuaded him to take a
+wife there, and always held him in vast veneration.
+
+Going afterwards to Venice, where he had formerly executed some works,
+he painted a wall of S. Geremia, on the Grand Canal, and a panel-picture
+in oils for the Madonna del Orto, with many figures, making a particular
+effort to prove his worth in the S. John the Baptist. He also painted
+many scenes in fresco on the facade of the house of Martin d'Anna on the
+same Grand Canal; in particular, a Curtius on horseback in
+foreshortening, which has the appearance of being wholly in the round,
+like the Mercury flying freely through the air, not to speak of many
+other things that all prove his ability. That work pleased the whole
+city of Venice beyond measure, and Pordenone was therefore extolled
+more highly than any other man who had ever worked in the city up to
+that time.
+
+Among other reasons that caused him to give an incredible amount of
+effort to all his works, was his rivalry with the most excellent
+Tiziano; since, setting himself to compete with him, he hoped by means
+of continual study and by a bold and resolute method of working in
+fresco to wrest from the hands of Tiziano that sovereignty which he had
+gained with so many beautiful works; employing, also, unusual methods
+outside the field of art, such as that of being obliging and courteous
+and associating continually and of set purpose with great persons,
+making his interests universal, and taking a hand in everything. And, in
+truth, this rivalry was a great assistance to him, for it caused him to
+devote the greatest zeal and diligence in his power to all his works, so
+that they proved worthy of eternal praise.
+
+For these reasons, then, he was commissioned by the Wardens of S. Rocco
+to paint in fresco the chapel of that church, with all the tribune.
+Setting his hand, therefore, to this work, he painted a God the Father
+in the tribune, with a vast number of children in various beautiful
+attitudes, radiating from Him. In the frieze of the same tribune he
+painted eight figures from the Old Testament, with the four Evangelists
+in the angles, and the Transfiguration of Christ over the high-altar;
+and in the two lunettes at the sides are the four Doctors of the Church.
+By the hand of the same master are two large pictures in the middle of
+the church: in one is Christ healing an endless number of the sick, all
+very well painted, and in the other is S. Christopher carrying Jesus
+Christ on his shoulders. On the wooden tabernacle of the same church,
+wherein the vessels of silver are kept, he painted a S. Martin on
+horseback, with many beggars who are bringing votive offerings, in a
+building in perspective.
+
+[Illustration: THE ADORATION OF THE MAGI
+
+(_After the fresco by =Giovanni Antonio Licinio of Pordenone=. Treviso:
+Duomo_)
+
+_Alinari_]
+
+This work, which was much extolled and brought him honour and profit,
+was the reason that M. Jacopo Soranzo, having become his intimate
+friend, caused him to be commissioned to paint the Sala de' Pregai in
+competition with Tiziano; and there he executed many pictures with
+figures seen foreshortened from below, which are very beautiful,
+together with a frieze of marine monsters painted in oils round that
+hall. These works made him so dear to the Senate, that as long as he
+lived he always received an honourable salary from them. And since, out
+of rivalry, he always sought to do work in places where Tiziano had also
+worked, he painted for S. Giovanni di Rialto a S. John, as Almoner,
+giving alms to beggars, and also placed on an altar a picture of S.
+Sebastian, S. Rocco, and other saints, which was very beautiful, but yet
+not equal to the work of Tiziano, although many, more out of malignity
+than out of a love for the truth, exalted that of Giovanni Antonio. The
+same master painted in the cloister of S. Stefano many scenes in fresco
+from the Old Testament, and one from the New, divided one from another
+by various Virtues; and in these figures he displayed amazing
+foreshortenings, in which method of painting he always delighted,
+seeking to introduce them into his every composition with no fear of
+difficulties, and making them more ornate than any other painter.
+
+Prince Doria had built a palace on the seashore in Genoa, and had
+commissioned Perino del Vaga, a very celebrated painter, to paint halls,
+apartments, and ante-chambers both in oils and in fresco, which are
+quite marvellous for the richness and beauty of the paintings. But
+seeing that Perino was not then giving much attention to the work, and
+wishing to make him do by the spur of emulation what he was not doing by
+himself, he sent for Pordenone, who began with an open terrace, wherein,
+following his usual manner, he executed a frieze of children, who are
+hurrying about in very beautiful attitudes and unloading a barque full
+of merchandise. He also painted a large scene of Jason asking leave from
+his uncle to go in search of the Golden Fleece. But the Prince, seeing
+the difference that there was between the work of Perino and that of
+Pordenone, dismissed the latter, and summoned in his place Domenico
+Beccafumi of Siena, an excellent painter and a rarer master than
+Pordenone. And he, glad to serve so great a Prince, did not scruple to
+leave his native city of Siena, where there are so many marvellous works
+by his hand; but he did not paint more than one single scene in that
+palace, because Perino brought everything to completion by himself.
+
+Giovanni Antonio then returned to Venice, where he was given to
+understand that Ercole, Duke of Ferrara, had brought a great number of
+masters from Germany, and had caused them to begin to make fabrics in
+silk, gold, floss-silk, and wool, for his own use and pleasure, but that
+he had no good designers of figures in Ferrara, since Girolamo da
+Ferrara had more ability for portraits and separate things than for
+difficult and complicated scenes, which called for great power of art
+and design; and that he should enter the service of that Prince.
+Whereupon, desiring to gain fame no less than riches, he departed from
+Venice, and on reaching Ferrara was received with great warmth by the
+Duke. But a little time after his arrival, being attacked by a most
+grievous affliction of the chest, he took to his bed with the doom of
+death upon him, and, growing continually worse and finding no remedy,
+within three days or little more he finished the course of his life, at
+the age of fifty-six. This seemed a strange thing to the Duke, and also
+to Pordenone's friends; and there were not wanting men who for many
+months believed that he had died of poison. The body of Giovanni Antonio
+was buried with honour, and his death was a grief to many, particularly
+in Venice, for the reason that he was ready of speech and the friend and
+companion of many, and delighted in music; and his readiness and grace
+of speech came from his having given attention to the study of Latin. He
+always made his figures grand, and was very rich in invention, and so
+versatile that he could imitate everything very well; but he was, above
+all, resolute and most facile in works in fresco.
+
+A disciple of Pordenone was Pomponio Amalteo of San Vito, who won by his
+good qualities the honour of becoming the son-in-law of his master. This
+Pomponio, always following that master in matters of art, has acquitted
+himself very well in all his works, as may be seen at Udine from the
+doors of the new organ, painted in oils, on the outer side of which is
+Christ driving the traders from the Temple, and on the inner side the
+story of the Pool of Bethesda and the Resurrection of Lazarus. In the
+Church of S. Francesco, in the same city, there is a panel-picture in
+oils by the hand of the same man, of S. Francis receiving the Stigmata,
+with some very beautiful landscapes, and with a sunrise from which, in
+the midst of some rays of the greatest splendour, there radiates the
+celestial light, which pierces the hands, feet, and side of S. Francis,
+who, kneeling devoutly and full of love, receives it, while his
+companion lies on the ground, in foreshortening, all overcome with
+amazement. Pomponio also painted in fresco for the Friars of La Vigna,
+at the end of their refectory, Jesus Christ between the two disciples at
+Emmaus. In the township of San Vito, his native place, twenty miles
+distant from Udine, he painted in fresco the Chapel of the Madonna in
+the Church of S. Maria, in so beautiful a manner, and so much to the
+satisfaction of all, that he has won from the most reverend Cardinal
+Maria Grimani, Patriarch of Aquileia and Lord of San Vito, the honour of
+being enrolled among the nobles of that place.
+
+I have thought it right in this Life of Pordenone to make mention of
+these excellent craftsmen of Friuli, both because it appears to me that
+their talents deserve it, and to the end that it may be recognized in
+the account to be given later how much more excellent are those who,
+after such a beginning, have lived since that day, as will be related in
+the Life of Giovanni Ricamatori of Udine, to whom our age owes a very
+great obligation for his works in stucco and his grotesques.
+
+But returning to Pordenone; after the works mentioned above as having
+been executed by him at Venice in the time of the most illustrious
+Gritti, he died, as has been related, in the year 1540. And because he
+was one of the most able men that our age has possessed, and for the
+reason, above all, that his figures seem to be in the round and detached
+from their walls, and almost in relief, he can be numbered among those
+who have rendered assistance to art and benefit to the world.
+
+FOOTNOTE:
+
+[11] _I.e._, singular or rare.
+
+
+
+
+GIOVANNI ANTONIO SOGLIANI
+
+
+
+
+LIFE OF GIOVANNI ANTONIO SOGLIANI
+
+PAINTER OF FLORENCE
+
+
+Very often do we see in the sciences of learning and in the more liberal
+of the manual arts, that those men who are melancholy are the most
+assiduous in their studies and show the greatest patience in supporting
+the burden of their labours; so that there are few of that disposition
+who do not become excellent in such professions. Even so did Giovanni
+Antonio Sogliani, a painter of Florence, whose cast of countenance was
+so cold and woeful that he looked like the image of melancholy; and such
+was the power of this humour over him that he gave little thought to
+anything but matters of art, with the exception of his household cares,
+through which he endured most grievous anxieties, although he had enough
+to live in comfort. He worked at the art of painting under Lorenzo di
+Credi for four-and-twenty years, living with him, honouring him always,
+and rendering him every sort of service. Having become during that time
+a very good painter, he showed afterwards in all his works that he was a
+most faithful disciple of his master and a close imitator of his manner.
+This was seen from his first paintings, in the Church of the Osservanza
+on the hill of San Miniato without Florence, for which he painted a
+panel-picture copied from the one that Lorenzo had executed for the Nuns
+of S. Chiara, containing the Nativity of Christ, and no less excellent
+than the one of Lorenzo.
+
+Afterwards, having left his master, he painted for the Church of S.
+Michele in Orto, at the commission of the Guild of Vintners, a S. Martin
+in oils, robed as a Bishop, which gave him the name of a very good
+master. And since Giovanni Antonio had a vast veneration for the works
+and the manner of Fra Bartolommeo di San Marco, and made great efforts
+to approach that manner in his colouring, it may be seen from a panel
+which he began but did not finish, not being satisfied with it, how
+much he imitated that painter. This panel remained in his house during
+his lifetime as worthless: but after his death it was sold as a piece of
+old rubbish to Sinibaldo Gaddi, and he had it finished by Santi Titi dal
+Borgo, then a mere boy, and placed it in a chapel of his own in S.
+Domenico da Fiesole. In this work are the Magi adoring Jesus Christ, who
+is in the lap of His Mother, and in one corner is his own portrait from
+life, which is a passing good likeness.
+
+He then painted for Madonna Alfonsina, the wife of Piero de' Medici, a
+panel-picture that was placed as a votive offering over the altar of the
+Chapel of the Martyrs in the Camaldolite Church at Florence: in which
+picture he painted the Crucifixion of S. Arcadio and other martyrs with
+their crosses in their arms, and two figures, half covered with
+draperies and half naked, kneeling with their crosses on the ground,
+while in the sky are some little angels with palms in their hands. This
+work, which was painted with much diligence, and executed with good
+judgment in the colouring and in the heads, which are very lifelike, was
+placed in the above-mentioned Camaldolite Church; but that monastery was
+taken on account of the siege of Florence from those Eremite Fathers,
+who used devoutly to celebrate the Divine offices in the church, and was
+afterwards given to the Nuns of S. Giovannino, of the Order of the
+Knights of Jerusalem, and finally destroyed; and the picture, being one
+which may be numbered among the best works that Sogliani painted, was
+placed by order of the Lord Duke Cosimo in one of the chapels of the
+Medici family in S. Lorenzo.
+
+The same master executed for the Nuns of the Crocetta a Last Supper
+coloured in oils, which was much extolled at that time. And in a shrine
+in the Via de' Ginori, he painted in fresco for Taddeo Taddei a Crucifix
+with Our Lady and S. John at the foot, and in the sky some angels
+lamenting Christ, very lifelike--a picture truly worthy of praise, and a
+well-executed example of work in fresco. By the hand of Sogliani, also,
+is a Crucifix in the Refectory of the Abbey of the Black Friars in
+Florence, with angels flying about and weeping with much grace; and at
+the foot the Madonna, S. John, S. Benedict, S. Scholastica, and other
+figures. For the Nuns of the Spirito Santo, on the hill of San Giorgio,
+he painted two pictures that are in their church, one of S. Francis, and
+the other of S. Elizabeth, Queen of Hungary and a sister of that Order.
+For the Company of the Ceppo he painted the banner for carrying in
+processions, which is very beautiful, representing on the front of it
+the Visitation of Our Lady, and on the other side S. Niccolo the Bishop,
+with two children dressed as Flagellants, one of whom holds his book and
+the other the three balls of gold. On a panel in S. Jacopo sopra Arno he
+painted the Trinity, with an endless number of little boys, S. Mary
+Magdalene kneeling, S. Catherine, S. James, and two figures in fresco
+standing at the sides, S. Jerome in Penitence and S. John; and in the
+predella he made his assistant, Sandrino del Calzolaio, execute three
+scenes, which won no little praise.
+
+On the end wall of the Oratory of a Company in the township of Anghiari,
+he executed on panel a Last Supper in oils, with figures of the size of
+life; and on one of the two adjoining walls (namely, the sides) he
+painted Christ washing the feet of the Apostles, and on the other a
+servant bringing two vessels of water. The work is held in great
+veneration in that place, for it is indeed a rare thing, and one that
+brought him both honour and profit. A picture that he executed of a
+Judith who had cut off the head of Holofernes, being a very beautiful
+work, was sent to Hungary. And likewise another, in which was the
+Beheading of S. John the Baptist, with a building in perspective for
+which he had copied the exterior of the Chapter-house of the Pazzi,
+which is in the first cloister of S. Croce, was sent as a most beautiful
+work to Naples by Paolo da Terrarossa, who had given the commission for
+it. For one of the Bernardi, also, Sogliani executed two other pictures,
+which were placed in a chapel in the Church of the Osservanza at San
+Miniato, containing two lifesize figures in oils--S. John the Baptist
+and S. Anthony of Padua. But as for the panel that was to stand between
+them, Giovanni Antonio, being dilatory by nature and leisurely over his
+work, lingered over it so long that he who had given the commission
+died: wherefore that panel, which was to contain a Christ lying dead in
+the lap of His Mother, remained unfinished.
+
+[Illustration: THE LEGEND OF S. DOMINIC
+
+(_After the fresco by =Giovanni Antonio Sogliani=. Florence: S. Marco_)
+
+_Anderson_]
+
+After these things, when Perino del Vaga, having departed from Genoa on
+account of his resentment against Prince Doria, was working at Pisa,
+where the sculptor Stagio da Pietrasanta had begun the execution of the
+new chapels in marble at the end of the nave of the Duomo, together with
+that space behind the high-altar, which serves as a sacristy, it was
+ordained that the said Perino, as will be related in his Life, with
+other masters, should begin to fill up those adornments of marble with
+pictures. But Perino being recalled to Genoa, Giovanni Antonio was
+commissioned to set his hand to the pictures that were to adorn the
+aforesaid recess behind the high-altar, and to deal in his works with
+the sacrifices of the Old Testament, as symbols of the Sacrifice of the
+Most Holy Sacrament, which was there over the centre of the high-altar.
+Sogliani, then, painted in the first picture the sacrifice that Noah and
+his sons offered when they had gone forth from the Ark, and afterwards
+those of Cain and of Abel; which were all highly extolled, but above all
+that of Noah, because some of the heads and parts of the figures in it
+were very beautiful. The picture of Abel is charming for its landscapes,
+which are very well executed, and the head of Abel himself, which is the
+very presentment of goodness; but quite the opposite is that of Cain,
+which has the mien of a truly sorry villain. And if Sogliani had pursued
+the work with energy instead of being dilatory, he would have been
+charged by the Warden, who had given him his commission and was much
+pleased with his manner and character, to execute all the work in that
+Duomo, whereas at that time, in addition to the pictures already
+mentioned, he painted no more than one panel, which was destined for the
+chapel wherein Perino had begun to work; and this he finished in
+Florence, but in such wise that it pleased the Pisans well enough and
+was held to be very beautiful. In it are the Madonna, S. John the
+Baptist, S. George, S. Mary Magdalene, S. Margaret, and other saints.
+His picture, then, having given satisfaction, Sogliani received from the
+Warden a commission for three other panels, to which he set his hand,
+but did not finish them in the lifetime of that Warden, in whose place
+Bastiano della Seta was elected; and he, perceiving that the business
+was moving but slowly, allotted four pictures for the aforesaid sacristy
+behind the high-altar to Domenico Beccafumi of Siena, an excellent
+painter, who dispatched them very quickly, as will be told in the proper
+place, and also painted a panel there, and other painters executed the
+rest. Giovanni Antonio, then, working at his leisure, finished two other
+panels with much diligence, painting in each a Madonna surrounded by
+many saints. And finally, having made his way to Pisa, he there painted
+the fourth and last, in which he acquitted himself worse than in any
+other, either through old age, or because he was competing with
+Beccafumi, or for some other reason.
+
+But the Warden Bastiano, perceiving the slowness of the man, and wishing
+to bring the work to an end, allotted the three other panels to Giorgio
+Vasari of Arezzo, who finished two of them, those that are beside the
+door of the facade. In the one nearer the Campo Santo is Our Lady with
+the Child in her arms, with S. Martha caressing Him. There, also, on
+their knees, are S. Cecilia, S. Augustine, S. Joseph, and S. Guido the
+Hermit, and in the foreground a nude S. Jerome, with S. Luke the
+Evangelist, and some little boys uplifting a piece of drapery, and
+others holding flowers. In the other, by the wish of the Warden, he
+painted another Madonna with her Son in her arms, S. James the Martyr,
+S. Matthew, S. Sylvester the Pope, and S. Turpe the Chevalier. Having to
+paint the Madonna, and not wishing to repeat the same composition
+(although he had varied it much in other respects), he made her with
+Christ dead in her arms, and those saints as it were round a Deposition
+from the Cross; and on the crosses, planted on high and made of
+tree-trunks, are fixed two naked Thieves, surrounded by horses and
+ministers of the crucifixion, with Joseph, Nicodemus, and the Maries;
+all for the satisfaction of the Warden, who wished that in those new
+pictures there should be included all the saints that there had been in
+the past in the various dismantled chapels, in order to renew their
+memory in the new works. One picture was still wanting to complete the
+whole, and this was executed by Bronzino, who painted a nude Christ and
+eight saints. And in this manner were those chapels brought to
+completion, all of which Giovanni Antonio could have done with his own
+hand if he had not been so slow.
+
+And since Sogliani had won much favour with the Pisans, after the death
+of Andrea del Sarto he was commissioned to finish a panel for the
+Company of S. Francesco, which the said Andrea left only sketched; which
+panel is now in the building of that Company on the Piazza di S.
+Francesco at Pisa. The same master executed some rows of cloth-hangings
+for the Wardens of Works of the aforesaid Duomo, and many others in
+Florence, because he took pleasure in doing that sort of work, and above
+all in company with his friend Tommaso di Stefano, a painter of
+Florence.
+
+Being summoned by the Friars of S. Marco in Florence to paint a work in
+fresco at the head of their refectory, at the expense of one of their
+number, a lay-brother of the Molletti family, who had possessed a rich
+patrimony when in the world, Giovanni Antonio wished to paint there the
+scene of Jesus Christ feeding five thousand persons with five loaves and
+two fishes, in order to make the most of his powers; and he had already
+made the design for it, with many women and children and a great
+multitude of other people, when the friars refused to have that story,
+saying that they wanted something definite, simple, and familiar.
+Whereupon, to please them, he painted the scene when S. Dominic, being
+in the refectory with his friars and having no bread, made a prayer to
+God, when the table was miraculously covered with bread, brought by two
+angels in human form. In this work he made portraits of many friars who
+were then in the convent, which have the appearance of life, and
+particularly that of the lay-brother of the Molletti family, who is
+serving at table. Then, in the lunette above the table, he painted S.
+Dominic at the foot of a Crucifix, with Our Lady and S. John the
+Evangelist, who are weeping, and at the sides S. Catherine of Siena and
+S. Antonino, Archbishop of Florence, a brother of their Order. All this,
+for a work in fresco, was executed with much diligence and a high
+finish; but Sogliani would have been much more successful if he had
+executed what he had designed, because painters express the conceptions
+of their own minds better than those of others. On the other hand, it is
+only right that he who pays the piper should call the tune. The design
+for the Miracle of the Loaves and Fishes is in the hands of Bartolommeo
+Gondi, who, in addition to a large picture that he has by the hand of
+Sogliani, also possesses many drawings and heads painted from life on
+tinted paper, which he received from the wife of the painter, who had
+been very much his friend, after his death. And we, also, have in our
+book some drawings by the same hand, which are beautiful to a marvel.
+
+Sogliani began for Giovanni Serristori a large panel-picture which was
+to be placed in S. Francesco dell' Osservanza, without the Porta a S.
+Miniato, with a vast number of figures, among which are some marvellous
+heads, the best that he ever made; but it was left unfinished at the
+death of the said Giovanni Serristori. Nevertheless, since Giovanni
+Antonio had received full payment, he finished it afterwards little by
+little, and gave it to Messer Alamanno di Jacopo Salviati, the
+son-in-law and heir of Giovanni Serristori; and he presented it, frame
+and all, to the Nuns of S. Luca, who have it over their high-altar in
+the Via di S. Gallo.
+
+Giovanni Antonio executed many other works in Florence, some of which
+are in the houses of citizens, and some were sent to various countries;
+but of these there is no need to make mention, for we have spoken of the
+most important. Sogliani was an upright person, very religious, always
+occupied with his own business, and never interfering with his
+fellow-craftsmen.
+
+One of his disciples was Sandrino del Calzolaio, who painted the shrine
+that is on the Canto delle Murate, and, in the Hospital of the Temple, a
+S. John the Baptist who is assigning shelter to the poor; and he would
+have done more work, and good work, if he had not died as young as he
+did. Another of his disciples was Michele, who afterwards went to work
+with Ridolfo Ghirlandajo, whose name he took; and likewise Benedetto,
+who went with Antonio Mini, a disciple of Michelagnolo Buonarroti, to
+France, where he has executed many beautiful works. And another,
+finally, was Zanobi di Poggino, who has painted many works throughout
+the city.
+
+In the end, being weary and broken in health after having been long
+tormented by the stone, Giovanni Antonio rendered up his soul to God at
+the age of fifty-two. His death was much lamented, for he had been an
+excellent man, and his manner had been much in favour, since he gave an
+air of piety to his figures, in such a fashion as pleases those who,
+delighting little in the highest and most difficult flights of art, love
+things that are seemly, simple, gracious, and sweet. His body was opened
+after his death, and in it were found three stones, each as big as an
+egg; but as long as he lived he would never consent to have them
+extracted, or to hear a word about them.
+
+
+
+
+GIROLAMO DA TREVISO
+
+
+
+
+LIFE OF GIROLAMO DA TREVISO
+
+PAINTER
+
+
+Rarely does it happen that those who persist in working in the country
+in which they were born, are exalted by Fortune to that height of
+prosperity which their talents deserve; whereas, if a man tries many, he
+must in the end find one wherein sooner or later he succeeds in being
+recognized. And it often comes to pass that one who attains to the
+reward of his labours late in life, is prevented by the venom of death
+from enjoying it for long, even as we shall see in the case of Girolamo
+da Treviso.
+
+This painter was held to be a very good master; and although he was no
+great draughtsman, he was a pleasing colourist both in oils and in
+fresco, and a close imitator of the methods of Raffaello da Urbino. He
+worked much in his native city of Treviso; and he also executed many
+works in Venice, such as, in particular, the facade of the house of
+Andrea Udoni, which he painted in fresco, with some friezes of children
+in the courtyard, and one of the upper apartments: all of which he
+executed in colour, and not in chiaroscuro, because the Venetians like
+colour better than anything else. In a large scene in the middle of this
+facade is a Juno, seen from the thighs upwards, flying on some clouds
+with the moon on her head, over which are raised her arms, one holding a
+vase and the other a bowl. He also painted there a Bacchus, fat and
+ruddy, with a vessel that he is upsetting, and holding with one arm a
+Ceres who has many ears of corn in her hands. There, too, are the
+Graces, with five little boys who are flying below and welcoming them,
+in order, so they signify, to make the house of the Udoni abound with
+their gifts; and to show that the same house was a friendly haven for
+men of talent, he painted Apollo on one side and Pallas on the other.
+This work was executed with great freshness, so that Girolamo gained
+from it both honour and profit.
+
+The same master painted a picture for the Chapel of the Madonna in S.
+Petronio, in competition with certain painters of Bologna, as will be
+related in the proper place. And continuing to live in Bologna, he
+executed many pictures there; and in S. Petronio, in the Chapel of S.
+Antonio da Padova, he depicted in oils, in imitation of marble, all the
+stories of the life of the latter Saint, in which, without a doubt,
+there may be perceived grace, judgment, excellence, and a great delicacy
+of finish. He painted a panel-picture for S. Salvatore, of the Madonna
+ascending the steps of the Temple, with some saints; and another of the
+Madonna in the sky, with some children, and S. Jerome and S. Catherine
+beneath, which is certainly the weakest work by his hand that is to be
+seen in Bologna. Over a great portal, also, in Bologna, he painted in
+fresco a Crucifix with Our Lady and S. John, all worthy of the highest
+praise. For S. Domenico, at Bologna, he executed a panel-picture in oils
+of Our Lady with some saints, which is the best of his works; it is near
+the choir, as one ascends to the tomb of S. Dominic, and in it is the
+portrait of the patron who had it painted. In like manner, he painted a
+picture for Count Giovanni Battista Bentivogli, who had the cartoon by
+the hand of Baldassarre of Siena, representing the story of the Magi: a
+work which he carried to a very fine completion, although it contained
+more than a hundred figures. There are also many other works by the hand
+of Girolamo in Bologna, both in private houses and in the churches. In
+Galiera he painted in chiaroscuro the facade of the Palace of the
+Teofamini, with another facade behind the house of the Dolfi, which is
+considered in the judgment of many craftsmen to be the best work that he
+ever executed in that city.
+
+He went to Trento, and, in company with other painters, painted the
+palace of the old Cardinal, from which he gained very great fame. Then,
+returning to Bologna, he gave his attention to the works that he had
+begun. Now it happened that there was much talk throughout Bologna about
+having a panel-picture painted for the Della Morte Hospital, for which
+various designs were made by way of competition, some in drawing and
+some in colour. And since many thought that they had the first claim,
+some through interest and others because they held themselves to be most
+worthy of such a commission, Girolamo was left in the lurch; and
+considering that he had been wronged, not long afterwards he departed
+from Bologna. And thus the envy of others raised him to such a height of
+prosperity as he had never thought of; since, if he had been chosen for
+the work, it would have impeded the blessings that his good fortune had
+prepared for him. For, having made his way to England, he was
+recommended by some friends, who favoured him, to King Henry; and
+presenting himself before him, he entered into his service, although not
+as painter, but as engineer. Then, making trial of his skill in various
+edifices, copied from some in Tuscany and other parts of Italy, that
+King pronounced them marvellous, rewarded him with a succession of
+presents, and decreed him a provision of four hundred crowns a year; and
+he was given the means to build an honourable abode for himself at the
+expense of the King. Thereupon Girolamo, raised from one extreme of
+distress to the other extreme of grandeur, lived a most happy and
+contented life, thanking God and Fortune for having turned his steps to
+a country where men were so favourable to his talents. But this unwonted
+happiness was not destined to last long, for the war between the French
+and the English being continued, and Girolamo being charged with
+superintending all the work of the bastions and fortifications, the
+artillery, and the defences of the camp, it happened one day, when the
+city of Boulogne in Picardy was being bombarded, that a ball from a
+demi-cannon came with horrid violence and cut him in half on his horse's
+back. And thus, Girolamo being at the age of thirty-six, his life, his
+earthly honours, and all his greatness were extinguished at one and the
+same moment, in the year 1544.
+
+
+
+
+POLIDORO DA CARAVAGGIO AND MATURINO
+
+
+
+
+LIVES OF POLIDORO DA CARAVAGGIO AND THE FLORENTINE MATURINO
+
+PAINTERS
+
+
+In the last age of gold, as the happy age of Leo X might have been
+called for all noble craftsmen and men of talent, an honoured place was
+held among the most exalted spirits by Polidoro da Caravaggio, a
+Lombard, who had not become a painter after long study, but had been
+created and produced as such by Nature. This master, having come to Rome
+at the time when the Loggie of the Papal Palace were being built for Leo
+under the direction of Raffaello da Urbino, carried the pail, or we
+should rather say the hod, full of lime, for the masons who were doing
+the work, until he had reached the age of eighteen. But, when Giovanni
+da Udine had begun to paint there, the building and the painting
+proceeding together, Polidoro, whose will and inclination were much
+drawn to painting, could not rest content until he had become intimate
+with all the most able of the young men, in order to study their methods
+and manners of art, and to set himself to draw. And out of their number
+he chose as his companion the Florentine Maturino, who was then working
+in the Papal Chapel, and was held to be an excellent draughtsman of
+antiquities. Associating with him, Polidoro became so enamoured of that
+art, that in a few months, having made trial of his powers, he executed
+works that astonished every person who had known him in his former
+condition. On which account, the work of the Loggie proceeding, he
+exercised his hand to such purpose in company with those young painters,
+who were well-practised and experienced in painting, and learned the art
+so divinely well, that he did not leave that work without carrying away
+the true glory of being considered the most noble and most beautiful
+intellect that was to be found among all their number. Thereupon the
+love of Maturino for Polidoro, and of Polidoro for Maturino, so
+increased, that they determined like brothers and true companions to
+live and die together; and, uniting their ambitions, their purses, and
+their labours, they set themselves to work together in the closest
+harmony and concord. But since there were in Rome many who had great
+fame and reputation, well justified by their works, for making their
+paintings more lively and vivacious in colour and more worthy of praise
+and favour, there began to enter into their minds the idea of imitating
+the methods of Baldassarre of Siena, who had executed several facades of
+houses in chiaroscuro, and of giving their attention thenceforward to
+that sort of work, which by that time had come into fashion.
+
+They began one, therefore, on Montecavallo, opposite to S. Silvestro, in
+company with Pellegrino da Modena, which encouraged them to make further
+efforts to see whether this should be their profession; and they went on
+to execute another opposite to the side-door of S. Salvatore del Lauro,
+and likewise painted a scene by the side-door of the Minerva, with
+another, which is a frieze of marine monsters, above S. Rocco a Ripetta.
+And during this first period they painted a vast number of them
+throughout all Rome, but not so good as the others; and there is no need
+to mention them here, since they afterwards did better work of that
+sort. Gaining courage, therefore, from this, they began to study the
+antiquities of Rome, counterfeiting the ancient works of marble in their
+works in chiaroscuro, so that there remained no vase, statue,
+sarcophagus, scene, or any single thing, whether broken or entire, which
+they did not draw and make use of. And with such constancy and
+resolution did they give their minds to this pursuit, that they both
+acquired the ancient manner, the work of the one being so like that of
+the other, that, even as their minds were guided by one and the same
+will, so their hands expressed one and the same knowledge. And although
+Maturino was not as well assisted by Nature as Polidoro, so potent was
+the faithful imitation of one style by the two in company, that,
+wherever either of them placed his hand, the work of both one and the
+other, whether in composition, expression, or manner, appeared to be the
+same.
+
+In the Piazza di Capranica, on the way to the Piazza Colonna, they
+painted a facade with the Theological Virtues, and a frieze of very
+beautiful invention beneath the windows, including a draped figure of
+Rome representing the Faith, and holding the Chalice and the Host in her
+hands, who has taken captive all the nations of the earth; and all
+mankind is flocking up to bring her tribute, while the Turks, overcome
+at the last, are shooting arrows at the tomb of Mahomet; all ending in
+the words of Scripture, "There shall be one fold and one Shepherd." And,
+indeed, they had no equals in invention; of which we have witness in all
+their works, abounding in personal ornaments, vestments, foot-wear, and
+things bizarre and strange, and executed with an incredible beauty. And
+another proof is that their works are continually being drawn by all the
+foreign painters; wherefore they conferred greater benefits on the art
+of painting with the beautiful manner that they displayed and with their
+marvellous facility, than have all the others together who have lived
+from Cimabue downwards. It has been seen continually, therefore, in
+Rome, and is still seen, that all the draughtsmen are inclined more to
+the works of Polidoro and Maturino than to all the rest of our modern
+pictures.
+
+In the Borgo Nuovo they executed a facade in sgraffito, and on the Canto
+della Pace another likewise in sgraffito; with a facade of the house of
+the Spinoli, not far from that last-mentioned, on the way to the
+Parione, containing athletic contests according to the custom of the
+ancients, and their sacrifices, and the death of Tarpeia. Near the Torre
+di Nona, on the side towards the Ponte S. Angelo, may be seen a little
+facade with the Triumph of Camillus and an ancient sacrifice. In the
+road that leads to the Imagine di Ponte, there is a most beautiful
+facade with the story of Perillus, showing him being placed in the
+bronze bull that he had made; wherein great effort may be seen in those
+who are thrusting him into that bull, and terror in those who are
+waiting to behold a death so unexampled, besides which there is the
+seated figure of Phalaris (so I believe), ordaining with an imperious
+air of great beauty the punishment of the inhuman spirit that had
+invented a device so novel and so cruel in order to put men to death
+with greater suffering. In this work, also, may be perceived a very
+beautiful frieze of children, painted to look like bronze, and other
+figures. Higher up than this they painted the facade of the house where
+there is the image which is called the Imagine di Ponte, wherein are
+seen several stories illustrated by them, with the Senatorial Order
+dressed in the garb of ancient Rome. And in the Piazza della Dogana,
+beside S. Eustachio, there is a facade of battle-pieces; and within that
+church, on the right as one enters, may be perceived a little chapel
+with figures painted by Polidoro.
+
+They also executed another above the Farnese Palace for the Cepperelli,
+and a facade behind the Minerva in the street that leads to the
+Maddaleni; and in the latter, which contains scenes from Roman history,
+may be seen, among other beautiful things, a frieze of children in
+triumph, painted to look like bronze, and executed with supreme grace
+and extraordinary beauty. On the facade of the Buoni Auguri, near the
+Minerva, are some very beautiful stories of Romulus, showing him when he
+is marking out the site of his city with the plough, and when the
+vultures are flying over him; wherein the vestments, features, and
+persons of the ancients are so well imitated, that it truly appears as
+if these were the very men themselves. Certain it is that in that field
+of art no man ever had such power of design, such practised mastery, a
+more beautiful manner, or greater facility. And every craftsman is so
+struck with wonder every time that he sees these works, that he cannot
+but be amazed at the manner in which Nature has been able in this age to
+present her marvels to us by means of these men.
+
+Below the Corte Savella, also, on the house bought by Signora Costanza,
+they painted the Rape of the Sabines, a scene which reveals the raging
+desire of the captors no less clearly than the terror and panic of the
+wretched women thus carried off by various soldiers, some on horseback
+and others in other ways. And not only in this one scene are there such
+conceptions, but also (and even more) in the stories of Mucius and
+Horatius, and in the Flight of Porsena, King of Tuscany. In the garden
+of M. Stefano dal Bufalo, near the Fountain of Trevi, they executed some
+most beautiful scenes of the Fount of Parnassus, in which they made
+grotesques and little figures, painted very well in colour. On the
+house of Baldassini, also, near S. Agostino, they executed scenes and
+sgraffiti, with some heads of Emperors over the windows in the court. On
+Montecavallo, near S. Agata, they painted a facade with a vast number of
+different stories, such as the Vestal Tuccia bringing water from the
+Tiber to the Temple in a sieve, and Claudia drawing the ship with her
+girdle; and also the rout effected by Camillus while Brennus is weighing
+the gold. On another wall, round the corner, are Romulus and his brother
+being suckled by the wolf, and the terrible combat of Horatius, who is
+defending the head of the bridge, alone against a thousand swords, while
+behind him are many very beautiful figures in various attitudes, working
+with might and main to hew away the bridge with pickaxes. There, also,
+is Mucius Scaevola, who, before the eyes of Porsena, is burning his own
+hand, which had erred in slaying the King's minister in place of the
+King; and in the King's face may be seen disdain and a desire for
+vengeance. And within that house they executed a number of landscapes.
+
+They decorated the facade of S. Pietro in Vincula, painting therein
+stories of S. Peter, with some large figures of Prophets. And so
+widespread was the fame of these masters by reason of the abundance of
+their work, that the pictures painted by them with such beauty in public
+places enabled them to win extraordinary praise in their lifetime, with
+glory infinite and eternal through the number of their imitators after
+death. On a facade, also, in the square where stands the Palace of the
+Medici, behind the Piazza Navona, they painted the Triumphs of Paulus
+Emilius, with a vast number of other Roman stories. And at S. Silvestro
+di Montecavallo they executed some little things for Fra Mariano, both
+in the house and in the garden; and in the church they painted his
+chapel, with two scenes in colour from the life of S. Mary Magdalene, in
+which the disposition of the landscapes is executed with supreme grace
+and judgment. For Polidoro, in truth, executed landscapes and groups of
+trees and rocks better than any other painter, and it is to him that art
+owes that facility which our modern craftsmen show in their works.
+
+They also painted many apartments and friezes in various houses at Rome,
+executing them with colours in fresco and in distemper; but these works
+were attempted by them as trials, because they were never able to
+achieve with colours that beauty which they always displayed in their
+works in chiaroscuro, in their imitations of bronze, or in terretta.
+This may still be seen in the house of Torre Sanguigna, which once
+belonged to the Cardinal of Volterra, on the facade of which they
+painted a most beautiful decoration in chiaroscuro, and in the interior
+some figures in colour, the painting of which is so badly executed, that
+in it they diverted from its true excellence the good design which they
+always had. And this appeared all the more strange because of there
+being beside them an escutcheon of Pope Leo, with nude figures, by the
+hand of Giovan Francesco Vetraio, who would have done extraordinary
+things if death had not taken him from our midst. However, not cured by
+this of their insane confidence, they also painted some children in
+colour for the altar of the Martelli in S. Agostino at Rome, a work
+which Jacopo Sansovino completed by making a Madonna of marble; and
+these children appear to be by the hands, not of illustrious masters,
+but of simpletons just beginning to learn. Whereas, on the side where
+the altar-cloth covers the altar, Polidoro painted a little scene of a
+Dead Christ with the Maries, which is a most beautiful work, showing
+that in truth that sort of work was more their profession than the use
+of colours.
+
+Returning, therefore, to their usual work, they painted two very
+beautiful facades in the Campo Marzio; one with the stories of Ancus
+Martius, and the other with the Festivals of the Saturnalia, formerly
+celebrated in that place, with all the two-horse and four-horse chariots
+circling round the obelisks, which are held to be most beautiful,
+because they are so well executed both in design and in nobility of
+manner, that they reproduce most vividly those very spectacles as
+representations of which they were painted. On the Canto della Chiavica,
+on the way to the Corte Savella, they painted a facade which is a divine
+thing, and is held to be the most beautiful of all the beautiful works
+that they executed; for, in addition to the story of the maidens passing
+over the Tiber, there is at the foot, near the door, a Sacrifice painted
+with marvellous industry and art, wherein may be seen duly represented
+all the instruments and all those ancient customs that used to have a
+place in sacrifices of that kind. Near the Piazza del Popolo, below S.
+Jacopo degli Incurabili, they painted a facade with stories of Alexander
+the Great, which is held to be very fine; and there they depicted the
+ancient statues of the Nile and the Tiber from the Belvedere. Near S.
+Simeone they painted the facade of the Gaddi Palace, which is truly a
+cause of marvel and amazement, when one observes the lovely vestments in
+it, so many and so various, and the vast number of ancient helmets,
+girdles, buskins, and barques, adorned with all the delicacy and
+abundance of detail that an inventive imagination could conceive. There,
+with a multitude of beautiful things which overload the memory, are
+represented all the ways of the ancients, the statues of sages, and most
+lovely women: and there are all the sorts of ancient sacrifices with
+their ritual, and an army in the various stages between embarking and
+fighting with an extraordinary variety of arms and implements, all
+executed with such grace and finished with such masterly skill, that the
+eye is dazzled by the vast abundance of beautiful inventions. Opposite
+to this is a smaller facade, which could not be improved in beauty and
+variety; and there, in the frieze, is the story of Niobe causing herself
+to be worshipped, with the people bringing tribute, vases, and various
+kinds of gifts; which story was depicted by them with such novelty,
+grace, art, force of relief and genius in every part, that it would
+certainly take too long to describe the whole. Next, there follows the
+wrath of Latona, and her terrible vengeance on the children of the
+over-proud Niobe, whose seven sons are slain by Phoebus and the seven
+daughters by Diana; with an endless number of figures in imitation of
+bronze, which appear to be not painted but truly of metal. Above these
+are executed other scenes, with some vases in imitation of gold,
+innumerable things of fancy so strange that mortal eye could not picture
+anything more novel or more beautiful, and certain Etruscan helmets; but
+one is left confused by the variety and abundance of the conceptions, so
+beautiful and so fanciful, which issued from their minds. These works
+have been imitated by a vast number of those who labour at that branch
+of art. They also painted the courtyard of that house, and likewise the
+loggia, which they decorated with little grotesques in colour that are
+held to be divine. In short, all that they touched they brought to
+perfection with infinite grace and beauty; and if I were to name all
+their works, I should fill a whole book with the performances of these
+two masters alone, since there is no apartment, palace, garden, or villa
+in Rome that does not contain some work by Polidoro and Maturino.
+
+Now, while Rome was rejoicing and clothing herself in beauty with their
+labours, and they were awaiting the reward of all their toil, the envy
+of Fortune, in the year 1527, sent Bourbon to Rome; and he gave that
+city over to sack. Whereupon was divided the companionship not only of
+Polidoro and Maturino, but of all the thousands of friends and relatives
+who had broken bread together for so many years in Rome. Maturino took
+to flight, and no long time passed before he died, so it is believed in
+Rome, of plague, in consequence of the hardships that he had suffered in
+the sack, and was buried in S. Eustachio. Polidoro turned his steps to
+Naples; but on his arrival, the noblemen of that city taking but little
+interest in fine works of painting, he was like to die of hunger.
+Working, therefore, at the commission of certain painters, he executed a
+S. Peter in the principal chapel of S. Maria della Grazia; and in this
+way he assisted those painters in many things, more to save his life
+than for any other reason. However, the fame of his talents having
+spread abroad, he executed for Count ... a vault painted in distemper,
+together with some walls, all of which is held to be very beautiful
+work. In like manner, he executed a courtyard in chiaroscuro for Signor
+..., with some loggie, which are very beautiful, rich in ornaments, and
+well painted. He also painted for S. Angelo, beside the Pescheria at
+Naples, a little panel in oils, containing a Madonna and some naked
+figures of souls in torment, which is held to be most beautiful, but
+more for the drawing than for the colouring; and likewise some pictures
+for the Chapel of the High-Altar, each with a single full-length figure,
+and all executed in the same manner.
+
+It came to pass that Polidoro, living in Naples and seeing his talents
+held in little esteem, determined to take his leave of men who thought
+more of a horse that could jump than of a master whose hands could give
+to painted figures the appearance of life. Going on board ship,
+therefore, he made his way to Messina, where, finding more consideration
+and more honour, he set himself to work; and thus, working continually,
+he acquired good skill and mastery in the use of colour. Thereupon he
+executed many works, which are dispersed in various places; and turning
+his attention to architecture, he gave proof of his worth in many
+buildings that he erected. After a time, Charles V passing through
+Messina on his return from victory in Tunis, Polidoro made in his honour
+most beautiful triumphal arches, from which he gained vast credit and
+rewards. And then this master, who was always burning with desire to
+revisit Rome, which afflicts with an unceasing yearning those who have
+lived there many years, when making trial of other countries, painted as
+his last work in Messina a panel-picture of Christ bearing the Cross,
+executed in oils with much excellence and very pleasing colour. In it he
+made a number of figures accompanying Christ to His Death--soldiers,
+pharisees, horses, women, children, and the Thieves in front; and he
+kept firmly before his mind the consideration of how such an execution
+must have been marshalled, insomuch that his nature seemed to have
+striven to show its highest powers in this work, which is indeed most
+excellent. After this he sought many times to shake himself free of that
+country, although he was looked upon with favour there; but he had a
+reason for delay in a woman, beloved by him for many years, who detained
+him with her sweet words and cajoleries. However, so mightily did his
+desire to revisit Rome and his friends work in him, that he took from
+his bank a good sum of money that he possessed, and, wholly determined,
+prepared to depart.
+
+Polidoro had employed as his assistant for a long time a lad of the
+country, who bore greater love to his master's money than to his master;
+but, the money being kept, as has been said, in the bank, he was never
+able to lay his hands upon it and carry it off. Wherefore, an evil and
+cruel thought entering his head, he resolved to put his master to death
+with the help of some accomplices, on the following night, while he was
+sleeping, and then to divide the money with them. And so, assisted by
+his friends, he set upon Polidoro in his first sleep, while he was
+slumbering deeply, and strangled him with a cloth. Then, giving him
+several wounds, they made sure of his death; and in order to prove that
+it was not they who had done it, they carried him to the door of the
+woman whom he had loved, making it appear that her relatives or other
+persons of the house had killed him. The assistant gave a good part of
+the money to the villains who had committed so hideous an outrage, and
+bade them be off. In the morning he went in tears to the house of a
+certain Count, a friend of his dead master, and related the event to
+him; but for all the diligence that was used for many days in seeking
+for the perpetrator of the crime, nothing came to light. By the will of
+God, however, nature and virtue, in disdain at being wounded by the hand
+of fortune, so worked in one who had no interest in the matter, that he
+declared it to be impossible that any other but the assistant himself
+could have committed the murder. Whereupon the Count had him seized and
+put to the torture, and without the application of any further torment
+he confessed the crime and was condemned by the law to the gallows; but
+first he was torn with red-hot pincers on the way to execution, and
+finally quartered.
+
+For all this, however, life was not restored to Polidoro, nor was there
+given back to the art of painting a genius so resolute and so
+extraordinary, such as had not been seen in the world for many an age.
+If, indeed, at the time when he died, invention, grace, and boldness in
+the painting of figures could have laid down their lives, they would
+have died with him. Happy was the union of nature and art which embodied
+a spirit so noble in human form; and cruel was the envy and hatred of
+his fate and fortune, which robbed him of life with so strange a death,
+but shall never through all the ages rob him of his name. His obsequies
+were performed with full solemnity, and he was given burial in the
+Cathedral Church, lamented bitterly by all Messina, in the year 1543.
+
+Great, indeed, is the obligation owed by craftsmen to Polidoro, in that
+he enriched art with a great abundance of vestments, all different and
+most strange, and of varied ornaments, and gave grace and adornment to
+all his works, and likewise made figures of every sort, animals,
+buildings, grotesques, and landscapes, all so beautiful, that since his
+day whosoever has aimed at catholicity has imitated him. It is a
+marvellous thing and a fearsome to see from the example of this master
+the instability of Fortune and what she can bring to pass, causing men
+to become excellent in some profession from whom something quite
+different might have been expected, to the no small vexation of those
+who have laboured in vain for many years at the same art. It is a
+marvellous thing, I repeat, to see those same men, after much travailing
+and striving, brought by that same Fortune to a miserable and most
+unhappy end at the very moment when they were hoping to enjoy the fruits
+of their labours; and that with calamities so monstrous and terrible,
+that pity herself takes to flight, art is outraged, and benefits are
+repaid with an extraordinary and incredible ingratitude. Wherefore, even
+as painting may rejoice in the fruitful life of Polidoro, so could he
+complain of Fortune, which at one time showed herself friendly to him,
+only to bring him afterwards, when it was least expected, to a dreadful
+death.
+
+
+
+
+IL ROSSO
+
+
+
+
+LIFE OF IL ROSSO
+
+PAINTER OF FLORENCE
+
+
+Men of account who apply themselves to the arts and pursue them with all
+their powers are sometimes exalted and honoured beyond measure, at a
+moment when it was least expected, before the eyes of all the world, as
+may be seen clearly from the labours that Il Rosso, a painter of
+Florence, devoted to the art of painting; for if these were not
+acknowledged in Rome and Florence by those who could reward them, yet in
+France he found one to recompense him for them, and that in such sort,
+that his glory might have sufficed to quench the thirst of the most
+overweening ambition that could possess the heart of any craftsman, be
+he who he may. Nor could he have obtained in this life greater
+dignities, honour, or rank, seeing that he was regarded with favour and
+much esteemed beyond any other man of his profession by a King so great
+as is the King of France. And, indeed, his merits were such, that, if
+Fortune had secured less for him, she would have done him a very great
+wrong, for the reason that Rosso, in addition to his painting, was
+endowed with a most beautiful presence; his manner of speech was
+gracious and grave; he was an excellent musician, and had a fine
+knowledge of philosophy; and what was of greater import than all his
+other splendid qualities was this, that he always showed the invention
+of a poet in the grouping of his figures, besides being bold and
+well-grounded in draughtsmanship, graceful in manner, sublime in the
+highest flights of imagination, and a master of beautiful composition of
+scenes. In architecture he showed an extraordinary excellence; and he
+was always, however poor in circumstances, rich in the grandeur of his
+spirit. For this reason, whosoever shall follow in the labours of
+painting the walk pursued by Rosso, must be celebrated without ceasing,
+as are that master's works, which have no equals in boldness and are
+executed without effort and strain, since he kept them free of that dry
+and painful elaboration to which so many subject themselves in order to
+veil the worthlessness of their works with the cloak of importance.
+
+In his youth, Rosso drew from the cartoon of Michelagnolo, and would
+study art with but few masters, having a certain opinion of his own that
+conflicted with their manners; as may be seen from a shrine executed in
+fresco for Piero Bartoli at Marignolle, without the Porta a S. Piero
+Gattolini in Florence, containing a Dead Christ, wherein he began to
+show how great was his desire for a manner bold and grand, graceful and
+marvellous beyond that of all others. While still a beardless boy, at
+the time when Lorenzo Pucci was made a Cardinal by Pope Leo, he executed
+over the door of S. Sebastiano de' Servi the arms of the Pucci, with two
+figures, which made the craftsmen of that day marvel, for no one
+expected for him such a result as he achieved. Wherefore he so grew in
+courage, that, after having painted a picture with a half-length figure
+of Our Lady and a head of S. John the Evangelist for Maestro Jacopo, a
+Servite friar, who was something of a poet, at his persuasion he painted
+the Assumption of the Madonna in the cloister of the Servites, beside
+the scene of the Visitation, which was executed by Jacopo da Pontormo.
+In this he made a Heaven full of angels, all in the form of little naked
+children dancing in a circle round the Madonna, foreshortened with a
+most beautiful flow of outlines and with great grace of manner, as they
+wheel through the sky: insomuch that, if the colouring had been executed
+by him with that mature mastery of art which he afterwards came to
+achieve, he would have surpassed the other scenes by a great measure,
+even as he actually did equal them in grandeur and excellence of design.
+He made the Apostles much burdened with draperies, and, indeed,
+overloaded with their abundance; but the attitudes and some of the heads
+are more than beautiful.
+
+[Illustration: MADONNA AND CHILD, WITH SAINTS
+
+(_After the panel by =Il Rosso=. Florence: Uffizi, 47_)
+
+_Alinari_]
+
+The Director of the Hospital of S. Maria Nuova commissioned him to paint
+a panel: but when he saw it sketched, having little knowledge of that
+art, the Saints appeared to him like devils; for it was Rosso's custom
+in his oil-sketches to give a sort of savage and desperate air to the
+faces, after which, in finishing them, he would sweeten the expressions
+and bring them to a proper form. At this the patron fled from his house
+and would not have the picture, saying that the painter had cheated him.
+
+In like manner, over another door that leads into the cloister of the
+Convent of the Servites, Rosso painted the escutcheon of Pope Leo, with
+two children; but it is now ruined. And in the houses of citizens may be
+seen several of his pictures and many portraits. For the visit of Pope
+Leo to Florence he executed a very beautiful arch on the Canto de'
+Bischeri. Afterwards he painted a most beautiful picture of the Dead
+Christ for Signor di Piombino, and also decorated a little chapel for
+him. At Volterra, likewise, he painted a most lovely Deposition from the
+Cross.
+
+Having therefore grown in credit and fame, he executed for S. Spirito,
+in Florence, the panel-picture of the Dei family, which they had
+formerly entrusted to Raffaello da Urbino, who abandoned it because of
+the cares of the work that he had undertaken in Rome. This picture Rosso
+painted with marvellous grace, draughtsmanship, and vivacity of
+colouring. Let no one imagine that any work can display greater force or
+show more beautifully from a distance than this one, which, on account
+of the boldness of the figures and the extravagance of the attitudes, no
+longer employed by any of the other painters, was held to be an
+extraordinary work. And although it did not bring him much credit at
+that time, the world has since come little by little to recognize its
+excellence and has given it abundant praise; for with regard to the
+blending of colour it would be impossible to excel it, seeing that the
+lights which are in the brightest parts unite with the lower lights
+little by little as they merge into the darks, with such sweetness and
+harmony, and with such masterly skill in the projection of the shadows,
+that the figures stand out from one another and bring each other into
+relief by means of the lights and shades. Such vigour, indeed, has this
+work, that it may be said to have been conceived and executed with more
+judgment and mastery than any that has ever been painted by any other
+master, however superior his judgment.
+
+For S. Lorenzo, at the commission of Carlo Ginori, he painted a
+panel-picture of the Marriage of Our Lady, which is held to be a most
+beautiful work. And, in truth, with regard to his facility of method,
+there has never been anyone who has been able to surpass him in masterly
+skill and dexterity, or even to approach within any distance of him; and
+he was so sweet in colouring, and varied his draperies with such grace,
+and took such delight in his art, that he was always held to be
+marvellous and worthy of the highest praise. Whosoever shall observe
+this work must recognize that all that I have written is most true,
+above all as he studies the nudes, which are very well conceived, with
+all the requirements of anatomy. His women are full of grace, and the
+draperies that adorn them fanciful and bizarre. He showed, also, the
+sense of fitness that is necessary in the heads of the old, with their
+harshness of features, and in those of women and children, with
+expressions sweet and pleasing. He was so rich in invention, that he
+never had any space left over in his pictures, and he executed all his
+work with such facility and grace, that it was a marvel.
+
+For Giovanni Bandini, also, he painted a picture with some very
+beautiful nudes, representing the scene of Moses slaying the Egyptian,
+wherein were things worthy of the highest praise; and this was sent, I
+believe, into France. And for Giovanni Cavalcanti, likewise, he executed
+another, which went to England, of Jacob receiving water from the women
+at the well; this was held to be a divine work, seeing that it contained
+nudes and women wrought with supreme grace. For women, indeed, he always
+delighted to paint transparent pieces of drapery, head-dresses with
+intertwined tresses, and ornaments for their persons.
+
+While Rosso was engaged on this work, he was living in the Borgo de'
+Tintori, the rooms of which look out on the gardens of the Friars of S.
+Croce; and he took much pleasure in a great ape, which had the
+intelligence rather of a man than of a beast. For this reason he held it
+very dear, and loved it like his own self; and since it had a marvellous
+understanding, he made use of it for many kinds of service. It happened
+that this beast took a fancy to one of his assistants, by name
+Battistino, who was a young man of great beauty; and from the signs that
+his Battistino made to him he understood all that he wished to say. Now
+against the wall of the rooms at the back, which looked out upon the
+garden of the friars, was a pergola belonging to the Guardian, loaded
+with great Sancolombane grapes; and the young men used to let the ape
+down with a rope to the pergola, which was some distance from their
+window, and pull the beast up again with his hands full of grapes. The
+Guardian, finding his pergola stripped, but not knowing the culprit,
+suspected that it must be mice, and lay in hiding; and seeing Rosso's
+ape descending, he flew into a rage, seized a long pole, and rushed at
+him with hands uplifted in order to beat him. The ape, seeing that
+whether he went up or stayed where he was, the Guardian could reach him,
+began to spring about and destroy the pergola, and then, making as
+though to throw himself on the friar's back, seized with both his hands
+the outermost crossbeams which enclosed the pergola. Meanwhile the friar
+made play with his pole, and the ape, in his terror, shook the pergola
+to such purpose, and with such force, that he tore the stakes and rods
+out of their places, so that both pergola and ape fell headlong on the
+back of the friar, who shrieked for mercy. The rope was pulled up by
+Battistino and the others, who brought the ape back into the room safe
+and sound. Thereupon the Guardian, drawing off and planting himself on a
+terrace that he had there, said things not to be found in the Mass; and
+full of anger and resentment he went to the Council of Eight, a tribunal
+much feared in Florence. There he laid his complaint; and, Rosso having
+been summoned, the ape was condemned in jest to carry a weight fastened
+to his tail, to prevent him from jumping on pergole, as he did before.
+And so Rosso made a wooden cylinder swinging on a chain, and kept it on
+the ape, in such a way that he could go about the house but no longer
+jump about over other people's property. The ape, seeing himself
+condemned to such a punishment, seemed to guess that the friar was
+responsible. Every day, therefore, he exercised himself in hopping step
+by step with his legs, holding the weight with his hands; and thus,
+resting often, he succeeded in his design. For, being one day loose
+about the house, he hopped step by step from roof to roof, during the
+hour when the Guardian was away chanting Vespers, and came to the roof
+over his chamber. There, letting go the weight, he kept up for half an
+hour such a lovely dance, that not a single tile of any kind remained
+unbroken. Then he went back home; and within three days, when rain came,
+were heard the Guardian's lamentations.
+
+Rosso, having finished his works, took the road to Rome with Battistino
+and the ape; in which city his works were sought for with extraordinary
+eagerness, great expectations having been awakened about them by the
+sight of some drawings executed by him, which were held to be
+marvellous, for Rosso drew divinely well and with the highest finish.
+There, in the Pace, over the pictures of Raffaello, he executed a work
+which is the worst that he ever painted in all his days. Nor can I
+imagine how this came to pass, save from a reason which has been seen
+not only in his case, but also in that of many others, and which appears
+to be an extraordinary thing, and one of the secrets of nature; and it
+is this, that he who changes his country or place of habitation seems to
+change his nature, talents, character, and personal habits, insomuch
+that sometimes he seems to be not the same man but another, and all
+dazed and stupefied. This may have happened to Rosso in the air of Rome,
+and on account of the stupendous works of architecture and sculpture
+that he saw there, and the paintings and statues of Michelagnolo, which
+may have thrown him off his balance; which works also drove Fra
+Bartolommeo di San Marco and Andrea del Sarto to flight, and prevented
+them from executing anything in Rome. Certain it is, be the cause what
+it may, that Rosso never did worse; and, what is more, this work has to
+bear comparison with those of Raffaello da Urbino.
+
+At this time he painted for Bishop Tornabuoni, who was his friend, a
+picture of a Dead Christ supported by two angels, which was a most
+beautiful piece of work, and is now in the possession of the heirs of
+Monsignor della Casa. For Baviera he made drawings of all the Gods, for
+copper-plates, which were afterwards engraved by Jacopo Caraglio; one of
+them being Saturn changing himself into a horse, and the most noteworthy
+that of Pluto carrying off Proserpine. He executed a sketch for the
+Beheading of S. John the Baptist, which is now in a little church on the
+Piazza de' Salviati in Rome.
+
+Meanwhile the sack of the city took place, and poor Rosso was taken
+prisoner by the Germans and used very ill, for, besides stripping him of
+his clothes, they made him carry weights on his back barefooted and with
+nothing on his head, and remove almost the whole stock from a
+cheesemonger's shop. Thus ill-treated by them, he escaped with
+difficulty to Perugia, where he was warmly welcomed and reclothed by the
+painter Domenico di Paris, for whom he drew the cartoon for a
+panel-picture of the Magi, a very beautiful work, which is to be seen in
+the house of Domenico. But he did not stay long in that place, for,
+hearing that Bishop Tornabuoni, who was very much his friend, and had
+also fled from the sack, had gone to Borgo a San Sepolcro, he made his
+way thither.
+
+There was living at that time in Borgo a San Sepolcro a pupil of Giulio
+Romano, the painter Raffaello dal Colle; and this master, having
+undertaken for a small price to paint a panel for S. Croce, the seat of
+a Company of Flagellants, in his native city, lovingly resigned the
+commission and gave it to Rosso, to the end that he might leave some
+example of his handiwork in that place. At this the Company showed
+resentment, but the Bishop gave him every facility; and when the
+picture, which brought him credit, was finished, it was set up in S.
+Croce. The Deposition from the Cross that it contains is something very
+rare and beautiful, because he rendered in the colours a certain effect
+of darkness to signify the eclipse that took place at Christ's death,
+and because it was executed with very great diligence.
+
+Afterwards, at Citta di Castello, he received the commission for a
+panel-picture, on which he was about to set to work, when, as it was
+being primed with gesso, a roof fell upon it and broke it to pieces;
+while upon him there came a fever so violent, that he was like to die of
+it, on which account he had himself carried from Castello to Borgo a San
+Sepolcro. This malady being followed by a quartan fever, he then went on
+to the Pieve a San Stefano for a change of air, and finally to Arezzo,
+where he was entertained in the house of Benedetto Spadari, who so went
+to work with the help of Giovanni Antonio Lappoli of Arezzo and the many
+friends and relatives that they had, that Rosso was commissioned to
+paint in fresco a vault previously allotted to the painter Niccolo
+Soggi, in the Madonna delle Lagrime. And so eager were they that he
+should leave such a memorial of himself in that city, that he was given
+a payment of three hundred crowns of gold. Whereupon Rosso began his
+cartoons in a room that they had allotted to him in a place called
+Murello; and there he finished four of them. In one he depicted our
+First Parents, bound to the Tree of the Fall, with Our Lady drawing from
+their mouths the Sin in the form of the Apple, and beneath her feet the
+Serpent; and in the air--wishing to signify that she was clothed with
+the sun and moon--he made nude figures of Phoebus and Diana. In the
+second is Moses bearing the Ark of the Covenant, represented by Our Lady
+surrounded by five Virtues. In another is the Throne of Solomon, also
+represented by the Madonna, to whom votive offerings are being brought,
+to signify those who have recourse to her for benefits: together with
+other bizarre fancies, which were conceived by the fruitful brain of M.
+Giovanni Pollastra, the friend of Rosso and a Canon of Arezzo, in
+compliment to whom Rosso made a most beautiful model of the whole work,
+which is now in my house at Arezzo. He also drew for that work a study
+of nude figures, which is a very choice thing; and it is a pity that it
+was never finished, for, if he had put it into execution and painted it
+in oils, instead of having to do it in fresco, it would indeed have been
+a miracle. But he was ever averse to working in fresco, and therefore
+went on delaying the execution of the cartoons, meaning to have the work
+carried out by Raffaello dal Borgo and others, so that in the end it was
+never done.
+
+At that same time, being a courteous person, he made many designs for
+pictures and buildings in Arezzo and its neighbourhood; among others,
+one for the Rectors of the Fraternity, of the chapel which is at the
+foot of the Piazza, wherein there is now the Volto Santo. For the same
+patrons he drew the design for a panel-picture to be painted by his
+hand, containing a Madonna with a multitude under her cloak, which was
+to be set up in the same place; and this design, which was not put into
+execution, is in our book, together with many other most beautiful
+drawings by the hand of the same master.
+
+But to return to the work that he was to execute in the Madonna delle
+Lagrime: there came forward as his security for this work Giovanni
+Antonio Lappoli of Arezzo, his most faithful friend, who gave him proofs
+of loving kindness with every sort of service. But in the year 1530,
+when Florence was being besieged, the Aretines, having been restored to
+liberty by the small judgment of Papo Altoviti, attacked the citadel and
+razed it to the ground. And because that people looked with little
+favour on Florentines, Rosso would not trust himself to them, and went
+off to Borgo a San Sepolcro, leaving the cartoons and designs for his
+work hidden away in the citadel.
+
+Now those who had given him the commission for the panel at Castello,
+wished him to finish it; but he, on account of the illness that he had
+suffered at Castello, would not return to that city. He finished their
+panel, therefore, at Borgo a San Sepolcro; nor would he ever give them
+the pleasure of a glance at it. In it he depicted a multitude, with
+Christ in the sky being adored by four figures, and he painted Moors,
+Gypsies, and the strangest things in the world; but, with the exception
+of the figures, which are perfect in their excellence, the composition
+is concerned with anything rather than the wishes of those who ordered
+the picture of him. At the same time that he was engaged on that work,
+he disinterred dead bodies in the Vescovado, where he was living, and
+made a most beautiful anatomical model. Rosso was, in truth, an ardent
+student of all things relating to art, and few days passed without his
+drawing some nude from life.
+
+He had always had the idea of finishing his life in France, and of thus
+delivering himself from that misery and poverty which are the lot of men
+who work in Tuscany, or in the country where they were born; and he
+resolved to depart. And with a view to appearing more competent in all
+matters, and to being ignorant of none, he had just learned the Latin
+tongue; when there came upon him a reason for further hastening his
+departure. For one Holy Thursday, on which day matins are chanted in the
+evening, one of his disciples, a young Aretine, being in church, made a
+blaze of sparks and flames with a lighted candle-end and some resin, at
+the moment when the "darkness," as they call it, was in progress; and
+the boy was reproved by some priests, and even struck. Seeing this,
+Rosso, who had the boy seated at his side, sprang up full of anger
+against the priests. Thereupon an uproar began, without anyone knowing
+what it was all about, and swords were drawn against poor Rosso, who was
+busy with the priests. Taking to flight, therefore, he contrived to
+regain his own rooms without having been struck or overtaken by anyone.
+But he held himself to have been affronted; and having finished the
+panel for Castello, without troubling about his work at Arezzo or the
+wrong that he was doing to Giovanni Antonio, his security (for he had
+received more than a hundred and fifty crowns), he set off by night.
+Taking the road by Pesaro, he made his way to Venice, where, being
+entertained by Messer Pietro Aretino, he made for him a drawing, which
+was afterwards engraved, of Mars sleeping with Venus, with the Loves and
+Graces despoiling him and carrying off his cuirass. Departing from
+Venice, he found his way into France, where he was received by the
+Florentine colony with much affection. There he painted some pictures,
+which were afterwards placed in the Gallery at Fontainebleau; and these
+he then presented to King Francis, who took infinite pleasure in them,
+but much more in the presence, speech, and manner of Rosso, who was
+imposing in person, with red hair in accordance with his name, and
+serious, deliberate, and most judicious in his every action. The King,
+then, after straightway granting him an allowance of four hundred
+crowns, and giving him a house in Paris, which he occupied but seldom,
+because he lived most of the time at Fontainebleau, where he had rooms
+and lived like a nobleman, appointed him superintendent over all the
+buildings, pictures, and other ornaments of that place.
+
+[Illustration: THE TRANSFIGURATION
+
+(_After the panel by =Il Rosso=. Citta da Castello: Duomo_)
+
+_Alinari_]
+
+There, in the first place, Rosso made a beginning with a gallery over
+the lower court, which he completed not with a vault, but with a
+ceiling, or rather, soffit, of woodwork, partitioned most beautifully
+into compartments. The side-walls he decorated all over with
+stucco-work, fantastic and bizarre in its distribution, and with carved
+cornices of many kinds; and on the piers were lifesize figures.
+Everything below the cornices, between one pier and another, he
+adorned with festoons of stucco, vastly rich, and others painted, and
+all composed of most beautiful fruits and every sort of foliage. And
+then, in a large space, he caused to be painted after his own designs,
+if what I have heard is true, about twenty-four scenes in fresco,
+representing, I believe, the deeds of Alexander the Great; for which, as
+I have said, he made all the designs, executing them in chiaroscuro with
+water-colours. At the two ends of this gallery are two panel-pictures in
+oils by his hand, designed and painted with such perfection, that there
+is little better to be seen in the art of painting. In one of these are
+a Bacchus and a Venus, executed with marvellous art and judgment. The
+Bacchus is a naked boy, so tender, soft, and delicate, that he seems to
+be truly of flesh, yielding to the touch, and rather alive than painted;
+and about him are some vases painted in imitation of gold, silver,
+crystal, and various precious stones, so fantastic, and surrounded by
+devices so many and so bizarre, that whoever beholds this work, with its
+vast variety of invention, stands in amazement before it. Among other
+details, also, is a Satyr raising part of a pavilion, whose head, in its
+strange, goatlike aspect, is a marvel of beauty, and all the more
+because he seems to be smiling and full of joy at the sight of so
+beautiful a boy. There is also a little boy riding on a wonderful bear,
+with many other ornaments full of grace and beauty. In the other picture
+are Cupid and Venus, with other lovely figures; but the figure to which
+Rosso gave the greatest attention was the Cupid, whom he represented as
+a boy of twelve, although well grown, riper in features than is expected
+at that age, and most beautiful in every part.
+
+The King, seeing these works, and liking them vastly, conceived an
+extraordinary affection for Rosso; wherefore no long time passed before
+he gave him a Canonicate in the Sainte Chapelle of the Madonna at Paris,
+with so many other revenues and benefits, that Rosso lived like a
+nobleman, with a goodly number of servants and horses, giving banquets
+and showing all manner of courtesies to all his friends and
+acquaintances, especially to the Italian strangers who arrived in those
+parts.
+
+After this, he executed another hall, which is called the Pavilion,
+because it is in the form of a Pavilion, being above the rooms on the
+first floor, and thus situated above any of the others. This apartment
+he decorated from the level of the floor to the roof with a great
+variety of beautiful ornaments in stucco, figures in the round
+distributed at equal intervals, and children, festoons, and various
+kinds of animals. In the compartments on the walls are seated figures in
+fresco, one in each; and such is their number, that there may be seen
+among them images of all the Heathen Gods and Goddesses of the ancients.
+Last of all, above the windows, is a frieze all adorned with stucco, and
+very rich, but without pictures.
+
+He then executed a vast number of works in many chambers, bathrooms, and
+other apartments, both in stucco and in painting, of some of which
+drawings may be seen, executed in engraving and published abroad, which
+are full of grace and beauty; as are also the numberless designs that
+Rosso made for salt-cellars, vases, bowls, and other things of fancy,
+all of which the King afterwards caused to be executed in silver; but
+these were so numerous that it would take too long to mention them all.
+Let it be enough to say that he made designs for all the vessels of a
+sideboard for the King, and for all the details of the trappings of
+horses, triumphal masquerades, and everything else that it is possible
+to imagine, showing in these such fantastic and bizarre conceptions,
+that no one could do better.
+
+In the year 1540, when the Emperor Charles V went to France under the
+safeguard of King Francis, and visited Fontainebleau, having with him
+not more than twelve men, Rosso executed one half of the decorations
+that the King ordained in order to honour that great Emperor, and the
+other half was executed by Francesco Primaticcio of Bologna. The works
+that Rosso made, such as arches, colossal figures, and other things of
+that kind, were, so it was said at the time, the most astounding that
+had ever been made by any man up to that age. But a great part of the
+rooms finished by Rosso at the aforesaid Palace of Fontainebleau were
+destroyed after his death by the same Francesco Primaticcio, who has
+made a new and larger structure in the same place.
+
+Among those who worked with Rosso on the aforesaid decorations in stucco
+and relief, and beloved by him beyond all the others, were the
+Florentine Lorenzo Naldino, Maestro Francesco of Orleans, Maestro Simone
+of Paris, Maestro Claudio, likewise a Parisian, Maestro Lorenzo of
+Picardy, and many others. But the best of them all was Domenico del
+Barbieri, who is an excellent painter and master of stucco, and a
+marvellous draughtsman, as is proved by his engraved works, which may be
+numbered among the best in common circulation. The painters, likewise,
+whom he employed in those works at Fontainebleau, were Luca Penni,
+brother of Giovan Francesco Penni, called Il Fattore, who was a disciple
+of Raffaello da Urbino; the Fleming Leonardo, a very able painter, who
+executed the designs of Rosso to perfection in colours; Bartolommeo
+Miniati, a Florentine; with Francesco Caccianimici, and Giovan Battista
+da Bagnacavallo. These last entered his service when Francesco
+Primaticcio went by order of the King to Rome, to make moulds of the
+Laocoon, the Apollo, and many other choice antiquities, for the purpose
+of casting them afterwards in bronze. I say nothing of the carvers, the
+master-joiners, and innumerable others of whom Rosso availed himself in
+those works, because there is no need to speak of them all, although
+many of them executed works worthy of much praise.
+
+In addition to the things mentioned above, Rosso executed with his own
+hand a S. Michael, which is a rare work. For the Constable he painted a
+panel-picture of the Dead Christ, a choice thing, which is at a seat of
+that noble, called Ecouen; and he also executed some exquisite
+miniatures for the King. He then drew a book of anatomical studies,
+intending to have it printed in France; of which there are some sheets
+by his own hand in our book of drawings. Among his possessions, also,
+after he was dead, were found two very beautiful cartoons, in one of
+which is a Leda of singular beauty, and in the other the Tiburtine Sibyl
+showing to the Emperor Octavian the Glorious Virgin with the Infant
+Christ in her arms. In the latter he drew the King, the Queen, their
+Guard, and the people, with such a number of figures, and all so well
+drawn, that it may be said with truth that this was one of the most
+beautiful things that Rosso ever did.
+
+By reason of these works and many others, of which nothing is known, he
+became so dear to the King, that a little before his death he found
+himself in possession of more than a thousand crowns of income, without
+counting the allowances for his work, which were enormous; insomuch
+that, living no longer as a painter, but rather as a prince, he kept a
+number of servants and horses to ride, and had his house filled with
+tapestries, silver, and other valuable articles of furniture. But
+Fortune, who never, or very seldom, maintains for long in high estate
+one who puts his trust too much in her, brought him headlong down in the
+strangest manner ever known. For while Francesco di Pellegrino, a
+Florentine, who delighted in painting and was very much his friend, was
+associating with him in the closest intimacy, Rosso was robbed of some
+hundreds of ducats; whereupon the latter, suspecting that no one but the
+same Francesco could have done this, had him arrested by the hands of
+justice, rigorously examined, and grievously tortured. But he, knowing
+himself innocent, and declaring nothing but the truth, was finally
+released; and, moved by just anger, he was forced to show his resentment
+against Rosso for the shameful charge that he had falsely laid upon him.
+Having therefore issued a writ for libel against him, he pressed him so
+closely, that Rosso, not being able to clear himself or make any
+defence, felt himself to be in a sorry plight, perceiving that he had
+not only accused his friend falsely, but had also stained his own
+honour; and to eat his words, or to adopt any other shameful method,
+would likewise proclaim him a false and worthless man. Resolving,
+therefore, to kill himself by his own hand rather than be punished by
+others, he took the following course. One day that the King happened to
+be at Fontainebleau, he sent a peasant to Paris for a certain most
+poisonous essence, pretending that he wished to use it for making
+colours or varnishes, but intending to poison himself, as he did. The
+peasant, then, returned with it; and such was the malignity of the
+poison, that, merely through holding his thumb over the mouth of the
+phial, carefully stopped as it was with wax, he came very near losing
+that member, which was consumed and almost eaten away by the deadly
+potency of the poison. And shortly afterwards it slew Rosso, although he
+was in perfect health, he having drunk it to the end that it might take
+his life, as it did in a few hours.
+
+This news, being brought to the King, grieved him beyond measure, since
+it seemed to him that by the death of Rosso he had lost the most
+excellent craftsman of his day. However, to the end that the work might
+not suffer, he had it carried on by Francesco Primaticcio of Bologna,
+who, as has been related, had already done much work for him; giving him
+a good Abbey, even as he had presented a Canonicate to Rosso.
+
+Rosso died in the year 1541, leaving great regrets behind him among his
+friends and brother-craftsmen, who have learned by his example what
+benefits may accrue from a prince to one who is eminent in every field
+of art, and well-mannered and gentle in all his actions, as was that
+master, who for many reasons deserved, and still deserves, to be admired
+as one truly most excellent.
+
+
+
+
+BARTOLOMMEO DA BAGNACAVALLO AND OTHERS
+
+
+
+
+LIVES OF BARTOLOMMEO DA BAGNACAVALLO, AND OTHER PAINTERS OF ROMAGNA
+
+
+It is certain that the result of emulation in the arts, caused by a
+desire for glory, proves for the most part to be one worthy of praise;
+but when it happens that the aspirant, through presumption and
+arrogance, comes to hold an inflated opinion of himself, in course of
+time the name for excellence that he seeks may be seen to dissolve into
+mist and smoke, for the reason that there is no advance to perfection
+possible for him who knows not his own failings and has no fear of the
+work of others. More readily does hope mount towards proficience for
+those modest and studious spirits who, leading an upright life, honour
+the works of rare masters and imitate them with all diligence, than for
+those who have their heads full of smoky pride, as had Bartolommeo da
+Bagnacavallo, Amico of Bologna, Girolamo da Cotignola, and Innocenzio da
+Imola, painters all, who, living in Bologna at one and the same time,
+felt the greatest jealousy of one another that could possibly be
+imagined. And, what is more, their pride and vainglory, not being based
+on the foundation of ability, led them astray from the true path, which
+brings to immortality those who strive more from love of good work than
+from rivalry. This circumstance, then, was the reason that they did not
+crown the good beginnings that they had made with that final excellence
+which they expected; for their presuming to the name of masters turned
+them too far aside from the good way.
+
+Bartolommeo da Bagnacavallo had come to Rome in the time of Raffaello,
+in order to attain with his works to that perfection which he believed
+himself to be already grasping with his intellect. And being a young man
+who had some fame at Bologna and had awakened expectations, he was set
+to execute a work in the Church of the Pace at Rome, in the first chapel
+on the right hand as one enters the church, above the chapel of
+Baldassarre Peruzzi of Siena. But, thinking that he had not achieved the
+success that he had promised himself, he returned to Bologna. There he
+and the others mentioned above, in competition one with another,
+executed each a scene from the Lives of Christ and His Mother in the
+Chapel of the Madonna in S. Petronio, near the door of the facade, on
+the right hand as one enters the church; among which little difference
+in merit is to be seen between one and another. But Bartolommeo acquired
+from this work the reputation of having a manner both softer and
+stronger than the others; and although there is a vast number of strange
+things in the scene of Maestro Amico, in which he depicted the
+Resurrection of Christ with armed men in crouching and distorted
+attitudes, and many soldiers crushed flat by the stone of the Sepulchre,
+which has fallen upon them, nevertheless that of Bartolommeo, as having
+more unity of design and colouring, was more extolled by other
+craftsmen. On account of this Bartolommeo associated himself with Biagio
+Bolognese, a person with much more practice than excellence in art; and
+they executed in company at S. Salvatore, for the Frati Scopetini, a
+refectory which they painted partly in fresco and partly "a secco,"
+containing the scene of Christ satisfying five thousand people with five
+loaves and two fishes. They painted, also, on a wall of the library, the
+Disputation of S. Augustine, wherein they made a passing good view in
+perspective. These masters, thanks to having seen the works of Raffaello
+and associated with him, had a certain quality which, upon the whole,
+gave promise of excellence, but in truth they did not attend as they
+should have done to the more subtle refinements of art. Yet, since there
+were no painters in Bologna at that time who knew more than they did,
+they were held by those who then governed the city, as well as by all
+the people, to be the best masters in Italy.
+
+[Illustration: THE HOLY FAMILY WITH SAINTS
+
+(_After the panel by =Bartolommeo da Bagnacavallo=. Bologna: Accademia,
+133_)
+
+_Anderson_]
+
+By the hand of Bartolommeo are some round pictures in fresco under the
+vaulting of the Palace of the Podesta, and a scene of the Visitation of
+S. Elizabeth in S. Vitale, opposite to the Palace of the Fantucci. In
+the Convent of the Servites at Bologna, round a panel-picture of the
+Annunciation painted in oils, are some saints executed in fresco by
+Innocenzio da Imola. In S. Michele in Bosco Bartolommeo painted in
+fresco the Chapel of Ramazzotto, a faction-leader in Romagna. In a
+chapel in S. Stefano the same master painted two saints in fresco, with
+some little angels of considerable beauty in the sky; and in S. Jacopo,
+for Messer Annibale del Corello, a chapel in which he represented the
+Circumcision of Our Lord, with a number of figures, above which, in a
+lunette, he painted Abraham sacrificing his son to God. This work, in
+truth, was executed in a good and able manner. For the Misericordia,
+without Bologna, he painted a little panel-picture in distemper of Our
+Lady and some saints; with many pictures and other works, which are in
+the hands of various persons in that city.
+
+This master, in truth, was above mediocrity both in the uprightness of
+his life and in his works, and he was superior to the others in drawing
+and invention, as may be seen from a drawing in our book, wherein is
+Jesus Christ, as a boy, disputing with the Doctors in the Temple, with a
+building executed with good mastery and judgment. In the end, he
+finished his life at the age of fifty-eight.
+
+He had always been much envied by Amico of Bologna, an eccentric man of
+extravagant brain, whose figures, executed by him throughout all Italy,
+but particularly in Bologna, where he spent most of his time, are
+equally eccentric and even mad, if one may say so. If, indeed, the vast
+labour which Amico devoted to drawing had been pursued with a settled
+object, and not by caprice, he might perchance have surpassed many whom
+we regard as rare and able men. And even so, such is the value of
+persistent labour, that it is not possible that out of a mass of work
+there should not be found some that is good and worthy of praise; and
+such, among the vast number of works that this master executed, is a
+facade in chiaroscuro on the Piazza de' Marsigli, wherein are many
+historical pictures, with a frieze of animals fighting together, very
+spirited and well executed, which is almost the best work that he ever
+painted. He painted another facade at the Porta di S. Mammolo, and a
+frieze round the principal chapel of S. Salvatore, so extravagant and so
+full of absurdities that it would provoke laughter in one who was on the
+verge of tears. In a word, there is no church or street in Bologna
+which has not some daub by the hand of this master.
+
+In Rome, also, he painted not a little; and in S. Friano, at Lucca, he
+filled a chapel with inventions fantastic and bizarre, among which are
+some things worthy of praise, such as the stories of the Cross and some
+of S. Augustine. In these are innumerable portraits of distinguished
+persons of that city; and, to tell the truth, this was one of the best
+works that Maestro Amico ever executed with colours in fresco.
+
+In S. Jacopo, at Bologna, he painted at the altar of S. Niccola some
+stories of the latter Saint, and below these a frieze with views in
+perspective, which deserve to be extolled. When the Emperor Charles V
+visited Bologna, Amico made a triumphal arch, for which Alfonso Lombardi
+executed statues in relief, at the gate of the Palace. And it is no
+marvel that the work of Amico revealed skill of hand rather than any
+other quality, for it is said that, like the eccentric and extraordinary
+person that he was, he went through all Italy drawing and copying every
+work of painting or relief, whether good or bad, on which account he
+became something of an adept in invention; and when he found anything
+likely to be useful to him, he laid his hands upon it eagerly, and then
+destroyed it, so that no one else might make use of it. The result of
+all this striving was that he acquired the strange, mad manner that we
+know.
+
+Finally, having reached the age of seventy, what with his art and the
+eccentricity of his life, he became raving mad, at which Messer
+Francesco Guicciardini, a noble Florentine, and a most trustworthy
+writer of the history of his own times, who was then Governor of
+Bologna, found no small amusement, as did the whole city. Some people,
+however, believe that there was some method mixed with this madness of
+his, because, having sold some property for a small price while he was
+mad and in very great straits, he asked for it back again when he
+regained his sanity, and recovered it under certain conditions, since he
+had sold it, so he said, when he was mad. I do not swear, indeed, that
+this is true, for it may have been otherwise; but I do say that I have
+often heard the story told.
+
+[Illustration: THE ADORATION
+
+(_After the panel by =Amico of Bologna [Amico Aspertini]=. Bologna:
+Pinacoteca, 297_)
+
+_Alinari_]
+
+Amico also gave his attention to sculpture, and executed to the best
+of his ability, in marble, a Dead Christ with Nicodemus supporting
+Him. This work, which he treated in the manner seen in his pictures, is
+on the right within the entrance of the Church of S. Petronio. He used
+to paint with both hands at the same time, holding in one the brush with
+the bright colour, and in the other that with the dark. But the best
+joke of all was that he had his leather belt hung all round with little
+pots full of tempered colours, so that he looked like the Devil of S.
+Macario with all those flasks of his; and when he worked with his
+spectacles on his nose, he would have made the very stones laugh, and
+particularly when he began to chatter, for then he babbled enough for
+twenty, saying the strangest things in the world, and his whole
+demeanour was a comedy. Certain it is that he never used to speak well
+of any person, however able or good, and however well dowered he saw him
+to be by Nature or Fortune. And, as has been said, he so loved to
+chatter and tell stories, that one evening, at the hour of the Ave
+Maria, when a painter of Bologna, after buying cabbages in the Piazza,
+came upon Amico, the latter kept him under the Loggia del Podesta with
+his talk and his amusing stories, without the poor man being able to
+break away from him, almost till daylight, when Amico said: "Now go and
+boil your cabbages, for the time is getting on."
+
+He was the author of a vast number of other jokes and follies, of which
+I shall not make mention, because it is now time to say something of
+Girolamo da Cotignola. This master painted many pictures and portraits
+from life in Bologna, and among them are two in the house of the
+Vinacci, which are very beautiful. He made a portrait after death of
+Monsignore de Foix, who died in the rout of Ravenna, and not long after
+he executed a portrait of Massimiliano Sforza. For S. Giuseppe he
+painted a panel-picture which brought him much praise, and, for S.
+Michele in Bosco, the panel-picture in oils which is in the Chapel of S.
+Benedetto. The latter work led to his executing, in company with Biagio
+Bolognese, all the scenes which are round that church, laid on in fresco
+and executed "a secco," wherein are seen proofs of no little mastery, as
+has been said in speaking of the manner of Biagio. The same Girolamo
+painted a large altar-piece for S. Colomba at Rimini, in competition
+with Benedetto da Ferrara and Lattanzio, in which work he made a S.
+Lucia rather wanton than beautiful. And in the great tribune of that
+church he executed a Coronation of Our Lady, with the twelve Apostles
+and the four Evangelists, with heads so gross and hideous that they are
+an outrage to the eye.
+
+He then returned to Bologna, but had not been there long when he went to
+Rome, where he made portraits from life of many men of rank, and in
+particular that of Pope Paul III. But, perceiving that it was no place
+for him, and that he was not likely to acquire honour, profit, or fame
+among so many noble craftsmen, he went off to Naples, where he found
+some friends who showed him favour, and above all M. Tommaso Cambi, a
+Florentine merchant, and a devoted lover of pictures and antiquities in
+marble, by whom he was supplied with everything of which he was in need.
+Thereupon, setting to work, he executed a panel-picture of the Magi, in
+oils, for the chapel of one M. Antonello, Bishop of I know not what
+place, in Monte Oliveto, and another panel-picture in oils for S.
+Aniello, containing the Madonna, S. Paul, and S. John the Baptist, with
+portraits from life for many noblemen.
+
+Being now well advanced in years, he lived like a miser, and was always
+trying to save money; and after no long time, having little more to do
+in Naples, he returned to Rome. There some friends of his, having heard
+that he had saved a few crowns, persuaded him that he ought to get
+married and live a properly-regulated life. And so, thinking that he was
+doing well for himself, he let those friends deceive him so completely
+that they imposed upon him for a wife, to suit their own convenience, a
+prostitute whom they had been keeping. Then, after he had married her
+and come to a knowledge of her, the truth was revealed, at which the
+poor old man was so grieved that he died in a few weeks at the age of
+sixty-nine.
+
+And now to say something of Innocenzio da Imola. This master was for
+many years in Florence with Mariotto Albertinelli; and then, having
+returned to Imola, he executed many works in that place. But finally, at
+the persuasion of Count Giovan Battista Bentivogli, he went to live in
+Bologna, where one of his first works was a copy of a picture formerly
+executed by Raffaello da Urbino for Signor Leonello da Carpi. And for
+the Monks of S. Michele in Bosco he painted in fresco, in their
+chapter-house, the Death of Our Lady and the Resurrection of Christ,
+works which were executed with truly supreme diligence and finish. For
+the church of the same monks, also, he painted the panel of the
+high-altar, the upper part of which is done in a good manner. For the
+Servites of Bologna he executed an Annunciation on panel, and for S.
+Salvatore a Crucifixion, with many pictures of various kinds throughout
+the whole city. At the Viola, for the Cardinal of Ivrea, he painted
+three loggie in fresco, each containing two scenes, executed in colour
+from designs by other painters, and yet finished with much diligence. He
+painted in fresco a chapel in S. Jacopo, and for Madonna Benozza a
+panel-picture in oils, which was not otherwise than passing good. He
+made a portrait, also, besides many others, of Cardinal Francesco
+Alidosio, which I have seen at Imola, together with the portrait of
+Cardinal Bernardino Carvajal, and both are works of no little beauty.
+
+Innocenzio was a very good and modest person, and therefore always
+avoided any dealings or intercourse with the painters of Bologna, who
+were quite the opposite in nature, and he was always exerting himself
+beyond the limits of his strength; wherefore, when he fell sick of a
+putrid fever at the age of fifty-six, it found him so weak and exhausted
+that it killed him in a few days. He left unfinished, or rather,
+scarcely begun, a work that he had undertaken without Bologna, and this
+was completed to perfection, according to the arrangement made by
+Innocenzio before his death, by Prospero Fontana, a painter of Bologna.
+
+The works of all the above-named painters date from 1506 to 1542, and
+there are drawings by the hands of them all in our book.
+
+[Illustration: THE MARRIAGE OF S. CATHARINE
+
+(_After the painting by =Innocenzio da Imola=. Bologna: S. Giacomo
+Maggiore_)
+
+_Alinari_]
+
+
+
+
+FRANCIABIGIO
+
+
+
+
+LIFE OF FRANCIABIGIO
+
+[_FRANCIA_]
+
+PAINTER OF FLORENCE
+
+
+The fatigues that a man endures in this life in order to raise himself
+from the ground and protect himself from poverty, succouring not only
+himself but also his nearest and dearest, have such virtue, that the
+sweat and the hardships become full of sweetness, and bring comfort and
+nourishment to the minds of others, insomuch that Heaven, in its bounty,
+perceiving one drawn to a good life and to upright conduct, and also
+filled with zeal and inclination for the studies of the sciences, is
+forced to be benign and favourably disposed towards him beyond its wont;
+as it was, in truth, towards the Florentine painter Francia. This
+master, having applied himself to the art of painting for a just and
+excellent reason, laboured therein not so much out of a desire for fame
+as from a wish to bring assistance to his needy relatives; and having
+been born in a family of humble artisans, people of low degree, he
+sought to raise himself from that position. In this effort he was much
+spurred by his rivalry with Andrea del Sarto, then his companion, with
+whom for a long time he shared both work-room and the painter's life; on
+account of which life they made great proficience, one through the
+other, in the art of painting.
+
+Francia learned the first principles of art in his youth by living for
+some months with Mariotto Albertinelli. And being much inclined to the
+study of perspective, at which he was always working out of pure
+delight, while still quite young he gained a reputation for great
+ability in Florence. The first works painted by him were a S. Bernard
+executed in fresco in S. Pancrazio, a church opposite to his own house,
+and a S. Catharine of Siena, executed likewise in fresco, on a pilaster
+in the Chapel of the Rucellai; whereby, exerting himself in that art,
+he gave proofs of his fine qualities. Much more, even, was he
+established in repute by a picture which is in a little chapel in S.
+Pietro Maggiore, containing Our Lady with the Child in her arms, and a
+little S. John caressing Jesus Christ. He also gave proof of his
+excellence in a shrine executed in fresco, in which he painted the
+Visitation of Our Lady, on a corner of the Church of S. Giobbe, behind
+the Servite Convent in Florence. In the figure of that Madonna may be
+seen a goodness truly appropriate, with profound reverence in that of
+the older woman; and the S. Job he painted poor and leprous, and also
+rich and restored to health. This work so revealed his powers that he
+came into credit and fame; whereupon the men who were the rulers of that
+church and brotherhood gave him the commission for the panel-picture of
+their high-altar, in which Francia acquitted himself even better; and in
+that work he painted a Madonna, and S. Job in poverty, and made a
+portrait of himself in the face of S. John the Baptist.
+
+There was built at that time, in S. Spirito at Florence, the Chapel of
+S. Niccola, in which was placed a figure of that Saint in the round,
+carved in wood from the model by Jacopo Sansovino; and Francia painted
+two little angels in two square pictures in oils, one on either side of
+that figure, which were much extolled, and also depicted the
+Annunciation in two round pictures; and the predella he adorned with
+little figures representing the miracles of S. Nicholas, executed with
+such diligence that he deserves much praise for them. In S. Pietro
+Maggiore, by the door, and on the right hand as one enters the church,
+is an Annunciation by his hand, wherein he made the Angel still flying
+through the sky, and the Madonna receiving the Salutation on her knees,
+in a most graceful attitude; and he drew there a building in
+perspective, which was a masterly thing, and was much extolled. And, in
+truth, although Francia had a somewhat dainty manner, because he was
+very laborious and constrained in his work, nevertheless he showed great
+care and diligence in giving the true proportions of art to his figures.
+
+[Illustration: THE MARRIAGE OF THE VIRGIN
+
+(_After the fresco by =Franciabigio [Francia]=. Florence: SS.
+Annunziata_)
+
+_Anderson_]
+
+He was commissioned to execute a scene in the cloister in front of the
+Church of the Servites, in competition with Andrea del Sarto; and there
+he painted the Marriage of Our Lady, wherein may be clearly recognized
+the supreme faith of Joseph, who shows in his face as much awe as joy
+at his marriage with her. Besides this, Francia painted there one who is
+giving him some blows, as is the custom in our own day, in memory of the
+wedding; and in a nude figure he expressed very happily the rage and
+disappointment that drive him to break his rod, which had not blossomed,
+the drawing of which, with many others, is in our book. In the company
+of Our Lady, also, he painted some women with most beautiful expressions
+and head-dresses, things in which he always delighted. And in all this
+scene he did not paint a single thing that was not very well considered;
+as is, for example, a woman with a child in her arms, who, turning to go
+home, has cuffed another child, who has sat down in tears and refuses to
+go, pressing one hand against his face in a very graceful manner.
+Certain it is that he executed every detail in this scene, whether large
+or small, with much diligence and love, on account of the burning desire
+that he had to show therein to craftsmen and to all other good judges
+how great was his respect for the difficulties of art, and how
+successfully he could solve them by faithful imitation.
+
+Not long after this, on the occasion of a festival, the friars wished
+that the scenes of Andrea, and likewise that of Francia, should be
+uncovered; and the night after Francia had finished his with the
+exception of the base, they were so rash and presumptuous as to uncover
+them, not thinking, in their ignorance of art, that Francia would want
+to retouch or otherwise change his figures. In the morning, both the
+painting of Francia and those of Andrea were open to view, and the news
+was brought to Francia that Andrea's works and his own had been
+uncovered; at which he felt such resentment, that he was like to die of
+it. Seized with anger against the friars on account of their presumption
+and the little respect that they had shown to him, he set off at his
+best speed and came up to the work; and then, climbing on to the
+staging, which had not yet been taken to pieces, although the painting
+had been uncovered, and seizing a mason's hammer that was there, he beat
+some of the women's heads to fragments, and destroyed that of the
+Madonna, and also tore almost completely away from the wall, plaster and
+all, a nude figure that is breaking a rod. Hearing the noise, the friars
+ran up, and, with the help of some laymen, seized his hands, to prevent
+him from destroying it completely. But, although in time they offered to
+give him double payment, he, on account of the hatred that he had
+conceived for them, would never restore it. By reason of the reverence
+felt by other painters both for him and for the work, they have refused
+to finish it; and so it remains, even in our own day, as a memorial of
+that event. This fresco is executed with such diligence and so much
+love, and it is so beautiful in its freshness, that Francia may be said
+to have worked better in fresco than any man of his time, and to have
+blended and harmonized his paintings in fresco better than any other,
+without needing to retouch the colours; wherefore he deserves to be much
+extolled both for this and for his other works.
+
+At Rovezzano, without the Porta alla Croce, near Florence, he painted a
+shrine with a Christ on the Cross and some saints; and in S. Giovannino,
+at the Porta a S. Piero Gattolini, he executed a Last Supper of the
+Apostles in fresco.
+
+No long time after, on the departure for France of the painter Andrea
+del Sarto, who had begun to paint the stories of S. John the Baptist in
+chiaroscuro in a cloister of the Company of the Scalzo at Florence, the
+men of that Company, desiring to have that work finished, engaged
+Francia, to the end that he, being an imitator of the manner of Andrea,
+might complete the paintings begun by the other. Thereupon Francia
+executed the decorations right round one part of that cloister, and
+finished two of the scenes, which he painted with great diligence. These
+are, first S. John the Baptist obtaining leave from his father Zacharias
+to go into the desert, and then the meeting of Christ and S. John on the
+way, with Joseph and Mary standing there and beholding them embrace one
+another. But more than this he did not do, on account of the return of
+Andrea, who then went on to finish the rest of the work.
+
+With Ridolfo Ghirlandajo he prepared a most beautiful festival for the
+marriage of Duke Lorenzo, with two sets of scenery for the dramas that
+were performed, executing them with much method, masterly judgment, and
+grace; on account of which he acquired credit and favour with that
+Prince. This service was the reason that he received the commission for
+gilding the ceiling of the Hall of Poggio a Caiano, in company with
+Andrea di Cosimo. And afterwards, in competition with Andrea del Sarto
+and Jacopo da Pontormo, he began, on a wall in that hall, the scene of
+Cicero being carried in triumph by the citizens of Rome. This work had
+been undertaken by the liberality of Pope Leo, in memory of his father
+Lorenzo, who had caused the edifice to be built, and had ordained that
+it should be painted with scenes from ancient history and other
+ornaments according to his pleasure. And these had been entrusted by the
+learned historian, M. Paolo Giovio, Bishop of Nocera, who was then chief
+in authority near the person of Cardinal Giulio de' Medici, to Andrea
+del Sarto, Jacopo da Pontormo, and Franciabigio, that they might
+demonstrate the power and perfection of their art in the work, each
+receiving thirty crowns every month from the magnificent Ottaviano de'
+Medici. Thereupon Francia executed on his part, to say nothing of the
+beauty of the scene, some buildings in perspective, very well
+proportioned. But the work remained unfinished on account of the death
+of Leo; and afterwards, in the year 1532, it was begun again by Jacopo
+da Pontormo at the commission of Duke Alessandro de' Medici, but he
+lingered over it so long, that the Duke died and it was once more left
+unfinished.
+
+But to return to Francia; so ardent was his love for the matters of art,
+that there was no summer day on which he did not draw some study of a
+nude figure from the life in his work-room, and to that end he always
+kept men in his pay. For S. Maria Nuova, at the request of Maestro
+Andrea Pasquali, an excellent physician of Florence, he executed an
+anatomical figure, in consequence of which he made a great advance in
+the art of painting, and pursued it ever afterwards with more zeal. He
+then painted in the Convent of S. Maria Novella, in the lunette over the
+door of the library, a S. Thomas confuting the heretics with his
+learning, a work which is executed with diligence and a good manner.
+There, among other details, are two children who serve to uphold an
+escutcheon in the ornamental border; and these are very fine, full of
+the greatest beauty and grace, and painted in a most lovely manner.
+
+He also executed a picture with little figures for Giovanni Maria
+Benintendi, in competition with Jacopo da Pontormo, who painted another
+of the same size for that patron, containing the story of the Magi; and
+two others were painted by Francesco d' Albertino.[12] In his work
+Francia represented the scene of David seeing Bathsheba in her bath; and
+there he painted some women in a manner too smooth and dainty, and drew
+a building in perspective, wherein is David giving letters to the
+messengers, who are to carry them to the camp to the end that Uriah the
+Hittite may meet his death; and under a loggia he painted a royal
+banquet of great beauty. This work contributed greatly to the fame and
+honour of Francia, who, if he had much ability for large figures, had
+much more for little figures.
+
+Francia also made many most beautiful portraits from life; one, in
+particular, for Matteo Sofferroni, who was very much his friend, and
+another for a countryman, the steward of Pier Francesco de' Medici at
+the Palace of S. Girolamo da Fiesole, which seems absolutely alive, with
+many others. And since he undertook any kind of work without being
+ashamed, so long as he was pursuing his art, he set his hand to whatever
+commission was given to him; wherefore, in addition to many works of the
+meanest kind, he painted a most beautiful "Noli me tangere" for the
+cloth-weaver Arcangelo, at the top of a tower that serves as a terrace,
+in Porta Rossa; with an endless number of other trivial works, executed
+by Francia because he was a person of sweet and kindly nature and very
+obliging, of which there is no need to say more.
+
+[Illustration: FRANCIABIGIO: PORTRAIT OF A MAN
+
+(_Vienna: Collection of Prince Liechtenstein._ _Canvas_)]
+
+This master loved to live in peace, and for that reason would never take
+a wife; and he was always repeating the trite proverb, "The fruits of a
+wife are cares and strife." He would never leave Florence, because,
+having seen some works by Raffaello da Urbino, and feeling that he was
+not equal to that great man and to many others of supreme renown, he did
+not wish to compete with craftsmen of such rare excellence. In truth,
+the greatest wisdom and prudence that a man can possess is to know
+himself, and to refrain from exalting himself beyond his true worth.
+And, finally, having acquired much by constant work, for one who was not
+endowed by nature with much boldness of invention or with any powers
+but those that he had gained by long study, he died in the year 1524 at
+the age of forty-two.
+
+One of Francia's disciples was his brother Agnolo, who died after having
+painted a frieze that is in the cloister of S. Pancrazio, and a few
+other works. The same Agnolo painted for the perfumer Ciano, an
+eccentric man, but respected after his kind, a sign for his shop,
+containing a gipsy woman telling the fortune of a lady in a very
+graceful manner, which was the idea of Ciano, and not without mystic
+meaning. Another who learnt to paint from the same master was Antonio di
+Donnino Mazzieri, who was a bold draughtsman, and showed much invention
+in making horses and landscapes. He painted in chiaroscuro the cloister
+of S. Agostino at Monte Sansovino, executing therein scenes from the Old
+Testament, which were much extolled. In the Vescovado of Arezzo he
+painted the Chapel of S. Matteo, with a scene, among other things,
+showing that Saint baptizing a King, in which he made a portrait of a
+German, so good that it seems to be alive. For Francesco del Giocondo he
+executed the story of the Martyrs in a chapel behind the choir of the
+Servite Church in Florence; but in this he acquitted himself so badly,
+that he lost all his credit and was reduced to undertaking any sort of
+work.
+
+Francia taught his art also to a young man named Visino, who, to judge
+from what we see of him, would have become an excellent painter, if he
+had not died young, as he did; and to many others, of whom I shall make
+no further mention. He was buried by the Company of S. Giobbe in S.
+Pancrazio, opposite to his own house, in the year 1525; and his death
+was truly a great grief to all good craftsmen, seeing that he had been a
+talented and skilful master, and very modest in his every action.
+
+FOOTNOTE:
+
+[12] Francesco Ubertini, called Il Bacchiacca.
+
+
+
+
+MORTO DA FELTRO AND ANDREA DI COSIMO FELTRINI
+
+
+
+
+LIVES OF MORTO DA FELTRO AND OF ANDREA DI COSIMO FELTRINI
+
+PAINTERS
+
+
+The painter Morto da Feltro, who was as original in his life as he was
+in his brain and in the new fashion of grotesques that he made, which
+caused him to be held in great estimation, found his way as a young man
+to Rome at the time when Pinturicchio was painting the Papal apartments
+for Alexander VI, with the loggie and lower rooms in the Great Tower of
+the Castello di S. Angelo, and some of the upper apartments. He was a
+melancholy person, and was constantly studying the antiquities; and
+seeing among them sections of vaults and ranges of walls adorned with
+grotesques, he liked these so much that he never ceased from examining
+them. And so well did he grasp the methods of drawing foliage in the
+ancient manner, that he was second to no man of his time in that
+profession. He was never tired, indeed, of examining all that he could
+find below the ground in Rome in the way of ancient grottoes, with
+vaults innumerable. He spent many months in Hadrian's Villa at Tivoli,
+drawing all the pavements and grottoes that are there, both above ground
+and below. And hearing that at Pozzuolo, in the Kingdom of Naples, ten
+miles from the city, there were many walls covered with ancient
+grotesques, both executed in relief with stucco and painted, and said to
+be very beautiful, he devoted several months to studying them on the
+spot. Nor was he content until he had drawn every least thing in the
+Campana, an ancient road in that place, full of antique sepulchres; and
+he also drew many of the temples and grottoes, both above and below the
+ground, at Trullo, near the seashore. He went to Baia and Mercato di
+Sabbato, both places full of ruined buildings covered with scenes,
+searching out everything in such a manner that by means of his long and
+loving labour he grew vastly in power and knowledge of his art.
+
+Having then returned to Rome, he worked there many months, giving his
+attention to figures, since he considered that in that part of his
+profession he was not the master that he was held to be in the execution
+of grotesques. And after he had conceived this desire, hearing the
+renown that Leonardo and Michelagnolo had in that art on account of the
+cartoons executed by them in Florence, he set out straightway to go to
+that city. But, after he had seen those works, he did not think himself
+able to make the same improvement that he had made in his first
+profession, and he went back, therefore, to work at his grotesques.
+
+There was then living in Florence one Andrea di Cosimo Feltrini, a
+painter of that city, and a young man of much diligence, who received
+Morto into his house and entertained him with most affectionate
+attentions. Finding pleasure in the nature of Morto's art, Andrea also
+gave his mind to that vocation, and became an able master, being in time
+even more excellent than Morto, and much esteemed in Florence, as will
+be told later. And it was through Andrea that Morto came to paint for
+Piero Soderini, who was then Gonfalonier, decorations of grotesques in
+an apartment of the Palace, which were held to be very beautiful; but in
+our own day these have been destroyed in rearranging the apartments of
+Duke Cosimo, and repainted. For Maestro Valerio, a Servite friar, Morto
+decorated the empty space on a chair-back, which was a most beautiful
+work; and for Agnolo Doni, likewise, in a chamber, he executed many
+pictures with a variety of bizarre grotesques. And since he also
+delighted in figures, he painted Our Lady in some round pictures, in
+order to see whether he could become as famous for them as he was (for
+his grotesques).
+
+Then, having grown weary of staying in Florence, he betook himself to
+Venice; and attaching himself to Giorgione da Castelfranco, who was then
+painting the Fondaco de' Tedeschi, he set himself to assist him and
+executed the ornamentation of that work. And in this way he remained
+many months in that city, attracted by the sensuous pleasures and
+delights that he found there.
+
+He then went to execute works in Friuli, but he had not been there long
+when, finding that the rulers of Venice were enlisting soldiers, he
+entered their service; and before he had had much experience of that
+calling he was made Captain of two hundred men. The army of the
+Venetians had advanced by that time to Zara in Sclavonia; and one day,
+when a brisk skirmish took place, Morto, desiring to win a greater name
+in that profession than he had gained in the art of painting, went
+bravely forward, and, after fighting in the melee, was left dead on the
+field, even as he had always been in name,[13] at the age of forty-five.
+But in fame he will never be dead, because those who exercise their
+hands in the arts and produce everlasting works, leaving memorials of
+themselves after death, are destined never to suffer the death of their
+labours, for writers, in their gratitude, bear witness to their talents.
+Eagerly, therefore, should our craftsmen spur themselves on with
+incessant study to such a goal as will ensure them an undying name both
+through their own works and through the writings of others, since, by so
+doing, they will gain eternal life both for themselves and for the works
+that they leave behind them after death.
+
+Morto restored the painting of grotesques in a manner more like the
+ancient than was achieved by any other painter, and for this he deserves
+infinite praise, in that it is after his example that they have been
+brought in our own day, by the hands of Giovanni da Udine and other
+craftsmen, to the great beauty and excellence that we see. For, although
+the said Giovanni and others have carried them to absolute perfection,
+it is none the less true that the chief praise is due to Morto, who was
+the first to bring them to light and to devote his whole attention to
+paintings of that kind, which are called grotesques because they were
+found for the most part in the grottoes of the ruins of Rome; besides
+which, every man knows that it is easy to make additions to anything
+once it has been discovered.
+
+The painting of grotesques was continued in Florence by Andrea Feltrini,
+called Di Cosimo, because he was a disciple of Cosimo Rosselli in the
+study of figures (which he executed passing well), as he was afterwards
+of Morto in that of grotesques, of which we have spoken. In this kind
+of painting Andrea had from nature such power of invention and such
+grace that he was the first to make ornaments of greater grandeur,
+abundance, and richness than the ancient, and quite different in manner;
+and he gave them better order and cohesion, and enriched them with
+figures, such as are not seen in Rome or in any other place but
+Florence, where he executed a great number. In this respect there has
+never been any man who has surpassed him in excellence, as may be seen
+from the ornament and the predella painted with little grotesques in
+colour round the Pieta that Pietro Perugino executed for the altar of
+the Serristori in S. Croce at Florence. These are heightened with
+various colours on a ground of red and black mixed together, and are
+wrought with much facility and with extraordinary boldness and grace.
+
+Andrea introduced the practice of covering the facades of houses and
+palaces with an intonaco of lime mixed with the black of ground
+charcoal, or rather, burnt straw, on which intonaco, when still fresh,
+he spread a layer of white plaster. Then, having drawn the grotesques,
+with such divisions as he desired, on some cartoons, he dusted them over
+the intonaco, and proceeded to scratch it with an iron tool, in such a
+way that his designs were traced over the whole facade by that tool;
+after which, scraping away the white from the grounds of the grotesques,
+he went on to shade them or to hatch a good design upon them with the
+same iron tool. Finally, he went over the whole work, shading it with a
+liquid water-colour like water tinted with black. All this produces a
+very pleasing, rich, and beautiful effect; and there was an account of
+the method in the twenty-sixth chapter, dealing with sgraffiti, in the
+Treatise on Technique.
+
+The first facades that Andrea executed in this manner were that of the
+Gondi, which is full of delicacy and grace, in Borg' Ognissanti, and
+that of Lanfredino Lanfredini, which is very ornate and rich in the
+variety of its compartments, on the Lungarno between the Ponte S.
+Trinita and the Ponte della Carraja, near S. Spirito. He also decorated
+in sgraffito the house of Andrea and Tommaso Sertini, near S. Michele in
+Piazza Padella, making it more varied and grander in manner than the
+two others. He painted in chiaroscuro the facade of the Church of the
+Servite Friars, for which work he caused the painter Tommaso di Stefano
+to paint in two niches the Angel bringing the Annunciation to the
+Virgin; and in the court, where there are the stories of S. Filippo and
+of Our Lady painted by Andrea del Sarto, he executed between the two
+doors a very beautiful escutcheon of Pope Leo X. And on the occasion of
+the visit of that Pontiff to Florence he executed many beautiful
+ornaments in the form of grotesques on the facade of S. Maria del Fiore,
+for Jacopo Sansovino, who gave him his sister for wife. He executed the
+baldachin under which the Pope walked, covering the upper part with most
+beautiful grotesques, and the hangings round it with the arms of that
+Pope and other devices of the Church; and this baldachin was afterwards
+presented to the Church of S. Lorenzo in Florence, where it is still to
+be seen. He also decorated many standards and banners for the visit of
+Leo, and in honour of many who were made Chevaliers by that Pontiff and
+by other Princes, of which there are some hung up in various churches in
+that city.
+
+Andrea, working constantly in the service of the house of Medici,
+assisted at the preparations for the wedding of Duke Giuliano and that
+of Duke Lorenzo, executing an abundance of various ornaments in the form
+of grotesques; and so, also, in the obsequies of those Princes. In all
+this he was largely employed by Franciabigio, Andrea del Sarto,
+Pontormo, and Ridolfo Ghirlandajo, and by Granaccio for triumphal
+processions and other festivals, since nothing good could be done
+without him. He was the best man that ever touched a brush, and, being
+timid by nature, he would never undertake any work on his own account,
+because he was afraid of exacting the money for his labours. He
+delighted to work the whole day long, and disliked annoyances of any
+kind; for which reason he associated himself with the gilder Mariotto di
+Francesco, one of the most able and skilful men at his work that ever
+existed in the world of art, very adroit in obtaining commissions, and
+most dexterous in exacting payments and doing business. This Mariotto
+also brought the gilder Raffaello di Biagio into the partnership, and
+the three worked together, sharing equally all the earnings of the
+commissions that they executed; and this association lasted until death
+parted them, Mariotto being the last to die.
+
+To return to the works of Andrea; he decorated for Giovanni Maria
+Benintendi all the ceilings of his house, and executed the ornamentation
+of the ante-chambers, wherein are the scenes painted by Franciabigio and
+Jacopo da Pontormo. He went with Franciabigio to Poggio, and executed in
+terretta the ornaments for all the scenes there in such a way that there
+is nothing better to be seen. For the Chevalier Guidotti he decorated in
+sgraffito the facade of his house in the Via Larga, and he also executed
+another of great beauty for Bartolommeo Panciatichi, on the house (now
+belonging to Ruberto de' Ricci) which he built on the Piazza degli Agli.
+Nor am I able to describe all the friezes, coffers, and strong-boxes, or
+the vast quantity of ceilings, which Andrea decorated with his own hand,
+for the whole city is full of these, and I must refrain from speaking of
+them. But I must mention the round escutcheons of various kinds that he
+made, for they were such that no wedding could take place without his
+having his workshop besieged by one citizen or another; nor could any
+kind of brocade, linen, or cloth of gold, with flowered patterns, ever
+be woven, without his making the designs for them, and that with so much
+variety, grace, and beauty, that he breathed spirit and life into all
+such things. If Andrea, indeed, had known his own value, he would have
+made a vast fortune; but it sufficed him to live in love with his art.
+
+I must not omit to tell that in my youth, while in the service of Duke
+Alessandro de' Medici, I was commissioned, when Charles V came to
+Florence, to make the banners for the Castle, or rather, as it is called
+at the present day, the Citadel; and among these was a standard of
+crimson cloth, eighteen braccia wide at the staff and forty in length,
+and surrounded by borders of gold containing the devices of the Emperor
+Charles V and of the house of Medici, with the arms of his Majesty in
+the centre. For this work, in which were used forty-five thousand leaves
+of gold, I summoned to my assistance Andrea for the borders and Mariotto
+for the gilding; and many things did I learn from that good Andrea, so
+full of love and kindness for those who were studying art. And so great
+did the skill of Andrea then prove to be, that, besides availing myself
+of him for many details of the arches that were erected for the entry of
+his Majesty, I chose him as my companion, together with Tribolo, when
+Madama Margherita, daughter of Charles V, came to be married to Duke
+Alessandro, in making the festive preparations that I executed in the
+house of the Magnificent Ottaviano de' Medici on the Piazza di S. Marco,
+which was adorned with grotesques by his hand, with statues by the hand
+of Tribolo, and with figures and scenes by my hand. At the last he was
+much employed for the obsequies of Duke Alessandro, and even more for
+the marriage of Duke Cosimo, when all the devices in the courtyard,
+described by M. Francesco Giambullari, who wrote an account of the
+festivities of that wedding, were painted by Andrea with ornaments of
+great variety. And then Andrea--who, by reason of a melancholy humour
+which often oppressed him, was on many occasions on the point of taking
+his own life, but was observed so closely and guarded so well by his
+companion Mariotto that he lived to be an old man--finished the course
+of his life at the age of sixty-four, leaving behind him the name of a
+good and even rarely excellent master of grotesque-painting in our own
+times, wherein every succeeding craftsman has always imitated his
+manner, not only in Florence, but also in other places.
+
+FOOTNOTE:
+
+[13] From the word "Morto," which means "dead."
+
+
+
+
+MARCO CALAVRESE
+
+
+
+
+LIFE OF MARCO CALAVRESE
+
+PAINTER
+
+
+When the world possesses some great light in any science, every least
+part is illuminated by its rays, some with greater brightness and some
+with less; and the miracles that result are also greater or less
+according to differences of air and place. Constantly, in truth, do we
+see a particular country producing a particular kind of intellect fitted
+for a particular kind of work, for which others are not fitted, nor can
+they ever attain, whatever labours they may endure, to the goal of
+supreme excellence. And if we marvel when we see growing in some
+province a fruit that has not been wont to grow there, much more can we
+rejoice in a man of fine intellect when we find him in a country where
+men of the same bent are not usually born. Thus it was with the painter
+Marco Calavrese, who, leaving his own country, chose for his habitation
+the sweet and pleasant city of Naples. He had been minded, indeed, on
+setting out, to make his way to Rome, and there to achieve the end that
+rewards the student of painting; but the song of the Siren was so sweet
+to him, and all the more because he delighted to play on the lute, and
+the soft waters of Sebeto so melted his heart, that he remained a
+prisoner in body of that land until he rendered up his spirit to Heaven
+and his mortal flesh to earth.
+
+Marco executed innumerable works in oils and in fresco, and he proved
+himself more able than any other man who was practising the same art in
+that country in his day. Of this we have proof in the work that he
+executed at Aversa, ten miles distant from Naples; and, above all, in a
+panel-picture in oils on the high-altar of the Church of S. Agostino,
+with a large ornamental frame, and various pictures painted with scenes
+and figures, in which he represented S. Augustine disputing with the
+heretics, with stories of Christ and Saints in various attitudes both
+above and at the sides. In this work, which shows a manner full of
+harmony and drawing towards the good manner of our modern works, may
+also be seen great beauty and facility of colouring; and it was one of
+the many labours that he executed in that city and for various places in
+the kingdom.
+
+Marco always lived a gay life, enjoying every minute to the full, for
+the reason that, having no rivalry to contend with in painting from
+other craftsmen, he was always adored by the Neapolitan nobles, and
+contrived to have himself rewarded for his works by ample payments. And
+so, having come to the age of fifty-six, he ended his life after an
+ordinary illness.
+
+He left a disciple in Giovan Filippo Crescione, a painter of Naples, who
+executed many pictures in company with his brother-in-law, Leonardo
+Castellani, as he still does; but of these men, since they are alive and
+in constant practice of their art, there is no need to make mention.
+
+The pictures of Maestro Marco were executed by him between 1508 and
+1542. He had a companion in another Calabrian (whose name I do not
+know), who worked for a long time in Rome with Giovanni da Udine and
+executed many works by himself in that city, particularly facades in
+chiaroscuro. The same Calabrian also painted in fresco the Chapel of the
+Conception in the Church of the Trinita, with much skill and diligence.
+
+At this same time lived Niccola, commonly called by everyone Maestro
+Cola dalla Matrice, who executed many works in Calabria, at Ascoli, and
+at Norcia, which are very well known, and which gained for him the name
+of a rare master--the best, indeed, that there had ever been in these
+parts. And since he also gave his attention to architecture, all the
+buildings that were erected in his day at Ascoli and throughout all that
+province had him as architect. Cola, without caring to see Rome or to
+change his country, remained always at Ascoli, living happily for some
+time with his wife, a woman of good and honourable family, and endowed
+with extraordinary nobility of spirit, as was proved when the strife of
+parties arose at Ascoli, in the time of Pope Paul III. For then, while
+she was flying with her husband, with many soldiers in pursuit, more on
+her account (for she was a very beautiful young woman) than for any
+other reason, she resolved, not seeing any other way in which she could
+save her own honour and the life of her husband, to throw herself from a
+high cliff to the depth below. At which all the soldiers believed that
+she was not only mortally injured, but dashed to pieces, as indeed she
+was; wherefore they left the husband without doing him any harm, and
+returned to Ascoli. After the death of this extraordinary woman, worthy
+of eternal praise, Maestro Cola passed the rest of his life with little
+happiness. A short time afterwards, Signor Alessandro Vitelli, who had
+become Lord of Matrice,[14] took Maestro Cola, now an old man, to Citta
+di Castello, where he caused him to paint in his palace many works in
+fresco and many other pictures; which works finished, Maestro Cola
+returned to finish his life at Matrice.
+
+This master would have acquitted himself not otherwise than passing
+well, if he had practised his art in places where rivalry and emulation
+might have made him attend with more study to painting, and exercise the
+beautiful intellect with which it is evident that he was endowed by
+nature.
+
+FOOTNOTE:
+
+[14] Amatrice.
+
+
+
+
+FRANCESCO MAZZUOLI
+
+
+
+
+LIFE OF FRANCESCO MAZZUOLI
+
+[_PARMIGIANO_]
+
+PAINTER OF PARMA
+
+
+Among the many natives of Lombardy who have been endowed with the
+gracious gift of design, with a lively spirit of invention, and with a
+particular manner of making beautiful landscapes in their pictures, we
+should rate as second to none, and even place before all the rest,
+Francesco Mazzuoli of Parma, who was bountifully endowed by Heaven with
+all those parts that are necessary to make a supreme painter, insomuch
+that he gave to his figures, in addition to what has been said of many
+others, a certain nobility, sweetness, and grace in the attitudes which
+belonged to him alone. To his heads, likewise, it is evident that he
+gave all the consideration that is needful; and his manner has therefore
+been studied and imitated by innumerable painters, because he shed on
+art a light of grace so pleasing, that his works will always be held in
+great price, and himself honoured by all students of design. Would to
+God that he had always pursued the studies of painting, and had not
+sought to pry into the secrets of congealing mercury in order to become
+richer than Nature and Heaven had made him; for then he would have been
+without an equal, and truly unique in the art of painting, whereas, by
+searching for that which he could never find, he wasted his time,
+wronged his art, and did harm to his own life and fame.
+
+Francesco was born at Parma in the year 1504, and because he lost his
+father when he was still a child of tender age, he was left to the care
+of two uncles, brothers of his father, and both painters, who brought
+him up with the greatest lovingness, teaching him all those praiseworthy
+ways that befit a Christian man and a good citizen. Then, having made
+some little growth, he had no sooner taken pen in hand in order to learn
+to write, than he began, spurred by Nature, who had consecrated him at
+his birth to design, to draw most marvellous things; and the master who
+was teaching him to write, noticing this and perceiving to what heights
+the genius of the boy might in time attain, persuaded his uncles to let
+him give his attention to design and painting. Whereupon, being men of
+good judgment in matters of art, although they were old and painters of
+no great fame, and recognizing that God and Nature had been the boy's
+first masters, they did not fail to take the greatest pains to make him
+learn to draw under the discipline of the best masters, to the end that
+he might acquire a good manner. And coming by degrees to believe that he
+had been born, so to speak, with brushes in his fingers, on the one hand
+they urged him on, and on the other, fearing lest overmuch study might
+perchance spoil his health, they would sometimes hold him back. Finally,
+having come to the age of sixteen, and having already done miracles of
+drawing, he painted a S. John baptizing Christ, of his own invention, on
+a panel, which he executed in such a manner that even now whoever sees
+it stands marvelling that such a work should have been painted so well
+by a boy. This picture was placed in the Nunziata, the seat of the Frati
+de' Zoccoli at Parma. Not content with this, however, Francesco resolved
+to try his hand at working in fresco, and therefore painted a chapel in
+S. Giovanni Evangelista, a house of Black Friars of S. Benedict; and
+since he succeeded in that kind of work, he painted as many as seven.
+
+But about that time Pope Leo X sent Signor Prospero Colonna with an army
+to Parma, and the uncles of Francesco, fearing that he might perchance
+lose time or be distracted, sent him in company with his cousin,
+Girolamo Mazzuoli, another boy-painter, to Viadana, a place belonging to
+the Duke of Mantua, where they lived all the time that the war lasted;
+and there Francesco painted two panels in distemper. One of these, in
+which are S. Francis receiving the Stigmata, and S. Chiara, was placed
+in the Church of the Frati de' Zoccoli; and the other, which contains a
+Marriage of S. Catharine, with many figures, was placed in S. Piero. And
+let no one believe that these are works of a young beginner, for they
+seem to be rather by the hand of a full-grown master.
+
+The war finished, Francesco, having returned with his cousin to Parma,
+first completed some pictures that he had left unfinished at his
+departure, which are in the hands of various people. After this he
+painted a panel-picture in oils of Our Lady with the Child in her arms,
+with S. Jerome on one side and the Blessed Bernardino da Feltro on the
+other, and in the head of one of these figures he made a portrait of the
+patron of the picture, which is so wonderful that it lacks nothing save
+the breath of life. All these works he executed before he had reached
+the age of nineteen.
+
+Then, having conceived a desire to see Rome, like one who was on the
+path of progress and heard much praise given to the works of good
+masters, and particularly to those of Raffaello and Michelagnolo, he
+spoke out his mind and desire to his old uncles, who, thinking that such
+a wish was not otherwise than worthy of praise, said that they were
+content that he should go, but that it would be well for him to take
+with him some work by his own hand, which might serve to introduce him
+to the noblemen of that city and to the craftsmen of his profession.
+This advice was not displeasing to Francesco, and he painted three
+pictures, two small and one of some size, representing in the last the
+Child in the arms of the Madonna, taking some fruits from the lap of an
+Angel, and an old man with his arms covered with hair, executed with art
+and judgment, and pleasing in colour. Besides this, in order to
+investigate the subtleties of art, he set himself one day to make his
+own portrait, looking at himself in a convex barber's mirror. And in
+doing this, perceiving the bizarre effects produced by the roundness of
+the mirror, which twists the beams of a ceiling into strange curves, and
+makes the doors and other parts of buildings recede in an extraordinary
+manner, the idea came to him to amuse himself by counterfeiting
+everything. Thereupon he had a ball of wood made by a turner, and,
+dividing it in half so as to make it the same in size and shape as the
+mirror, set to work to counterfeit on it with supreme art all that he
+saw in the glass, and particularly his own self, which he did with such
+lifelike reality as could not be imagined or believed. Now everything
+that is near the mirror is magnified, and all that is at a distance is
+diminished, and thus he made the hand engaged in drawing somewhat
+large, as the mirror showed it, and so marvellous that it seemed to be
+his very own. And since Francesco had an air of great beauty, with a
+face and aspect full of grace, in the likeness rather of an angel than
+of a man, his image on that ball had the appearance of a thing divine.
+So happily, indeed, did he succeed in the whole of this work, that the
+painting was no less real than the reality, and in it were seen the
+lustre of the glass, the reflection of every detail, and the lights and
+shadows, all so true and natural, that nothing more could have been
+looked for from the brain of man.
+
+[Illustration: THE MARRIAGE OF S. CATHARINE
+
+(_After the painting by =Francesco Mazzuoli [Parmigiano]=. Parma:
+Gallery, 192_)
+
+_Anderson_]
+
+Having finished these works, which were held by his old uncles to be out
+of the ordinary, and even considered by many other good judges of art to
+be miracles of beauty, and having packed up both pictures and portrait,
+he made his way to Rome, accompanied by one of the uncles. There, after
+the Datary had seen the pictures and appraised them at their true worth,
+the young man and his uncle were straightway introduced to Pope Clement,
+who, seeing the works and the youthfulness of Francesco, was struck with
+astonishment, and with him all his Court. And afterwards his Holiness,
+having first shown him much favour, said that he wished to commission
+him to paint the Hall of the Popes, in which Giovanni da Udine had
+already decorated all the ceiling with stucco-work and painting. And so,
+after presenting his pictures to the Pope, and receiving various gifts
+and marks of favour in addition to his promises, Francesco, spurred by
+the praise and glory that he heard bestowed upon him, and by the hope of
+the profit that he might expect from so great a Pontiff, painted a most
+beautiful picture of the Circumcision, which was held to be
+extraordinary in invention on account of three most fanciful lights that
+shone in the work; for the first figures were illuminated by the
+radiance of the countenance of Christ, the second received their light
+from others who were walking up some steps with burning torches in their
+hands, bringing offerings for the sacrifice, and the last were revealed
+and illuminated by the light of the dawn, which played upon a most
+lovely landscape with a vast number of buildings. This picture finished,
+he presented it to the Pope, who did not do with it what he had done
+with the others; for he had given the picture of Our Lady to Cardinal
+Ippolito de' Medici, his nephew, and the mirror-portrait to Messer
+Pietro Aretino, the poet, who was in his service, but the picture of the
+Circumcision he kept for himself; and it is believed that it came in
+time into the possession of the Emperor. The mirror-portrait I remember
+to have seen, when quite a young man, in the house of the same Messer
+Pietro Aretino at Arezzo, where it was sought out as a choice work by
+the strangers passing through that city. Afterwards it fell, I know not
+how, into the hands of Valerio Vicentino, the crystal-engraver, and it
+is now in the possession of Alessandro Vittoria, a sculptor in Venice,
+the disciple of Jacopo Sansovino.
+
+But to return to Francesco; while studying in Rome, he set himself to
+examine all the ancient and modern works, both of sculpture and of
+painting, that were in that city, but held those of Michelagnolo
+Buonarroti and Raffaello da Urbino in supreme veneration beyond all the
+others; and it was said afterwards that the spirit of that Raffaello had
+passed into the body of Francesco, when men saw how excellent the young
+man was in art, and how gentle and gracious in his ways, as was
+Raffaello, and above all when it became known how much Francesco strove
+to imitate him in everything, and particularly in painting. Nor was this
+study in vain, for many little pictures that he painted in Rome, the
+greater part of which afterwards came into the hands of Cardinal
+Ippolito de' Medici, were truly marvellous; and even such is a round
+picture with a very beautiful Annunciation, executed by him for Messer
+Agnolo Cesis, which is now treasured as a rare work in the house of that
+family. He painted a picture, likewise, of the Madonna with Christ, some
+Angels, and a S. Joseph, which are beautiful to a marvel on account of
+the expressions of the heads, the colouring, and the grace and diligence
+with which they are seen to have been executed. This work was formerly
+in the possession of Luigi Gaddi, and it must now be in the hands of his
+heirs.
+
+Hearing the fame of this master, Signor Lorenzo Cibo, Captain of the
+Papal Guard, and a very handsome man, had a portrait of himself painted
+by Francesco, who may be said to have made, not a portrait, but a living
+figure of flesh and blood. Having then been commissioned to paint for
+Madonna Maria Bufolini of Citta di Castello a panel-picture which was
+to be placed in S. Salvatore del Lauro, in a chapel near the door,
+Francesco painted in it a Madonna in the sky, who is reading and has the
+Child between her knees, and on the earth he made a figure of S. John,
+kneeling on one knee in an attitude of extraordinary beauty, turning his
+body, and pointing to the Infant Christ; and lying asleep on the ground,
+in foreshortening, is a S. Jerome in Penitence.
+
+But he was prevented from bringing this work to completion by the ruin
+and sack of Rome in 1527, which was the reason not only that the arts
+were banished for a time, but also that many craftsmen lost their lives.
+And Francesco, also, came within a hair's breadth of losing his, seeing
+that at the beginning of the sack he was so intent on his work, that,
+when the soldiers were entering the houses, and some Germans were
+already in his, he did not move from his painting for all the uproar
+that they were making; but when they came upon him and saw him working,
+they were so struck with astonishment at the work, that, like the
+gentlemen that they must have been, they let him go on. And thus, while
+the impious cruelty of those barbarous hordes was ruining the unhappy
+city and all its treasures, both sacred and profane, without showing
+respect to either God or man, Francesco was provided for and greatly
+honoured by those Germans, and protected from all injury. All the
+hardship that he suffered at that time was this, that he was forced, one
+of them being a great lover of painting, to make a vast number of
+drawings in water-colours and with the pen, which formed the payment of
+his ransom. But afterwards, when these soldiers changed their quarters,
+Francesco nearly came to an evil end, because, going to look for some
+friends, he was made prisoner by other soldiers and compelled to pay as
+ransom some few crowns that he possessed. Wherefore his uncle, grieved
+by that and by the fact that this disaster had robbed Francesco of his
+hopes of acquiring knowledge, honour, and profit, and seeing Rome almost
+wholly in ruins and the Pope the prisoner of the Spaniards, determined
+to take him back to Parma. And so he set Francesco on his way to his
+native city, but himself remained for some days in Rome, where he
+deposited the panel-picture painted for Madonna Maria Bufolini with the
+Friars of the Pace, in whose refectory it remained for many years,
+until finally it was taken by Messer Giulio Bufolini to the church of
+his family in Citta di Castello.
+
+Having arrived in Bologna, and finding entertainment with many friends,
+and particularly in the house of his most intimate friend, a saddler of
+Parma, Francesco stayed some months in that city, where the life pleased
+him, during which time he had some works engraved and printed in
+chiaroscuro, among others the Beheading of S. Peter and S. Paul, and a
+large figure of Diogenes. He also prepared many others, in order to have
+them engraved on copper and printed, having with him for this purpose
+one Maestro Antonio da Trento; but he did not carry this intention into
+effect at the time, because he was forced to set his hand to executing
+many pictures and other works for gentlemen of Bologna. The first
+picture by his hand that was seen at Bologna was a S. Rocco of great
+size in the Chapel of the Monsignori in S. Petronio; to which Saint he
+gave a marvellous aspect, making him very beautiful in every part, and
+conceiving him as somewhat relieved from the pain that the plague-sore
+in the thigh gave him, which he shows by looking with uplifted head
+towards Heaven in the act of thanking God, as good men do in spite of
+the adversities that fall upon them. This work he executed for one
+Fabrizio da Milano, of whom he painted a portrait from the waist upwards
+in the picture, with the hands clasped, which seems to be alive; and
+equally real, also, seems a dog that is there, with some landscapes
+which are very beautiful, Francesco being particularly excellent in this
+respect.
+
+He then painted for Albio, a physician of Parma, a Conversion of S.
+Paul, with many figures and a landscape, which was a very choice work.
+And for his friend the saddler he executed another picture of
+extraordinary beauty, containing a Madonna turned to one side in a
+lovely attitude, and several other figures. He also painted a picture
+for Count Giorgio Manzuoli, and two canvases in gouache, with some
+little figures, all graceful and well executed, for Maestro Luca dai
+Leuti.
+
+One morning about this time, while Francesco was still in bed, the
+aforesaid Antonio da Trento, who was living with him as his engraver,
+opened a strong-box and robbed him of all the copper-plate engravings,
+woodcuts, and drawings that he possessed; and he must have gone off to
+the Devil, for all the news that was ever heard of him. The engravings
+and woodcuts, indeed, Francesco recovered, for Antonio had left them
+with a friend in Bologna, perchance with the intention of reclaiming
+them at his convenience; but the drawings he was never able to get back.
+Driven almost out of his mind by this, he returned to his painting, and
+made a portrait, for the sake of money, of I know not what Count of
+Bologna. After that he painted a picture of Our Lady, with a Christ who
+is holding a globe of the world. The Madonna has a most beautiful
+expression, and the Child is also very natural; for he always gave to
+the faces of children a vivacious and truly childlike air, which yet
+reveals that subtle and mischievous spirit that children often have. And
+he attired the Madonna in a very unusual fashion, clothing her in a
+garment that had sleeves of yellowish gauze, striped, as it were, with
+gold, which gave a truly beautiful and graceful effect, revealing the
+flesh in a natural and delicate manner; besides which, the hair is
+painted so well that there is none better to be seen. This picture was
+painted for Messer Pietro Aretino, but Francesco gave it to Pope
+Clement, who came to Bologna at that time; then, in some way of which I
+know nothing, it fell into the hands of Messer Dionigi Gianni, and it
+now belongs to his son, Messer Bartolommeo, who has been so
+accommodating with it that it has been copied fifty times, so much is it
+prized.
+
+[Illustration: MADONNA AND CHILD WITH SAINTS
+
+(_After the panel by =Francesco Mazzuoli [Parmigiano]=. Bologna:
+Accademia, 116_)
+
+_Brogi_]
+
+The same master painted for the Nuns of S. Margherita, in Bologna, a
+panel-picture containing a Madonna, S. Margaret, S. Petronio, S. Jerome,
+and S. Michael, which is held in vast veneration, as it deserves, since
+in the expressions of the heads and in every other part it is as fine as
+all the other works of this painter. He made many drawings, likewise,
+and in particular some for Girolamo del Lino, and some for Girolamo
+Fagiuoli, a goldsmith and engraver, who desired them for engraving on
+copper; and these drawings are held to be full of grace. For Bonifazio
+Gozzadino he painted his portrait from life, with one of his wife, which
+remained unfinished. He also began a picture of Our Lady, which was
+afterwards sold in Bologna to Giorgio Vasari of Arezzo, who has it in
+the new house built by himself at Arezzo, together with many other
+noble pictures, works of sculpture, and ancient marbles.
+
+When the Emperor Charles V was at Bologna to be crowned by Clement VII,
+Francesco, who went several times to see him at table, but without
+drawing his portrait, made a likeness of that Emperor in a very large
+picture in oils, wherein he painted Fame crowning him with laurel, and a
+boy in the form of a little Hercules offering him a globe of the world,
+giving him, as it were, the dominion over it. This work, when finished,
+he showed to Pope Clement, who was so pleased with it that he sent it
+and Francesco together, accompanied by the Bishop of Vasona, then
+Datary, to the Emperor; at which his Majesty, to whom it gave much
+satisfaction, hinted that it should be left with him. But Francesco,
+being ill advised by an insincere or injudicious friend, refused to
+leave it, saying that it was not finished; and so his Majesty did not
+have it, and Francesco was not rewarded for it, as he certainly would
+have been. This picture, having afterwards fallen into the hands of
+Cardinal Ippolito de' Medici, was presented by him to the Cardinal of
+Mantua; and it is now in the guardaroba of the Duke of that city, with
+many other most noble and beautiful pictures.
+
+After having been so many years out of his native place, as we have
+related, during which he had gained much experience in art, without
+accumulating any store of riches, but only of friends, Francesco, in
+order to satisfy his many friends and relatives, finally returned to
+Parma. Arriving there, he was straightway commissioned to paint in
+fresco a vault of some size in the Church of S. Maria della Steccata;
+but since in front of that vault there was a flat arch which followed
+the curve of the vaulting, making a sort of facade, he set to work first
+on the arch, as being the easier, and painted therein six very beautiful
+figures, two in colour and four in chiaroscuro. Between one figure and
+another he made some most beautiful ornaments, surrounding certain
+rosettes in relief, which he took it into his head to execute by himself
+in copper, taking extraordinary pains over them.
+
+At this same time he painted for the Chevalier Baiardo, a gentleman of
+Parma and his intimate friend, a picture of a Cupid, who is fashioning
+a bow with his own hand, and at his feet are seated two little boys,
+one of whom catches the other by the arm and laughingly urges him to
+touch Cupid with his finger, but he will not touch him, and shows by his
+tears that he is afraid of burning himself at the fire of Love. This
+picture, which is charming in colour, ingenious in invention, and
+executed in that graceful manner of Francesco's that has been much
+studied and imitated, as it still is, by craftsmen and by all who
+delight in art, is now in the study of Signor Marc' Antonio Cavalca,
+heir to the Chevalier Baiardo, together with many drawings of every kind
+by the hand of the same master, all most beautiful and highly finished,
+which he has collected. Even such are the many drawings, also by the
+hand of Francesco, that are in our book; and particularly that of the
+Beheading of S. Peter and S. Paul, of which, as has been related, he
+published copper-plate engravings and woodcuts, while living in Bologna.
+For the Church of S. Maria de' Servi he painted a panel-picture of Our
+Lady with the Child asleep in her arms, and on one side some Angels, one
+of whom has in his arms an urn of crystal, wherein there glitters a
+Cross, at which the Madonna gazes in contemplation. This work remained
+unfinished, because he was not well contented with it; and yet it is
+much extolled, and a good example of his manner, so full of grace and
+beauty.
+
+Meanwhile Francesco began to abandon the work of the Steccata, or at
+least to carry it on so slowly that it was evident that he was not in
+earnest. And this happened because he had begun to study the problems of
+alchemy, and had quite deserted his profession of painting, thinking
+that he would become rich quicker by congealing mercury. Wherefore,
+wearing out his brain, but not in imagining beautiful inventions and
+executing them with brushes and colour-mixtures, he wasted his whole
+time in handling charcoal, wood, glass vessels, and other suchlike
+trumperies, which made him spend more in one day than he earned by a
+week's work at the Chapel of the Steccata. Having no other means of
+livelihood, and being yet compelled to live, he was wasting himself away
+little by little with those furnaces; and what was worse, the men of the
+Company of the Steccata, perceiving that he had completely abandoned
+the work, and having perchance paid him more than his due, as is often
+done, brought a suit against him. Thereupon, thinking it better to
+withdraw, he fled by night with some friends to Casal Maggiore. And
+there, having dispersed a little of the alchemy out of his head, he
+painted a panel-picture for the Church of S. Stefano, of Our Lady in the
+sky, with S. John the Baptist and S. Stephen below. Afterwards he
+executed a picture, the last that he ever painted, of the Roman
+Lucretia, which was a thing divine and one of the best that were ever
+seen by his hand; but it has disappeared, however that may have
+happened, so that no one knows where it is.
+
+By his hand, also, is a picture of some nymphs, which is now in the
+house of Messer Niccolo Bufolini at Citta di Castello, and a child's
+cradle, which was painted for Signora Angiola de' Rossi of Parma, wife
+of Signor Alessandro Vitelli, and is likewise at Citta di Castello.
+
+In the end, having his mind still set on his alchemy, like every other
+man who has once grown crazed over it, and changing from a dainty and
+gentle person into an almost savage man with long and unkempt beard and
+locks, a creature quite different from his other self, Francesco went
+from bad to worse, became melancholy and eccentric, and was assailed by
+a grievous fever and a cruel flux, which in a few days caused him to
+pass to a better life. And in this way he found an end to the troubles
+of this world, which was never known to him save as a place full of
+annoyances and cares. He wished to be laid to rest in the Church of the
+Servite Friars, called La Fontana, one mile distant from Casal Maggiore;
+and he was buried naked, as he had directed, with a cross of cypress
+upright on his breast. He finished the course of his life on the 24th of
+August, in the year 1540, to the great loss of art on account of the
+singular grace that his hands gave to the pictures that he painted.
+
+Francesco delighted to play on the lute, and had a hand and a genius so
+well suited to it that he was no less excellent in this than in
+painting. It is certain that if he had not worked by caprice, and had
+laid aside the follies of the alchemists, he would have been without a
+doubt one of the rarest and most excellent painters of our age. I do not
+deny that working at moments of fever-heat, and when one feels
+inclined, may be the best plan. But I do blame a man for working little
+or not at all, and for wasting all his time over cogitations, seeing
+that the wish to arrive by trickery at a goal to which one cannot
+attain, often brings it about that one loses what one knows in seeking
+after that which it is not given to us to know. If Francesco, who had
+from nature a spirit of great vivacity, with a beautiful and graceful
+manner, had persisted in working every day, little by little he would
+have made such proficience in art, that, even as he gave a beautiful,
+gracious, and most charming expression to his heads, so he would have
+surpassed his own self and the others in the solidity and perfect
+excellence of his drawing.
+
+He left behind him his cousin Girolamo Mazzuoli, who, with great credit
+to himself, always imitated his manner, as is proved by the works by his
+hand that are in Parma. At Viadana, also, whither he fled with Francesco
+on account of the war, he painted, young as he was, a very beautiful
+Annunciation on a little panel for S. Francesco, a seat of the Frati de'
+Zoccoli; and he painted another for S. Maria ne' Borghi. For the
+Conventual Friars of S. Francis at Parma he executed the panel-picture
+of their high-altar, containing Joachim being driven from the Temple,
+with many figures. And for S. Alessandro, a convent of nuns in that
+city, he painted a panel with the Madonna in Heaven, the Infant Christ
+presenting a palm to S. Giustina, and some Angels drawing back a piece
+of drapery, with S. Alexander the Pope and S. Benedict. For the Church
+of the Carmelite Friars he painted the panel-picture of their
+high-altar, which is very beautiful, and for S. Sepolcro another
+panel-picture of some size. In S. Giovanni Evangelista, a church of nuns
+in the same city, are two panel-pictures by the hand of Girolamo, of no
+little beauty, but not equal to the doors of the organ or to the picture
+of the high-altar, in which is a most beautiful Transfiguration,
+executed with much diligence. The same master has painted a
+perspective-view in fresco in the refectory of those nuns, with a
+picture in oils of the Last Supper of Christ with the Apostles, and
+fresco-paintings in the Chapel of the High-Altar in the Duomo. And for
+Madama Margherita of Austria, Duchess of Parma, he has made a portrait
+of the Prince Don Alessandro, her son, in full armour, with his sword
+over a globe of the world, and an armed figure of Parma kneeling before
+him.
+
+In a chapel of the Steccata, at Parma, he has painted in fresco the
+Apostles receiving the Holy Spirit, and on an arch similar to that which
+his cousin Francesco painted he has executed six Sibyls, two in colour
+and four in chiaroscuro; while in a niche opposite to that arch he has
+painted the Nativity of Christ, with the Shepherds adoring Him, which is
+a very beautiful picture, although it was left not quite finished. For
+the high-altar of the Certosa, without Parma, he has painted a
+panel-picture with the three Magi; a panel for S. Piero, an abbey of
+Monks of S. Bernard, at Pavia; another for the Duomo of Mantua, at the
+commission of the Cardinal; and yet another panel for S. Giovanni in the
+same city, containing a Christ in a glory of light, surrounded by the
+Apostles, with S. John, of whom He appears to be saying, "Sic eum volo
+manere," etc.; while round this panel, in six large pictures, are the
+miracles of the same S. John the Evangelist.
+
+In the Church of the Frati Zoccolanti, on the left hand, there is a
+large panel-picture of the Conversion of S. Paul, a very beautiful work,
+by the hand of the same man. And for the high-altar of S. Benedetto in
+Pollirone, a place twelve miles distant from Mantua, he has executed a
+panel-picture of Christ in the Manger being adored by the Shepherds,
+with Angels singing. He has also painted--but I do not know exactly at
+what time--a most beautiful picture of five Loves, one of whom is
+sleeping, and the others are despoiling him, one taking away his bow,
+another his arrows, and the others his torch, which picture belongs to
+the Lord Duke Ottavio, who holds it in great account by reason of the
+excellence of Girolamo. This master has in no way fallen short of the
+standard of his cousin Francesco, being a fine painter, gentle and
+courteous beyond belief; and since he is still alive, there are seen
+issuing from his brush other works of rare beauty, which he has
+constantly in hand.
+
+A close friend of the aforesaid Francesco Mazzuoli was Messer Vincenzio
+Caccianimici, a gentleman of Bologna, who painted and strove to the best
+of his power to imitate the manner of Francesco. This Vincenzio was a
+very good colourist, so that the works which he executed for his own
+pleasure, or to present to his friends and various noblemen, are truly
+well worthy of praise; and such, in particular, is a panel-picture in
+oils, containing the Beheading of S. John the Baptist, which is in the
+chapel of his family in S. Petronio. This talented gentleman, by whose
+hand are some very beautiful drawings in our book, died in the year
+1542.
+
+
+
+
+JACOPO PALMA AND LORENZO LOTTO
+
+
+
+
+[Illustration: LORENZO LOTTO: THE TRIUMPH OF CHASTITY
+
+(_Rome: Rospigliosi Gallery. Panel_)]
+
+
+
+
+LIVES OF JACOPO PALMA
+
+[_PALMA VECCHIO_]
+
+AND LORENZO LOTTO
+
+PAINTERS OF VENICE
+
+
+So potent are mastery and excellence, even when seen in only one or two
+works executed to perfection by a man in the art that he practises,
+that, no matter how small these may be, craftsmen and judges of art are
+forced to extol them, and writers are compelled to celebrate them and to
+give praise to the craftsman who has made them; even as we are now about
+to do for the Venetian Palma. This master, although not very eminent,
+nor remarkable for perfection of painting, was nevertheless so careful
+and diligent, and subjected himself so zealously to the labours of art,
+that a certain proportion of his works, if not all, have something good
+in them, in that they are close imitations of life and of the natural
+appearance of men.
+
+[Illustration: JACOPO PALMA (PALMA VECCHIO): S. BARBARA
+
+(_Venice: S. Maria Formosa. Panel_)]
+
+Palma was much more remarkable for his patience in harmonizing and
+blending colours than for boldness of design, and he handled colour with
+extraordinary grace and finish. This may be seen in Venice from many
+pictures and portraits that he executed for various gentlemen; but of
+these I shall say nothing more, since I propose to content myself with
+making mention of some altar-pieces and of a head that I hold to be
+marvellous, or rather, divine. One of the altar-pieces he painted for S.
+Antonio, near Castello, at Venice, and another for S. Elena, near the
+Lido, where the Monks of Monte Oliveto have their monastery. In the
+latter, which is on the high-altar of that church, he painted the Magi
+presenting their offerings to Christ, with a good number of figures,
+among which are some heads truly worthy of praise, as also are the
+draperies, executed with a beautiful flow of folds, which cover the
+figures. Palma also painted a lifesize S. Barbara for the altar of the
+Bombardieri in the Church of S. Maria Formosa, with two smaller figures
+at the sides, S. Sebastian and S. Anthony; and the S. Barbara is one of
+the best figures that this painter ever executed. The same master also
+executed another altar-piece, in which is a Madonna in the sky, with S.
+John below, for the Church of S. Moise, near the Piazza di S. Marco. In
+addition to this, Palma painted a most beautiful scene for the hall
+wherein the men of the Scuola of S. Marco assemble, on the Piazza di SS.
+Giovanni e Paolo, in emulation of those already executed by Giovanni
+Bellini, Giovanni Mansueti, and other painters. In this scene is
+depicted a ship which is bringing the body of S. Mark to Venice; and
+there may be seen counterfeited by Palma a terrible tempest on the sea,
+and some barques tossed and shaken by the fury of the winds, all
+executed with much judgment and thoughtful care. The same may be said of
+a group of figures in the air, and of the demons in various forms who
+are blowing, after the manner of winds, against the barques, which,
+driven by oars, and striving in various ways to break through the
+dangers of the towering waves, are like to sink. In short, to tell the
+truth, this work is of such a kind, and so beautiful in invention and in
+other respects, that it seems almost impossible that brushes and
+colours, employed by human hands, however excellent, should be able to
+depict anything more true to reality or more natural; for in it may be
+seen the fury of the winds, the strength and dexterity of the men, the
+movements of the waves, the lightning-flashes of the heavens, the water
+broken by the oars, and the oars bent by the waves and by the efforts of
+the rowers. Why say more? I, for my part, do not remember to have ever
+seen a more terrible painting than this, which is executed in such a
+manner, and with such care in the invention, the drawing, and the
+colouring, that the picture seems to quiver, as if all that is painted
+therein were real. For this work Jacopo Palma deserves the greatest
+praise, and the honour of being numbered among those who are masters of
+art and who are able to express with facility in their pictures their
+most sublime conceptions. For many painters, in difficult subjects of
+that kind, achieve in the first sketch of their work, as though
+guided by a sort of fire of inspiration, something of the good and a
+certain measure of boldness; but afterwards, in finishing it, the
+boldness vanishes, and nothing is left of the good that the first fire
+produced. And this happens because very often, in finishing, they
+consider the parts and not the whole of what they are executing, and
+thus, growing cold in spirit, they come to lose their vein of boldness;
+whereas Jacopo stood ever firm in the same intention and brought to
+perfection his first conception, for which he received vast praise at
+that time, as he always will.
+
+[Illustration: S. SEBASTIAN
+
+(_After the panel by =Jacopo Palma [Palma Vecchio]=. Venice: S. Maria
+Formosa_)
+
+_Anderson_]
+
+But without a doubt, although the works of this master were many, and
+all much esteemed, that one is better than all the others and truly
+extraordinary in which he made his own portrait from life by looking at
+himself in a mirror, with some camel-skins about him, and certain tufts
+of hair, and all so lifelike that nothing better could be imagined. For
+so much did the genius of Palma effect in this particular work, that he
+made it quite miraculous and beautiful beyond belief, as all men
+declare, the picture being seen almost every year at the Festival of the
+Ascension. And, in truth, it well deserves to be celebrated, in point of
+draughtsmanship, colouring, and mastery of art--in a word, on account of
+its absolute perfection--beyond any other work whatsoever that had been
+executed by any Venetian painter up to that time, since, besides other
+things, there may be seen in the eyes a roundness so perfect, that
+Leonardo da Vinci and Michelagnolo Buonarroti would not have done it in
+any other way. But it is better to say nothing of the grace, the
+dignity, and the other qualities that are to be seen in this portrait,
+because it is not possible to say as much of its perfection as would
+exhaust its merits. If Fate had decreed that Palma should die after this
+work, he would have carried off with him the glory of having surpassed
+all those whom we celebrate as our rarest and most divine intellects;
+but the duration of his life, keeping him at work, brought it about
+that, not maintaining the high beginning that he had made, he came to
+deteriorate as much as most men had thought him destined to improve.
+Finally, content that one or two supreme works should have cleared him
+of some of the censure that the others had brought upon him, he died in
+Venice at the age of forty-eight.
+
+A friend and companion of Palma was Lorenzo Lotto, a painter of Venice,
+who, after imitating for some time the manner of the Bellini, attached
+himself to that of Giorgione, as is shown by many pictures and portraits
+which are in the houses of gentlemen in Venice. In the house of Andrea
+Odoni there is a portrait of him, which is very beautiful, by the hand
+of Lorenzo. And in the house of Tommaso da Empoli, a Florentine, there
+is a picture of the Nativity of Christ, painted as an effect of night,
+which is one of great beauty, particularly because the splendour of
+Christ is seen to illuminate the picture in a marvellous manner; and
+there is the Madonna kneeling, with a portrait of Messer Marco Loredano
+in a full-length figure that is adoring Christ. For the Carmelite Friars
+the same master painted an altar-piece showing S. Nicholas in his
+episcopal robes, poised in the air, with three Angels; below him are S.
+Lucia and S. John, on high some clouds, and beneath these a most
+beautiful landscape, with many little figures and animals in various
+places. On one side is S. George on horseback, slaying the Dragon, and
+at a little distance the Maiden, with a city not far away, and an arm of
+the sea. For the Chapel of S. Antonino, Archbishop of Florence, in SS.
+Giovanni e Paolo, Lorenzo executed an altar-piece containing the
+first-named Saint seated with two priests in attendance, and many people
+below.
+
+[Illustration: THE GLORIFICATION OF S. NICHOLAS
+
+(_After the painting by =Lorenzo Lotto=. Venice: S. Maria del Carmine_)
+
+_Anderson_]
+
+While this painter was still young, imitating partly the manner of the
+Bellini and partly that of Giorgione, he painted an altar-piece, divided
+into six pictures, for the high-altar of S. Domenico at Recanati. In the
+central picture is the Madonna with the Child in her arms, giving the
+habit, by the hands of an Angel, to S. Dominic, who is kneeling before
+the Virgin; and in this picture are also two little boys, one playing on
+a lute and the other on a rebeck. In the second picture are the Popes S.
+Gregory and S. Urban; and in the third is S. Thomas Aquinas, with
+another saint, who was Bishop of Recanati. Above these are the three
+other pictures; and in the centre, above the Madonna, is a Dead Christ,
+supported by an Angel, with His Mother kissing His arm, and S.
+Magdalene. Over the picture of S. Gregory are S. Mary Magdalene and S.
+Vincent; and in the third--namely, above the S. Thomas Aquinas--are S.
+Gismondo and S. Catharine of Siena. In the predella, which is a
+rare work painted with little figures, there is in the centre the
+scene of S. Maria di Loreto being carried by the Angels from the regions
+of Sclavonia to the place where it now stands. Of the two scenes that
+are on either side of this, one shows S. Dominic preaching, the little
+figures being the most graceful in the world, and the other Pope
+Honorius confirming the Rule of S. Dominic. In the middle of this church
+is a figure of S. Vincent, the Friar, executed in fresco by the hand of
+the same master. And in the Church of S. Maria di Castelnuovo there is
+an altar-piece in oils of the Transfiguration of Christ, with three
+scenes painted with little figures in the predella--Christ leading the
+Apostles to Mount Tabor, His Prayer in the Garden, and His Ascension
+into Heaven.
+
+[Illustration: ANDREA ODONI
+
+(_After the painting by =Lorenzo Lotto=. Hampton Court Palace_)
+
+_Mansell_]
+
+After these works Lorenzo went to Ancona, at the very time when Mariano
+da Perugia had finished a panel-picture, with a large ornamental frame,
+for the high-altar of S. Agostino. This did not give much satisfaction;
+and Lorenzo was commissioned to paint a picture, which is placed in the
+middle of the same church, of Our Lady with the Child in her lap, and
+two figures of Angels in the air, in foreshortening, crowning the
+Virgin.
+
+Finally, being now old, and having almost lost his voice, Lorenzo made
+his way, after executing some other works of no great importance at
+Ancona, to the Madonna of Loreto, where he had already painted an
+altar-piece in oils, which is in a chapel at the right hand of the
+entrance into the church. There, having resolved to finish his life in
+the service of the Madonna, and to make that holy house his habitation,
+he set his hand to executing scenes with figures one braccio or less in
+height round the choir, over the seats of the priests. In one scene he
+painted the Birth of Jesus Christ, and in another the Magi adoring Him.
+Next came the Presentation to Simeon, and after that the Baptism of
+Christ by John in the Jordan. There was also the Woman taken in Adultery
+being led before Christ, and all these were executed with much grace.
+Two other scenes, likewise, did he paint there, with an abundance of
+figures; one of David causing a sacrifice to be offered, and in the
+other was the Archangel Michael in combat with Lucifer, after having
+driven him out of Heaven.
+
+These works finished, no long time had passed when, even as he had lived
+like a good citizen and a true Christian, so he died, rendering up his
+soul to God his Master. These last years of his life he found full of
+happiness and serenity of mind, and, what is more, we cannot but believe
+that they gave him the earnest of the blessings of eternal life; which
+might not have happened to him if at the end of his life he had been
+wrapped up too closely in the things of this world, which, pressing too
+heavily on those who put their whole trust in them, prevent them from
+ever raising their minds to the true riches and the supreme blessedness
+and felicity of the other life.
+
+[Illustration: RONDINELLO (NICCOLO RONDINELLI): MADONNA AND CHILD
+
+(_Paris: Louvre, 1159. Panel_)]
+
+There also flourished in Romagna at this time the excellent painter
+Rondinello, of whom we made some slight mention in the Life of Giovanni
+Bellini, whose disciple he was, assisting him much in his works. This
+Rondinello, after leaving Giovanni Bellini, laboured at his art to such
+purpose, that, being very diligent, he executed many works worthy of
+praise; of which we have witness in the panel-picture of the high-altar
+in the Duomo at Forli, showing Christ giving the Communion to the
+Apostles, which he painted there with his own hand, executing it very
+well. In the lunette above this picture he painted a Dead Christ, and in
+the predella some scenes with little figures, finished with great
+diligence, representing the actions of S. Helena, the mother of the
+Emperor Constantine, in the finding of the Cross. He also painted a
+single figure of S. Sebastian, which is very beautiful, in a picture in
+the same church. For the altar of S. Maria Maddalena, in the Duomo of
+Ravenna, he painted a panel-picture in oils containing the single figure
+of that Saint; and below this, in a predella, he executed three scenes
+with very graceful little figures. In one is Christ appearing to Mary
+Magdalene in the form of a gardener, in another S. Peter leaving the
+ship and walking over the water towards Christ, and between them the
+Baptism of Jesus Christ; and all are very beautiful. For S. Giovanni
+Evangelista, in the same city, he painted two panel-pictures, one with
+that Saint consecrating the church, and in the other three martyrs, S.
+Cantius, S. Cantianus, and S. Cantianilla, figures of great beauty. In
+S. Apollinare, also in that city, are two pictures, highly extolled,
+each with a single figure, S. John the Baptist and S. Sebastian.
+And in the Church of the Spirito Santo there is a panel, likewise by his
+hand, containing the Madonna placed between the Virgin Martyr S.
+Catharine and S. Jerome. For S. Francesco, likewise, he painted two
+panel-pictures, one of S. Catharine and S. Francis, and in the other Our
+Lady with S. James the Apostle, S. Francis, and many figures. For S.
+Domenico, in like manner, he executed two other panels, one of which,
+containing the Madonna and many figures, is on the left hand of the
+high-altar, and the other, a work of no little beauty, is on a wall of
+the church. And for the Church of S. Niccolo, a convent of Friars of S.
+Augustine, he painted another panel with S. Laurence and S. Francis. So
+much was he commended for all these works, that during his lifetime he
+was held in great account, not only in Ravenna but throughout all
+Romagna. Rondinello lived to the age of sixty, and was buried in S.
+Francesco at Ravenna.
+
+[Illustration: MADONNA AND CHILD WITH SAINTS
+
+(_After the painting by =Rondinello [Niccolo Rondinelli]=. Ravenna:
+Accademia_)
+
+_Alinari_]
+
+This master left behind him Francesco da Cotignola, a painter likewise
+held in estimation in that city, who painted many works; in particular,
+for the high-altar of the Church of the Abbey of Classi in Ravenna, a
+panel-picture of some size representing the Raising of Lazarus, with
+many figures. There, opposite to that work, in the year 1548, Giorgio
+Vasari executed for Don Romualdo da Verona, Abbot of that place, another
+panel-picture containing the Deposition of Christ from the Cross, with a
+large number of figures. Francesco also painted a panel-picture of the
+Nativity of Christ, which is of great size, for S. Niccolo, and likewise
+two panels, with various figures, for S. Sebastiano. For the Hospital of
+S. Catarina he painted a panel-picture with Our Lady, S. Catharine, and
+many other figures; and for S. Agata he painted a panel with Christ
+Crucified, the Madonna at the foot of the Cross, and a good number of
+other figures, for which he won praise. And for S. Apollinare, in the
+same city, he executed three panel-pictures; one for the high-altar,
+containing the Madonna, S. John the Baptist, and S. Apollinare, with S.
+Jerome and other saints; another likewise of the Madonna, with S. Peter
+and S. Catharine; and in the third and last Jesus Christ bearing His
+Cross, but this he was not able to finish, being overtaken by death.
+
+Francesco was a very pleasing colourist, but not so good a draughtsman
+as Rondinello; yet he was held in no small estimation by the people of
+Ravenna. He chose to be buried after his death in S. Apollinare, for
+which he had painted the said figures, being content that his remains,
+when he was dead, should lie at rest in the place for which he had
+laboured when alive.
+
+[Illustration: THE ADORATION OF THE SHEPHERDS
+
+(_After the panel by =Francesco da Cotignola=. Ravenna: Accademia_)
+
+_Alinari_]
+
+
+
+
+INDEX OF NAMES
+
+OF THE CRAFTSMEN MENTIONED IN VOLUME V
+
+
+    Agnolo, Andrea d' (Andrea del Sarto), _Life_, 85-120. 164, 194,
+      217-221, 231
+
+    Agnolo, Baccio d' (Baccio Baglioni), 91, 98, 102
+
+    Agnolo Bronzino, 127, 163
+
+    Agnolo di Cristofano, 223
+
+    Agnolo di Donnino, 38
+
+    Agostino Busto (Il Bambaja), 42, 43
+
+    Agostino Viniziano, 97
+
+    Aimo, Domenico (Bologna), 28
+
+    Albertinelli, Mariotto, 86, 212, 217
+
+    Albertino, Francesco d' (Francesco Ubertini, or Il Bacchiacca), 222
+
+    Alberto, Antonio, 13
+
+    Albrecht Duerer, 96
+
+    Alessandro Allori, 127
+
+    Alessandro Vittoria, 247
+
+    Alesso Baldovinetti, 88, 92
+
+    Alfonso Lombardi, _Life_, 131-136. 210
+
+    Allori, Alessandro, 127
+
+    Amalteo, Pomponio, 154, 155
+
+    Amico Aspertini, _Life_, 209-211. 125, 207-211
+
+    Andrea Contucci (Andrea Sansovino, or Andrea dal Monte Sansovino),
+      _Life_, 21-31. 43, 88
+
+    Andrea d' Agnolo (Andrea del Sarto), _Life_, 85-120. 164, 194,
+      217-221, 231
+
+    Andrea da Fiesole (Andrea Ferrucci), _Life_, 3-8. 11
+
+    Andrea dal Castagno (Andrea degli Impiccati), 116
+
+    Andrea dal Monte Sansovino (Andrea Sansovino, or Andrea Contucci),
+      _Life_, 21-31. 43, 88
+
+    Andrea degli Impiccati (Andrea dal Castagno), 116
+
+    Andrea del Sarto (Andrea d' Agnolo), _Life_, 85-120. 164, 194,
+      217-221, 231
+
+    Andrea della Robbia, 90
+
+    Andrea di Cosimo Feltrini, _Life_, 229-233. 221, 228
+
+    Andrea Ferrucci (Andrea da Fiesole), _Life_, 3-8. 11
+
+    Andrea Sansovino (Andrea Contucci, or Andrea dal Monte Sansovino),
+      _Life_, 21-31. 43, 88
+
+    Andrea Sguazzella, 100, 118
+
+    Andrea Verrocchio, 49, 50, 55
+
+    Anguisciuola, Sofonisba, 127, 128
+
+    Antonio Alberto, 13
+
+    Antonio da Carrara, 8
+
+    Antonio da San Gallo (the elder), 97
+
+    Antonio da San Gallo (the younger), 29, 43, 58, 72
+
+    Antonio da Trento (Antonio Fantuzzi), 249, 250
+
+    Antonio del Rozzo (Antonio del Tozzo), 73
+
+    Antonio di Donnino Mazzieri, 223
+
+    Antonio di Giorgio Marchissi, 4
+
+    Antonio di Giovanni (Solosmeo), 118
+
+    Antonio Fantuzzi (Antonio da Trento), 249, 250
+
+    Antonio Floriani, 148, 149
+
+    Antonio Mini, 165
+
+    Antonio Pollaiuolo, 21
+
+    Apelles, 14
+
+    Aretusi, Pellegrino degli (Pellegrino da Modena, or Pellegrino de'
+      Munari), _Life_, 80-81. 176
+
+    Aristotele (Sebastiano) da San Gallo, 97
+
+    Aspertini, Amico, _Life_, 209-211. 125, 207-211
+
+
+    Bacchiacca, Il (Francesco Ubertini, or Francesco d' Albertino), 222
+
+    Baccio Baglioni (Baccio d' Agnolo), 91, 98, 102
+
+    Baccio Bandinelli, 5, 27, 36, 57, 96-98, 135
+
+    Baccio d' Agnolo (Baccio Baglioni), 91, 98, 102
+
+    Baccio da Montelupo, _Life_, 41-45. 97
+
+    Baccio della Porta (Fra Bartolommeo di San Marco), 159, 160, 194
+
+    Baglioni, Baccio (Baccio d' Agnolo), 91, 98, 102
+
+    Bagnacavallo, Bartolommeo da (Bartolommeo Ramenghi), _Life_, 207-209
+
+    Bagnacavallo, Giovan Battista da, 201
+
+    Baldassarre Peruzzi, _Life_, 63-74. 57, 63-74, 136, 170, 176, 208
+
+    Baldovinetti, Alesso, 88, 92
+
+    Bambaja, Il (Agostino Busto), 42, 43
+
+    Bandinelli, Baccio, 5, 27, 36, 57, 96-98, 135
+
+    Barbieri, Domenico del, 201
+
+    Barile, Gian (of Florence), 86
+
+    Bartolommeo da Bagnacavallo (Bartolommeo Ramenghi), _Life_, 207-209
+
+    Bartolommeo di San Marco, Fra (Baccio della Porta), 159, 160, 194
+
+    Bartolommeo Miniati, 201
+
+    Bartolommeo Neroni (Riccio), 73
+
+    Bartolommeo Ramenghi (Bartolommeo da Bagnacavallo), _Life_, 207-209
+
+    Bastianello Florigorio (Sebastiano Florigerio), 148
+
+    Battista, Martino di (Pellegrino da San Daniele, or Martino da
+      Udine), 145-150
+
+    Battista Dossi, _Life_, 139-141
+
+    Battistino, 193, 194
+
+    Baviera, 194
+
+    Bazzi, Giovanni Antonio (Sodoma), 73
+
+    Beccafumi, Domenico (Domenico di Pace), 74, 153, 163
+
+    Belli, Valerio de' (Valerio Vicentino), 247
+
+    Bellini family, 262
+
+    Bellini, Giovanni, 145, 146, 260, 264
+
+    Bembo, Giovan Francesco (Giovan Francesco Vetraio), 180
+
+    Benedetto, 165
+
+    Benedetto da Ferrara (Benedetto Coda), 211, 212
+
+    Benedetto da Maiano, 5
+
+    Benedetto da Rovezzano, _Life_, 35-38
+
+    Benedetto Spadari, 195, 196
+
+    Benvenuto Cellini, 135
+
+    Bernardino del Lupino (Bernardino Luini), 60
+
+    Bernardino Pinturicchio, 227
+
+    Bernardo da Vercelli, 151
+
+    Bernardo del Buda (Bernardo Rosselli), 116
+
+    Bernazzano, Cesare, 141
+
+    Biagio, Raffaello di, 231, 232
+
+    Biagio Bolognese (Biagio Pupini), 208, 211
+
+    Bicci, Lorenzo di, 5
+
+    Boccaccino, Boccaccio, _Life_, 58-60
+
+    Boccaccino, Camillo, 59, 60
+
+    Boccalino, Giovanni (Giovanni Ribaldi), 29
+
+    Bologna (Domenico Aimo), 28
+
+    Bolognese, Biagio (Biagio Pupini), 208, 211
+
+    Borgo, Raffaello dal (Raffaello dal Colle), 140, 195, 196
+
+    Borgo, Santi Titi dal, 160
+
+    Boscoli, Maso, 6
+
+    Bramante da Urbino, 26, 28, 29, 65, 68, 69
+
+    Bronzino, Agnolo, 127, 163
+
+    Buda, Bernardo del (Bernardo Rosselli), 116
+
+    Buonaccorsi, Perino (Perino del Vaga), 7, 77-79, 153, 162
+
+    Buonarroti, Michelagnolo, 5, 6, 23, 43-45, 58, 86, 111, 117, 128,
+      135, 165, 190, 194, 228, 245, 247, 261
+
+    Busto, Agostino (Il Bambaja), 42, 43
+
+
+    Caccianimici, Francesco, 201
+
+    Caccianimici, Vincenzio, 255, 256
+
+    Cadore, Tiziano da (Tiziano Vecelli), 66, 133, 134, 152, 153
+
+    Calavrese, Marco (Marco Cardisco), _Life_, 237-239
+
+    Caldara, Polidoro (Polidoro da Caravaggio), _Life_, 175-185
+
+    Calzolaio, Sandrino del, 161, 165
+
+    Camillo Boccaccino, 59, 60
+
+    Capanna (of Siena), 74
+
+    Caraglio, Giovanni Jacopo, 194
+
+    Caravaggio, Polidoro da (Polidoro Caldara), _Life_, 175-185
+
+    Cardisco, Marco (Marco Calavrese), _Life_, 237-239
+
+    Carpi, Girolamo da (Girolamo da Ferrara), 154
+
+    Carrara, Antonio da, 8
+
+    Carrara, Danese da (Danese Cattaneo), 135
+
+    Carrucci, Jacopo (Jacopo da Pontormo), 93, 98, 104, 118, 135, 190,
+      221, 222, 231, 232
+
+    Castagno, Andrea dal (Andrea degli Impiccati), 116
+
+    Castelfranco, Giorgione da, 149, 228, 262
+
+    Castellani, Leonardo, 238
+
+    Castrocaro, Gian Jacopo da, 50
+
+    Cattaneo, Danese (Danese da Carrara), 135
+
+    Cellini, Benvenuto, 135
+
+    Cesare Bernazzano, 141
+
+    Cesare da Sesto (Cesare da Milano), 65, 141
+
+    Cicilia, Il, 8
+
+    Cimabue, Giovanni, 177
+
+    Cioli, Simone, 30
+
+    Claudio of Paris, 201
+
+    Coda, Benedetto (Benedetto da Ferrara), 211, 212
+
+    Cola dalla Matrice (Niccola Filotesio), 238, 239
+
+    Colle, Raffaello dal (Raffaello dal Borgo), 140, 195, 196
+
+    Conte, Jacopo del, 119
+
+    Conti, Domenico, 115, 119
+
+    Contucci, Andrea (Andrea Sansovino, or Andrea dal Monte Sansovino),
+      _Life_, 21-31. 43, 88
+
+    Cosimo, Piero di, 86
+
+    Cosimo Rosselli, 88, 229
+
+    Cosimo, Silvio, 6-8
+
+    Cotignola, Francesco da (Francesco de' Zaganelli), _Life_, 265-266
+
+    Cotignola, Girolamo da (Girolamo Marchesi), _Life_, 211-212. 207
+
+    Credi, Lorenzo di, _Life_, 49-52. 159
+
+    Credi, Maestro, 49
+
+    Crescione, Giovan Filippo, 238
+
+    Cristofano, Agnolo di, 223
+
+    Cronaca, Il (Simone del Pollaiuolo), 22
+
+    Cuticello (Giovanni Antonio Licinio, or Pordenone), _Life_, 145-155
+
+
+    Danese da Carrara (Danese Cattaneo), 135
+
+    Della Robbia family, 22
+
+    Domenico Aimo (Bologna), 28
+
+    Domenico Beccafumi (Domenico di Pace), 74, 153, 163
+
+    Domenico Conti, 115, 119
+
+    Domenico dal Monte Sansovino, 30
+
+    Domenico del Barbieri, 201
+
+    Domenico di Pace (Domenico Beccafumi), 74, 153, 163
+
+    Domenico di Paris, 195
+
+    Domenico di Polo, 135
+
+    Domenico Puligo, 109
+
+    Donato (Donatello), 23
+
+    Donnino, Agnolo di, 38
+
+    Dossi, Battista, _Life_, 139-141
+
+    Dossi, Dosso, _Life_, 139-141
+
+    Duerer, Albrecht, 96
+
+
+    Fagiuoli, Girolamo, 250
+
+    Fantuzzi, Antonio (Antonio da Trento), 249, 250
+
+    Fattore, Il (Giovan Francesco Penni), _Life_, 77-80. 201
+
+    Feltrini, Andrea di Cosimo, _Life_, 229-233. 221, 228
+
+    Feltro, Morto da, _Life_, 227-229. 230
+
+    Ferrara, Benedetto da (Benedetto Coda), 211, 212
+
+    Ferrara, Girolamo da (Girolamo da Carpi), 154
+
+    Ferrari, Gaudenzio, 81
+
+    Ferrucci, Andrea (Andrea da Fiesole), _Life_, 3-8. 11
+
+    Ferrucci, Francesco di Simone, 3
+
+    Fiesole, Andrea da (Andrea Ferrucci), _Life_, 3-8. 11
+
+    Filippo Lippi (Filippino), 87
+
+    Filotesio, Niccola (Cola dalla Matrice), 238, 239
+
+    Floriani, Antonio, 148, 149
+
+    Floriani, Francesco, 148, 149
+
+    Florigorio, Bastianello (Sebastiano Florigerio), 148
+
+    Fontana, Prospero, 213
+
+    Fra Bartolommeo di San Marco (Baccio della Porta), 159, 160, 194
+
+    Fra Sebastiano Viniziano del Piombo, 66
+
+    Francesco, Mariotto di, 231-233
+
+    Francesco Caccianimici, 201
+
+    Francesco d' Albertino (Francesco Ubertini, or Il Bacchiacca), 222
+
+    Francesco da Cotignola (Francesco de' Zaganelli), _Life_, 265-266
+
+    Francesco da San Gallo, 27
+
+    Francesco da Siena, 71, 73
+
+    Francesco de' Rossi (Francesco Salviati), 119
+
+    Francesco de' Zaganelli (Francesco da Cotignola), _Life_, 265-266
+
+    Francesco di Girolamo dal Prato, 135
+
+    Francesco di Mirozzo (Melozzo), 140
+
+    Francesco di Simone Ferrucci, 3
+
+    Francesco Floriani, 148, 149
+
+    Francesco Granacci (Il Granaccio), 97, 98, 231
+
+    Francesco Mazzuoli (Parmigiano), _Life_, 243-256
+
+    Francesco of Orleans, 201
+
+    Francesco Primaticcio, 200, 201, 203
+
+    Francesco Salviati (Francesco de' Rossi), 119
+
+    Francesco Ubertini (Francesco d' Albertino, or Il Bacchiacca), 222
+
+    Franciabigio (Francia), _Life_, 217-223. 86-89, 91, 93, 101, 103,
+      104, 217-223, 231, 232
+
+    Francucci, Innocenzio (Innocenzio da Imola), _Life_, 212-213. 207, 209
+
+
+    Gaudenzio Ferrari, 81
+
+    Genga, Girolamo, 15, 16, 140
+
+    Gensio Liberale, 149
+
+    Ghirlandajo, Michele di Ridolfo, 165
+
+    Ghirlandajo, Ridolfo, 220, 231
+
+    Gian Barile (of Florence), 86
+
+    Gian Jacopo da Castrocaro, 50
+
+    Giannuzzi, Giulio Pippi de' (Giulio Romano), 55, 77-79, 108, 109, 195
+
+    Giorgio Vasari. See Vasari (Giorgio)
+
+    Giorgione da Castelfranco, 149, 228, 262
+
+    Giotto, 21
+
+    Giovan Battista da Bagnacavallo, 201
+
+    Giovan Battista de' Rossi (Il Rosso), _Life_, 189-203. 97
+
+    Giovan Battista Grassi, 148
+
+    Giovan Battista Peloro, 73
+
+    Giovan Filippo Crescione, 238
+
+    Giovan Francesco Bembo (Giovan Francesco Vetraio), 180
+
+    Giovan Francesco Penni (Il Fattore), _Life_, 77-80. 201
+
+    Giovan Francesco Vetraio (Giovan Francesco Bembo), 180
+
+    Giovanni, Antonio di (Solosmeo), 118
+
+    Giovanni Antonio Bazzi (Sodoma), 73
+
+    Giovanni Antonio Lappoli, 196-198
+
+    Giovanni Antonio Licinio (Cuticello, or Pordenone), _Life_, 145-155
+
+    Giovanni Antonio Sogliani, _Life_, 159-166. 51
+
+    Giovanni Bellini, 145, 146, 260, 264
+
+    Giovanni Boccalino (Giovanni Ribaldi), 29
+
+    Giovanni Cimabue, 177
+
+    Giovanni da Nola, 137-139
+
+    Giovanni da Udine (Giovanni Martini), 145-147
+
+    Giovanni da Udine (Giovanni Nanni, or Giovanni Ricamatori), 77, 155,
+      175, 229, 238, 246
+
+    Giovanni Jacopo Caraglio, 194
+
+    Giovanni Mangone, 5
+
+    Giovanni Mansueti, 260
+
+    Giovanni Martini (Giovanni da Udine), 145-147
+
+    Giovanni Nanni (Giovanni da Udine, or Giovanni Ricamatori), 77, 155,
+      175, 229, 238, 246
+
+    Giovanni Ribaldi (Giovanni Boccalino), 29
+
+    Giovanni Ricamatori (Giovanni da Udine, or Giovanni Nanni), 77, 155,
+      175, 229, 238, 246
+
+    Girolamo, 60
+
+    Girolamo da Carpi (Girolamo da Ferrara), 154
+
+    Girolamo da Cotignola (Girolamo Marchesi), _Life_, 211-212. 207
+
+    Girolamo da Ferrara (Girolamo da Carpi), 154
+
+    Girolamo da Treviso (Girolamo Trevigi), _Life_, 169-171. 68
+
+    Girolamo della Robbia, 90
+
+    Girolamo Fagiuoli, 250
+
+    Girolamo Genga, 15, 16, 140
+
+    Girolamo Lombardo, 24, 28-30
+
+    Girolamo Marchesi (Girolamo da Cotignola), _Life_, 211-212. 207
+
+    Girolamo Mazzuoli, 244, 245, 254, 255
+
+    Girolamo Santa Croce, _Life_, 137-138
+
+    Girolamo Trevigi (Girolamo da Treviso), _Life_, 169-171. 68
+
+    Giuliano da San Gallo, 97
+
+    Giuliano del Tasso, 97
+
+    Giuliano (di Niccolo Morelli), Maestro, 73
+
+    Giulio Romano (Giulio Pippi de' Giannuzzi), 55, 77-79, 108, 109, 195
+
+    Granacci, Francesco (Il Granaccio), 97, 98, 231
+
+    Grassi, Giovan Battista, 148
+
+    Guazzetto, Il (Lorenzo Naldino), 201
+
+
+    Il Bacchiacca (Francesco Ubertini, or Francesco d' Albertino), 222
+
+    Il Bambaja (Agostino Busto), 42, 43
+
+    Il Cicilia, 8
+
+    Il Cronaca (Simone del Pollaiuolo), 22
+
+    Il Fattore (Giovan Francesco Penni), _Life_, 77-80. 201
+
+    Il Granaccio (Francesco Granacci), 97, 98, 231
+
+    Il Guazzetto (Lorenzo Naldino), 201
+
+    Il Pistoia (Leonardo), 79, 80
+
+    Il Rosso (Giovan Battista de' Rossi), _Life_, 189-203. 97
+
+    Imola, Innocenzio da (Innocenzio Francucci), _Life_, 212-213. 207, 209
+
+    Impiccati, Andrea degli (Andrea dal Castagno), 116
+
+    Innocenzio da Imola (Innocenzio Francucci), _Life_, 212-213. 207, 209
+
+
+    Jacomo Melighino, 72, 73
+
+    Jacone (Jacopo), 119
+
+    Jacopo da Pontormo (Jacopo Carrucci), 93, 98, 104, 118, 135, 190,
+      221, 222, 231, 232
+
+    Jacopo del Conte, 119
+
+    Jacopo di Sandro, 97
+
+    Jacopo Palma (Palma Vecchio), _Life_, 259-261
+
+    Jacopo Sansovino, 5, 31, 35, 36, 80, 88, 92, 93, 97, 98, 180, 218,
+      231, 247
+
+
+    Lappoli, Giovanni Antonio, 196-198
+
+    Lattanzio Pagani, 212
+
+    Leonardo (Il Pistoia), 79, 80
+
+    Leonardo Castellani, 238
+
+    Leonardo da Vinci, 49, 50, 86, 228, 261
+
+    Leonardo del Tasso, 31
+
+    Leonardo the Fleming, 201
+
+    Liberale, Gensio, 149
+
+    Licinio, Giovanni Antonio (Cuticello, or Pordenone), _Life_, 145-155
+
+    Lippi, Filippo (Filippino), 87
+
+    Lombardi, Alfonso, _Life_, 131-136. 210
+
+    Lombardo, Girolamo, 24, 28-30
+
+    Lorenzetto (Lorenzo) Lotti, _Life_, 55-58
+
+    Lorenzo di Bicci, 5
+
+    Lorenzo di Credi, _Life_, 49-52. 159
+
+    Lorenzo Lotto, _Life_, 261-264
+
+    Lorenzo Naldino (Il Guazzetto), 201
+
+    Lorenzo of Picardy, 201
+
+    Lotti, Lorenzetto (Lorenzo), _Life_, 55-58
+
+    Lotto, Lorenzo, _Life_, 261-264
+
+    Luca della Robbia (the younger), 90
+
+    Luca Monverde, 147
+
+    Luca Penni, 79, 201
+
+    Lucrezia, Madonna, 127
+
+    Luini, Bernardino (Bernardino del Lupino), 60
+
+    Lunetti, Stefano (Stefano of Florence), 51
+
+    Lunetti, Tommaso di Stefano, 51, 52, 164, 231
+
+    Lupino, Bernardino del (Bernardino Luini), 60
+
+
+    Madonna Lucrezia, 127
+
+    Madonna Properzia de' Rossi, _Life_, 123-128
+
+    Maestro Credi, 49
+
+    Maestro Giuliano (di Niccolo Morelli), 73
+
+    Maiano, Benedetto da, 5
+
+    Maini (Marini), Michele, 3, 4
+
+    Mangone, Giovanni, 5
+
+    Mansueti, Giovanni, 260
+
+    Marchesi, Girolamo (Girolamo da Cotignola), _Life_, 211-212. 207
+
+    Marchissi, Antonio di Giorgio, 4
+
+    Marco Calavrese (Marco Cardisco), _Life_, 237-239
+
+    Mariano da Perugia, 263
+
+    Marini (Maini), Michele, 3, 4
+
+    Mariotto Albertinelli, 86, 212, 217
+
+    Mariotto di Francesco, 231-233
+
+    Martini, Giovanni (Giovanni da Udine), 145-147
+
+    Martino da Udine (Pellegrino da San Daniele, or Martino di
+      Battista), 145-150
+
+    Maso Boscoli, 6
+
+    Matrice, Cola dalla (Niccola Filotesio), 238, 239
+
+    Maturino, _Life_, 175-185
+
+    Mazzieri, Antonio di Donnino, 223
+
+    Mazzuoli, Francesco (Parmigiano), _Life_, 243-256
+
+    Mazzuoli, Girolamo, 244, 245, 254, 255
+
+    Melighino, Jacomo, 72, 73
+
+    Michelagnolo Buonarroti, 5, 6, 23, 43-45, 58, 86, 111, 117, 128,
+      135, 165, 190, 194, 228, 245, 247, 261
+
+    Michelagnolo da Siena, _Life_, 136-137. 69
+
+    Michele di Ridolfo Ghirlandajo, 165
+
+    Michele Maini (Marini), 3, 4
+
+    Milano, Cesare da (Cesare da Sesto), 65, 141
+
+    Mini, Antonio, 165
+
+    Miniati, Bartolommeo, 201
+
+    Mirozzo (Melozzo), Francesco di, 140
+
+    Modena, Pellegrino da (Pellegrino degli Aretusi, or Pellegrino de'
+      Munari), _Life_, 80-81. 176
+
+    Monte Sansovino, Andrea dal (Andrea Contucci, or Andrea Sansovino),
+      _Life_, 21-31. 43, 88
+
+    Monte Sansovino, Domenico dal, 30
+
+    Montelupo, Baccio da, _Life_, 41-45. 97
+
+    Montelupo, Raffaello da, _Life_, 41-45. 27, 119
+
+    Monverde, Luca, 147
+
+    Morelli, Maestro Giuliano di Niccolo, 73
+
+    Morto da Feltro, _Life_, 227-229. 230
+
+    Mosca, Simone, 44
+
+    Munari, Pellegrino de' (Pellegrino da Modena, or Pellegrino degli
+      Aretusi), _Life_, 80-81. 176
+
+
+    Naldino, Lorenzo (Il Guazzetto), 201
+
+    Nanni, Giovanni (Giovanni da Udine, or Giovanni Ricamatori), 77,
+      155, 175, 229, 238, 246
+
+    Nannoccio, 119
+
+    Neroni, Bartolommeo (Riccio), 73
+
+    Niccola Filotesio (Cola dalla Matrice), 238, 239
+
+    Niccolo (called Tribolo), 6, 28, 136, 233
+
+    Niccolo Rondinello (Rondinello da Ravenna), _Life_, 264-265. 266
+
+    Niccolo Soggi, 109, 110, 196
+
+    Nola, Giovanni da, 137-139
+
+
+    Pace, Domenico di (Domenico Beccafumi), 74, 153, 163
+
+    Pagani, Lattanzio, 212
+
+    Palma, Jacopo (Palma Vecchio), _Life_, 259-261
+
+    Paolo Romano, 57
+
+    Paris, Domenico di, 195
+
+    Parmigiano (Francesco Mazzuoli), _Life_, 243-256
+
+    Pellegrino da Modena (Pellegrino degli Aretusi, or Pellegrino de'
+      Munari), _Life_, 80-81. 176
+
+    Pellegrino da San Daniele (Martino da Udine, or Martino di
+      Battista), 145-150
+
+    Peloro, Giovan Battista, 73
+
+    Penni, Giovan Francesco (Il Fattore), _Life_, 77-80. 201
+
+    Penni, Luca, 79, 201
+
+    Perino del Vaga (Perino Buonaccorsi), 7, 77-79, 153, 162
+
+    Perugia, Mariano da, 263
+
+    Perugino, Pietro (Pietro Vannucci), 49, 50, 87, 230
+
+    Peruzzi, Baldassarre, _Life_, 63-74. 57, 63-74, 136, 170, 176, 208
+
+    Pier Francesco di Jacopo di Sandro, 118, 119
+
+    Piero da Volterra, 64
+
+    Piero di Cosimo, 86
+
+    Pietrasanta, Stagio da, 162
+
+    Pietro Perugino (Pietro Vannucci), 49, 50, 87, 230
+
+    Pinturicchio, Bernardino, 227
+
+    Piombo, Fra Sebastiano Viniziano del, 66
+
+    Pistoia, Il (Leonardo), 79, 80
+
+    Plautilla, 126
+
+    Poggini, Zanobi, 106
+
+    Poggino, Zanobi di, 165
+
+    Polidoro da Caravaggio (Polidoro Caldara), _Life_, 175-185
+
+    Pollaiuolo, Antonio, 21
+
+    Pollaiuolo, Simone del (Il Cronaca), 22
+
+    Polo, Domenico di, 135
+
+    Pomponio Amalteo, 154, 155
+
+    Pontormo, Jacopo da (Jacopo Carrucci), 93, 98, 104, 118, 135, 190,
+      221, 222, 231, 232
+
+    Pordenone (Giovanni Antonio Licinio, or Cuticello), _Life_, 145-155
+
+    Porta, Baccio della (Fra Bartolommeo di San Marco), 159, 160, 194
+
+    Prato, Francesco di Girolamo dal, 135
+
+    Primaticcio, Francesco, 200, 201, 203
+
+    Properzia de' Rossi, Madonna, _Life_, 123-128
+
+    Prospero Fontana, 213
+
+    Puligo, Domenico, 109
+
+    Pupini, Biagio (Biagio Bolognese), 208, 211
+
+
+    Raffaello da Montelupo, _Life_, 41-45. 27, 119
+
+    Raffaello da Urbino (Raffaello Sanzio), 11-15, 55, 56, 66, 72, 77-81,
+      107-109, 117, 126, 169, 175, 191, 194, 201, 207, 208, 213, 222,
+      245, 247
+
+    Raffaello dal Colle (Raffaello dal Borgo), 140, 195, 196
+
+    Raffaello di Biagio, 231, 232
+
+    Raffaello Sanzio (Raffaello da Urbino), 11-15, 55, 56, 66, 72, 77-81,
+      107-109, 117, 126, 169, 175, 191, 194, 201, 207, 208, 213, 222,
+      245, 247
+
+    Ramenghi, Bartolommeo (Bartolommeo da Bagnacavallo), _Life_, 207-209
+
+    Ravenna, Rondinello da (Niccolo Rondinello), _Life_, 264-265. 266
+
+    Ribaldi, Giovanni (Giovanni Boccalino), 29
+
+    Ricamatori, Giovanni (Giovanni Nanni, or Giovanni da Udine), 77,
+      155, 175, 229, 238, 246
+
+    Riccio (Bartolommeo Neroni), 73
+
+    Ridolfo Ghirlandajo, 220, 231
+
+    Robbia, Andrea della, 90
+
+    Robbia, Girolamo della, 90
+
+    Robbia, Luca della (the younger), 90
+
+    Romano, Giulio (Giulio Pippi de' Giannuzzi), 55, 77-79, 108, 109, 195
+
+    Romano, Paolo, 57
+
+    Romano, Virgilio, 73
+
+    Rondinello, Niccolo (Rondinello da Ravenna), _Life_, 264-265. 266
+
+    Rosselli, Bernardo (Bernardo del Buda), 116
+
+    Rosselli, Cosimo, 88, 229
+
+    Rossi, Francesco de' (Francesco Salviati), 119
+
+    Rossi, Giovan Battista de' (Il Rosso), _Life_, 189-203. 97
+
+    Rossi, Madonna Properzia de', _Life_, 123-128
+
+    Rosso, Il (Giovan Battista de' Rossi), _Life_, 189-203. 97
+
+    Rovezzano, Benedetto da, _Life_, 35-38
+
+    Rozzo, Antonio del (Antonio del Tozzo), 73
+
+
+    Salviati, Francesco (Francesco de' Rossi), 119
+
+    San Daniele, Pellegrino da (Martino da Udine, or Martino di
+      Battista), 145-150
+
+    San Gallo, Antonio da (the elder), 97
+
+    San Gallo, Antonio da (the younger), 29, 43, 58, 72
+
+    San Gallo, Francesco da, 27
+
+    San Gallo, Giuliano da, 97
+
+    San Gallo, Sebastiano (Aristotele) da, 97
+
+    San Gimignano, Vincenzio da (Vincenzio Tamagni), _Life_, 11-17
+
+    San Marco, Fra Bartolommeo di (Baccio della Porta), 159, 160, 194
+
+    Sandrino del Calzolaio, 161, 165
+
+    Sandro, Jacopo di, 97
+
+    Sandro, Pier Francesco di Jacopo di, 118, 119
+
+    Sansovino, Andrea (Andrea dal Monte Sansovino, or Andrea Contucci),
+      _Life_, 21-31. 43, 88
+
+    Sansovino, Jacopo, 5, 31, 35, 36, 80, 88, 92, 93, 97, 98, 180, 218,
+      231, 247
+
+    Santa Croce, Girolamo, _Life_, 137-138
+
+    Santi Titi dal Borgo, 160
+
+    Sanzio, Raffaello (Raffaello da Urbino), 11-15, 55, 56, 66, 72,
+      77-81, 107-109, 117, 126, 169, 175, 191, 194, 201, 207, 208,
+      213, 222, 245, 247
+
+    Sarto, Andrea del (Andrea d' Agnolo), _Life_, 85-120. 164, 194,
+      217-221, 231
+
+    Schizzone, 12
+
+    Sebastiano (Aristotele) da San Gallo, 97
+
+    Sebastiano Florigerio (Bastianello Florigorio), 148
+
+    Sebastiano Serlio, 72
+
+    Sebastiano Viniziano del Piombo, Fra, 66
+
+    Serlio, Sebastiano, 72
+
+    Sesto, Cesare da (Cesare da Milano), 65, 141
+
+    Sguazzella, Andrea, 100, 118
+
+    Siena, Francesco da, 71, 73
+
+    Siena, Michelagnolo da, _Life_, 136-137. 69
+
+    Silvio Cosini, 6-8
+
+    Simone Cioli, 30
+
+    Simone del Pollaiuolo (Il Cronaca), 22
+
+    Simone Mosca, 44
+
+    Simone of Paris, 201
+
+    Sodoma (Giovanni Antonio Bazzi), 73
+
+    Sofonisba Anguisciuola, 127, 128
+
+    Soggi, Niccolo, 109, 110, 196
+
+    Sogliani, Giovanni Antonio, _Life_, 159-166. 51
+
+    Solosmeo (Antonio di Giovanni), 118
+
+    Spadari, Benedetto, 195, 196
+
+    Stagio da Pietrasanta, 162
+
+    Stefano Lunetti (Stefano of Florence), 51
+
+
+    Tamagni, Vincenzio (Vincenzio da San Gimignano), _Life_, 11-17
+
+    Tasso, Giuliano del, 97
+
+    Tasso, Leonardo del, 31
+
+    Timoteo da Urbino (Timoteo della Vite), _Life_, 11-17
+
+    Titi dal Borgo, Santi, 160
+
+    Tiziano da Cadore (Tiziano Vecelli), 66, 133, 134, 152, 153
+
+    Tommaso di Stefano Lunetti, 51, 52, 164, 231
+
+    Tozzo, Antonio del (Antonio del Rozzo), 73
+
+    Trento, Antonio da (Antonio Fantuzzi), 249, 250
+
+    Treviso, Girolamo da (Girolamo Trevigi), _Life_, 169-171. 68
+
+    Tribolo (Niccolo), 6, 28, 136, 233
+
+
+    Ubertini, Francesco (Francesco d' Albertino, or Il Bacchiacca), 222
+
+    Udine, Giovanni da (Giovanni Martini), 145-147
+
+    Udine, Giovanni da (Giovanni Nanni, or Giovanni Ricamatori), 77, 155,
+      175, 229, 238, 246
+
+    Udine, Martino da (Pellegrino da San Daniele, or Martino di Battista),
+      145-150
+
+    Urbino, Bramante da, 26, 28, 29, 65, 68, 69
+
+    Urbino, Raffaello da (Raffaello Sanzio), 11-15, 55, 56, 66, 72, 77-81,
+      107-109, 117, 126, 169, 175, 191, 194, 201, 207, 208, 213, 222,
+      245, 247
+
+    Urbino, Timoteo da (Timoteo della Vite), _Life_, 11-17
+
+
+    Vaga, Perino del (Perino Buonaccorsi), 7, 77-79, 153, 162
+
+    Valerio Vicentino (Valerio de' Belli), 247
+
+    Vannucci, Pietro (Pietro Perugino), 49, 50, 87, 230
+
+    Vasari, Giorgio--
+      as art-collector, 17, 22, 24, 38, 45, 49, 74, 77, 79, 104, 118,
+        126, 128, 165, 196, 197, 201, 209, 213, 219, 250-252, 256
+      as author, 3-5, 7, 11, 12, 17, 22, 24, 26, 28, 30, 35, 45, 63,
+        66, 69, 73, 91, 96, 98, 108, 112, 114, 120, 126, 128, 132,
+        134, 135, 139, 145, 146, 148, 155, 177, 182, 185, 192, 194,
+        199, 201, 210-213, 223, 230, 232, 238, 247, 250, 251, 253-255,
+        259, 260, 264
+      as painter, 36, 80, 119, 135, 163, 232, 233, 265
+      as architect, 233, 250, 251
+
+    Vecchio, Palma (Jacopo Palma), _Life_, 259-261
+
+    Vecelli, Tiziano (Tiziano da Cadore), 66, 133, 134, 152, 153
+
+    Vercelli, Bernardo da, 151
+
+    Verrocchio, Andrea, 49, 50, 55
+
+    Vetraio, Giovan Francesco (Giovan Francesco Bembo), 180
+
+    Vicentino, Valerio (Valerio de' Belli), 247
+
+    Vincenzio Caccianimici, 255, 256
+
+    Vincenzio da San Gimignano (Vincenzio Tamagni), _Life_, 11-17
+
+    Vincenzio Tamagni (Vincenzio da San Gimignano), _Life_, 11-17
+
+    Vinci, Leonardo da, 49, 50, 86, 228, 261
+
+    Viniziano, Agostino, 97
+
+    Virgilio Romano, 73
+
+    Visino, 223
+
+    Vite, Timoteo della (Timoteo da Urbino), _Life_, 11-17
+
+    Vitruvius, 68, 71
+
+    Vittoria, Alessandro, 247
+
+    Volterra, Piero da, 64
+
+    Volterra, Zaccaria da, 45, 132
+
+
+    Zaccaria da Volterra, 45, 132
+
+    Zaganelli, Francesco de' (Francesco da Cotignola), _Life_, 265-266
+
+    Zanobi di Poggino, 165
+
+    Zanobi Poggini, 106
+
+
+END OF VOL. V.
+
+
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+
+
+
+
+
+End of the Project Gutenberg EBook of Lives of the Most Eminent Painters
+Sculptors and Architects, by Giorgio Vasari
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