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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. 06 (of 10) Fra Giocondo to Niccolo Soggi
+
+Author: Giorgio Vasari
+
+Translator: Gaston du C. De Vere
+
+Release Date: March 27, 2009 [EBook #28422]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK EMINENT PAINTERS ***
+
+
+
+
+Produced by Mark C. Orton, Christine P. Travers and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+(This file was produced from images generously made
+available by The Internet Archive/Canadian Libraries)
+
+
+
+
+
+[Transcriber's note: Bold text is marked with =."
+
+Obvious printer's errors have been corrected,
+all other inconsistencies are as in the original. The author's spelling
+has been maintained.]
+
+
+
+
+LIVES OF THE MOST EMINENT PAINTERS SCULPTORS & ARCHITECTS BY GIORGIO
+VASARI:
+
+VOLUME VI. FRA GIOCONDO TO NICCOL� SOGGI 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 VI
+
+                                                                    PAGE
+
+    FRA GIOCONDO, LIBERALE, AND OTHERS                                 1
+
+    FRANCESCO GRANACCI [IL GRANACCIO]                                 55
+
+    BACCIO D' AGNOLO                                                  63
+
+    VALERIO VICENTINO [VALERIO BELLI], GIOVANNI DA CASTEL BOLOGNESE
+      [GIOVANNI BERNARDI], MATTEO DAL NASSARO, AND OTHERS             73
+
+    MARC' ANTONIO BOLOGNESE, AND OTHERS                               89
+
+    ANTONIO DA SAN GALLO                                             121
+
+    GIULIO ROMANO                                                    143
+
+    FRA SEBASTIANO VINIZIANO DEL PIOMBO                              171
+
+    PERINO DEL VAGA                                                  187
+
+    GIORGIO VASARI, TO THE CRAFTSMEN IN DESIGN                       227
+
+    DOMENICO BECCAFUMI                                               233
+
+    GIOVANNI ANTONIO LAPPOLI                                         253
+
+    NICCOL� SOGGI                                                    267
+
+    INDEX OF NAMES                                                   281
+
+
+
+
+ILLUSTRATIONS TO VOLUME VI
+
+PLATES IN COLOUR
+
+                                                             FACING PAGE
+    GIOVAN FRANCESCO CAROTO
+        Elisabetta Gonzaga, Duchess of Mantua
+            Florence: Uffizi, 1121                                    16
+
+    FRANCESCO MONSIGNORI (BONSIGNORI)
+        Portrait of a Gentleman
+            London: N.G., 736                                         28
+
+    FRANCESCO MORONE
+        Madonna and Child
+            London: N.G., 285                                         32
+
+    GIROLAMO DAI LIBRI
+        Madonna and Child, with S. Anne
+            London: N.G., 748                                         48
+
+    FRANCESCO GRANACCI (IL GRANACCIO)
+        The Holy Family
+            Florence: Pitti, 199                                      58
+
+    FRA SEBASTIANO VINIZIANO DEL PIOMBO
+        Portrait of a Lady
+            Florence: Uffizi, 1123                                   174
+
+    DOMENICO BECCAFUMI
+        S. Catharine before the Crucifix
+            Siena: Pinacoteca, 420                                   238
+
+
+PLATES IN MONOCHROME
+
+    LIBERALE OF VERONA
+        S. Mary Magdalene with Saints
+            Verona: S. Anastasia                                      10
+
+    LIBERALE OF VERONA
+        Miniature
+            Siena: Duomo Library                                      14
+
+    GIOVAN FRANCESCO CAROTO
+        Madonna and Child, with S. Anne and Saints
+            Verona: S. Fermo Maggiore                                 18
+
+    FRANCESCO TURBIDO (IL MORO)
+        Portrait of a Man
+            Munich: Pinacothek, 1125                                  24
+
+    FRANCESCO MONSIGNORI (BONSIGNORI)
+        S. Sebastian
+            Berlin: Kaiser Friedrich Museum, 46c                      30
+
+    FRANCESCO MORONE
+        The Crucifixion
+            Verona: S. Bernardino                                     34
+
+    PAOLO CAVAZZUOLA
+        The Deposition
+            Verona: Museo Civico, 392                                 40
+
+    GIOVAN MARIA (FALCONETTO)
+        Palazzo del Capitanio
+            Padua                                                     46
+
+    GIROLAMO DAI LIBRI
+        Madonna and Child, with Saints
+            Verona: Museo Civico, 290                                 50
+
+    FRANCESCO GRANACCI (IL GRANACCIO)
+        The Madonna giving the Girdle to S. Thomas
+            Florence: Uffizi, 1280                                    62
+
+    GIOVANNI DA CASTEL BOLOGNESE (GIOVANNI BERNARDI)
+        Cassetta Farnese
+            Naples: Museo Nazionale                                   78
+
+    VALERIO VICENTINO (VALERIO BELLI)
+        Casket of Rock Crystal
+            Florence: Uffizi                                          82
+
+    ALESSANDRO CESATI
+    BENVENUTO CELLINI
+        Medals
+            London: British Museum                                    84
+
+    PASTORINO OF SIENA
+    DOMENICO POGGINI
+        Medals
+            London: British Museum                                    84
+
+    MARTIN SCHONGAUER
+        Christ and the Virgin Enthroned
+            London: British Museum, B. 71                             92
+
+    ALBRECHT D�RER
+        Hercules
+            London: British Museum, B. 73                             92
+
+    ALBRECHT D�RER
+        Christ taking leave of His Mother
+            London: British Museum, B. 92                             94
+
+    ALBRECHT D�RER
+        S. Jerome in his Study
+            London: British Museum, B. 60                             96
+
+    LUCAS VAN LEYDEN
+        "Ecce Homo" of 1510
+            London: British Museum                                    98
+
+    MARC' ANTONIO BOLOGNESE
+        The Death of Lucretia
+            London: British Museum, B. 192                           102
+
+    MARC' ANTONIO BOLOGNESE (AFTER BANDINELLI)
+        The Martyrdom of S. Lawrence (engraving)
+            London: British Museum                                   104
+
+    ANTONIO DA SAN GALLO (THE YOUNGER) (WITH MICHELAGNOLO BUONARROTI)
+        Palazzo Farnese
+            Rome                                                     138
+
+    GIULIO ROMANO
+        Detail: The Battle of Constantine
+            Rome: The Vatican                                        146
+
+    GIULIO ROMANO
+        The Marriage Banquet of Cupid and Psyche
+            Mantua: Palazzo del T�                                   154
+
+    GIULIO ROMANO
+        The Destruction of the Giants by the Thunderbolts of Jove
+            Mantua: Palazzo del T�, Sala dei Giganti                 160
+
+    FRA SEBASTIANO VINIZIANO DEL PIOMBO
+        The Flagellation
+            Rome: S. Pietro in Montorio                              176
+
+    FRA SEBASTIANO VINIZIANO DEL PIOMBO
+        Andrea Doria
+            Rome: Palazzo Doria                                      182
+
+    PERINO DEL VAGA
+        The Passage of the Red Sea
+            Rome: The Vatican, Loggia                                192
+
+
+
+
+FRA GIOCONDO, LIBERALE, AND OTHER CRAFTSMEN OF VERONA
+
+
+
+
+LIVES OF FRA GIOCONDO, LIBERALE, AND OTHER CRAFTSMEN OF VERONA
+
+
+If writers of history were to live a few years longer than the number
+commonly granted as the span of human life, I, for my part, have no
+manner of doubt that they would have something to add to the accounts of
+the past previously written by them, for the reason that, even as it is
+not possible for a single man, be he ever so diligent, to learn the
+exact truth in a flash, or to discover all the details of his subject in
+the little time at his command, so it is as clear as the light of day
+that Time, who is said to be the father of truth, is always revealing
+new things every day to the seeker after knowledge. If, many years ago,
+when I first wrote and also published these Lives of the Painters and
+other Craftsmen, I had possessed that full information which I have
+since received concerning Fra Giocondo of Verona, a man of rare parts
+and a master of all the most noble faculties, I would without a doubt
+have made that honourable record of him which I am now about to make for
+the benefit of craftsmen, or rather, of the world; and not of him only,
+but also of many other masters of Verona, who have been truly excellent.
+And let no one marvel that I place them all under the image of one only,
+because, not having been able to obtain portraits of them all, I am
+forced to do this; but, so far as in me lies, not one of them shall
+thereby have his excellence defrauded of its due.
+
+Now, since the order of time and merit so demands, I shall speak first
+of Fra Giocondo. This man, when he assumed the habit of S. Dominic, was
+called not simply Fra Giocondo, but Fra Giovanni Giocondo. How the name
+Giovanni dropped from him I know not, but I do know that he was always
+called Fra Giocondo by everyone. And although his chief profession was
+that of letters, and he was not only a very good philosopher and
+theologian, but also an excellent Greek scholar (which was a rare thing
+at that time, when learning and letters were just beginning to revive in
+Italy), nevertheless he was also a very fine architect, being a man who
+always took supreme delight in that art, as Scaliger relates in his
+epistle against Cardan, and the learned Bud� in his book "De Asse," and
+in the observations that he wrote on the Pandects.
+
+Fra Giocondo, then, who was a fine scholar, a capable architect, and an
+excellent master of perspective, spent many years near the person of the
+Emperor Maximilian, and was master in the Greek and Latin tongues to the
+learned Scaliger, who writes that he heard him dispute with profound
+learning on matters of the greatest subtlety before the same Maximilian.
+It is related by persons still living, who remember the facts very
+clearly, that at the time when Verona was under the power of that
+Emperor the bridge which is called the Ponte della Pietra, in that city,
+was being restored, and it was seen to be necessary to refound the
+central pier, which had been destroyed many times in the past, and Fra
+Giocondo gave the design for refounding it, and also for safeguarding it
+in such a manner that it might never be destroyed again. His method of
+safeguarding it was as follows: he gave orders that the pier should be
+kept always bound together with long double piles fixed below the water
+on every side, to the end that these might so protect it that the river
+should not be able to undermine it; for the place where it is built is
+in the main current of the river, the bed of which is so soft that no
+solid ground can be found on which to lay its foundations. And
+excellent, in truth, as is evident from the result, was the advice of
+Fra Giocondo, for the reason that the pier has stood firm from that time
+to our own, as it still does, without ever showing a crack; and there is
+hope that, by the observation of the suggestions given by that good
+monk, it will stand for ever.
+
+In his youth Fra Giocondo spent many years in Rome, giving his attention
+to the study of antiquities, and not of buildings only, but also of the
+ancient inscriptions that are in the tombs, and the other relics of
+antiquity, both in Rome itself and its neighbourhood, and in every part
+of Italy; and he collected all these inscriptions and memorials into a
+most beautiful book, which he sent as a present, according to the
+account of the citizens of Verona mentioned above, to the elder Lorenzo
+de' Medici, the Magnificent, to whom, by reason of the great
+friendliness and favour that he showed to all men of talent, both Fra
+Giocondo and Domizio Calderino, his companion and compatriot, were
+always most deeply devoted. Of this book Poliziano makes mention in his
+Mugellane, in which he uses various parts of it as authorities, calling
+Fra Giocondo a profound master in antiquities.
+
+The same Giocondo wrote some observations, which are in print, on the
+Commentaries of C�sar; and he was the first who made a drawing of the
+bridge built by C�sar over the River Rhone, and described by him in
+those same Commentaries, but misunderstood in the time of Fra Giocondo.
+Him the aforesaid Bud� confesses to have had as his master in the study
+of architecture, thanking God that he had been taught his Vitruvius by a
+teacher so learned and so diligent as was that monk, who corrected in
+that author a vast number of errors not recognized up to that time; and
+this he was able to do with ease, because he was a master of every kind
+of learning, and had a good knowledge of both the Greek tongue and the
+Latin. This and other things declares Bud�, extolling Fra Giocondo as an
+excellent architect, and adding that by the researches of the same monk
+there were discovered in an old library in Paris the greater part of the
+Epistles of Pliny, which, after having been so long out of the hands of
+mankind, were printed by Aldus Manutius, as may be read in a Latin
+letter written by him and printed with the same.
+
+When living in Paris in the service of King Louis XII, Fra Giocondo
+built two superb bridges over the Seine, covered with shops--works truly
+worthy of that magnanimous King and of the marvellous intellect of Fra
+Giocondo. Wherefore that master, in addition to the inscription in his
+praise that may still be seen on those works, won the honour of being
+celebrated by Sannazzaro, a rare poet, in this most beautiful distich:
+
+  Jocundus geminum imposuit tibi, Sequana, pontem;
+    Hunc tu jure potes dicere pontificem.
+
+Besides this, he executed a vast number of other works for that King
+throughout all his kingdom; but of these, after having made mention of
+those above, as being the greatest, I shall say no more.
+
+Then, happening to be in Rome at the death of Bramante, he was placed,
+in company with Raffaello da Urbino and Giuliano da San Gallo, in charge
+of the Church of S. Pietro, to the end that the structure begun by
+Bramante might be carried forward. Now, from the circumstance that it
+had been erected in haste, and for other reasons given in another place,
+it was threatening to fall in many parts, and by the advice of Fra
+Giocondo, Raffaello, and Giuliano, the foundations were in great measure
+renewed; in which work persons who were present and are still living
+declare that those masters adopted the following method. They excavated
+below the foundations many large pits after the manner of wells, but
+square, at a proper distance one from another, which they filled with
+masonry; and between every two of these piers, or rather pits filled
+with masonry, they threw very strong arches across the space below,
+insomuch that the whole building came to be placed on new foundations
+without suffering any shock, and was secured for ever from the danger of
+showing any more cracks.
+
+But the work for which it seems to me that Fra Giocondo deserves the
+greatest praise is one on account of which an everlasting gratitude is
+due to him not only from the Venetians, but from the whole world as
+well. For he reflected that the life of the Republic of Venice depended
+in great measure on the preservation of its impregnable position on the
+lagoons on which that city, as it were by a miracle, is built; and that,
+whenever those lagoons silted up with earth, the air would become
+infected and pestilential, and the city consequently uninhabitable, or
+at the least exposed to all the dangers that threaten cities on the
+mainland. He set himself, therefore, to think in what way it might be
+possible to provide for the preservation of the lagoons and of the site
+on which the city had been built in the beginning. And having found a
+way, Fra Giocondo told the Signori that, if they did not quickly come to
+some resolution about preventing such an evil, in a few years, to judge
+by that which could be seen to have happened in part, they would become
+aware of their error, without being in time to be able to retrieve it.
+Roused by this warning, and hearing the powerful arguments of Fra
+Giocondo, the Signori summoned an assembly of the best engineers and
+architects that there were in Italy, at which many opinions were given
+and many designs made; but that of Fra Giocondo was held to be the best,
+and was put into execution. They made a beginning, therefore, with
+excavating a great canal, which was to divert two-thirds or at least
+one-half of the water brought down by the River Brenta, and to conduct
+that water by a long d�tour so as to debouch into the lagoons of
+Chioggia; and thus that river, no longer flowing into the lagoons at
+Venice, has not been able to fill them up by bringing down earth, as it
+has done at Chioggia, where it has filled and banked up the lagoons in
+such a manner that, where there was formerly water, many tracts of land
+and villas have sprung up, to the great benefit of the city of Venice.
+Wherefore it is the opinion of many persons, and in particular of the
+Magnificent Messer Luigi Cornaro, a Venetian gentleman of ripe wisdom
+gained both by learning and by long experience, that, if it had not been
+for the warning of Fra Giocondo, all the silting up that took place in
+the lagoons of Chioggia would have happened, and perhaps on a greater
+scale, in those of Venice, inflicting incredible damage and almost ruin
+on that city. The same Messer Luigi, who was very much the friend of Fra
+Giocondo, as he is and always has been of all men of talent, declares
+that his native city of Venice owes an eternal debt of gratitude for
+this to the memory of Fra Giocondo, who on this account, he says, might
+reasonably be called the second founder of Venice; and that he almost
+deserves more praise for having preserved by that expedient the grandeur
+and nobility of that marvellous and puissant city, than do those who
+built it at the beginning in such a weak and ill-considered fashion,
+seeing that the benefit received from him will be to all eternity, as it
+has been hitherto, of incalculable utility and advantage to Venice.
+
+Not many years after Fra Giocondo had executed this divine work, the
+Venetians suffered a great loss in the burning of the Rialto, the place
+in which are the magazines of their most precious merchandise--the
+treasure, as it were, of that city. This happened at the very time when
+that Republic had been reduced by long-continued wars and by the loss
+of the greater part, or rather almost the whole, of her dominions on the
+mainland to a desperate condition; and the Signori then governing were
+full of doubt and hesitation as to what they should do. However, the
+rebuilding of that place being a matter of the greatest importance, they
+resolved that it should be reconstructed at all costs. And wishing to
+give it all possible grandeur, in keeping with the greatness and
+magnificence of that Republic, and having already recognized the talent
+of Fra Giocondo and his great ability in architecture, they gave him the
+commission to make a design for that structure; whereupon he drew one in
+the following manner. He proposed to occupy all the space that lies
+between the Canale delle Beccherie,[1] in the Rialto, and the Rio del
+Fondaco delle Farine,[2] taking as much ground between one canal and the
+other as would make a perfect square--that is, the length of the sides
+of this fabric was to be as great as the space which one covers at the
+present day in walking from the debouchure of one of those canals into
+the Grand Canal to that of the other. He intended, also, that the same
+two canals should debouch on the other side into a common canal, which
+was to run from the one to the other, so that the fabric might be left
+entirely surrounded by water, having the Grand Canal on one side, the
+two smaller canals on two other sides, and on the last the new canal
+that was to be made. Then he desired that between the water and the
+buildings, right round the square, there should be made, or rather
+should be left, a beach or quay of some breadth, which might serve as a
+piazza for the selling in duly appointed places of the vegetables,
+fruits, fish, and other things, that come from many parts to the city.
+It was also his opinion that right round the outer side of the buildings
+there should be erected shops looking out upon those same quays, and
+that these shops should serve only for the sale of eatables of every
+kind. And in these four sides the design of Fra Giocondo had four
+principal gates--namely, one to each side, placed in the centre, one
+directly opposite to another. But before going into the central piazza,
+by whichever side one entered, one would have found both on the right
+hand and on the left a street which ran round the block of buildings
+and had shops on either side, with handsome workshops above them and
+magazines for the use of those shops, which were all to be devoted to
+the sale of woven fabrics--that is, fine woollen cloth and silk, which
+are the two chief products of that city. This street, in short, was to
+contain all the shops that are called the Tuscan's and the
+silk-merchant's.
+
+From this double range of shops there was to be access by way of the
+four gates into the centre of the whole block--that is to say, into a
+vast piazza surrounded on every side by spacious and beautiful loggie
+for the accommodation of the merchants and for the use of the great
+number of people who flock together for the purposes of their trade and
+commerce to that city, which is the custom-house of all Italy, or rather
+of Europe. Under those loggie, on every side, were to be the shops of
+the bankers, goldsmiths, and jewellers; and in the centre was to be
+built a most beautiful temple dedicated to S. Matthew, in which the
+people of quality might be able to hear the divine offices in the
+morning. With regard to this temple, however, some persons declare that
+Fra Giocondo changed his mind, and wished to build two under the loggie,
+so as not to obstruct the piazza. And, in addition, this superb
+structure was to have so many other conveniences, embellishments, and
+adornments, all in their proper places, that whoever sees at the present
+day the beautiful design that Fra Giocondo made for the whole, declares
+that nothing more lovely, more magnificent, or planned with better
+order, could be imagined or conceived by the most excellent of
+craftsmen, be his genius never so happy.
+
+It was proposed, also, with the advice of the same master, and as a
+completion to this work, to build the Bridge of the Rialto of stone,
+covered with shops, which would have been a marvellous thing. But this
+enterprise was not carried into effect, for two reasons: first, because
+the Republic, on account of the extraordinary expenses incurred in the
+last war, happened to be drained dry of money; and, secondly, because a
+gentleman of great position and much authority at that time (of the
+family, so it is said, of Valereso), being a man of little judgment in
+such matters, and perchance influenced by some private interest, chose
+to favour one Maestro Zanfragnino,[3] who, so I am informed, is still
+alive, and who had worked for him on buildings of his own. This
+Zanfragnino--a fit and proper name for a master of his calibre--made the
+design for that medley of marble which was afterwards carried into
+execution, and which is still to be seen; and many who are still alive,
+and remember the circumstances very well, are even yet not done with
+lamenting that foolish choice.
+
+Fra Giocondo, having seen that shapeless design preferred to his
+beautiful one, and having perceived how much more virtue there often is
+in favour than in merit with nobles and great persons, felt such disdain
+that he departed from Venice, nor would he ever return, although he was
+much entreated to do it. And the design, with others by the same monk,
+remained in the house of the Bragadini, opposite to S. Marina, in the
+possession of Frate Angelo, a member of that family and a friar of S.
+Dominic, who, by reason of his many merits, afterwards became Bishop of
+Vicenza.
+
+Fra Giocondo was very versatile, and delighted, in addition to the
+pursuits already mentioned, in simples and in agriculture. Thus Messer
+Donato Giannotti, the Florentine, who was very much his friend for many
+years in France, relates that once, when living in that country, the
+monk reared a peach-tree in an earthen pot, and that this little tree,
+when he saw it, was so laden with fruit that it was a marvellous sight.
+On one occasion, by the advice of some friends, he had set it in a place
+where the King was to pass and would be able to see it, when certain
+courtiers, who passed by first, plucked all the peaches off that little
+tree, as suchlike people were sure to do, and, playing about with one
+another, scattered what they could not eat along the whole length of the
+street, to the great displeasure of Fra Giocondo. The matter coming to
+the ears of the King, he first laughed over the jest with the courtiers,
+and then, after thanking the monk for what he had done to please him,
+gave him a present of such a kind that he was consoled.
+
+[Illustration: THE MAGDALENE WITH SAINTS
+
+(_After the painting by =Liberale da Verona=. Verona: S. Anastasia_)
+
+_Anderson_]
+
+Fra Giocondo was a man of saintly and most upright life, much beloved by
+all the great men of letters of his age, and in particular by Domizio
+Calderino, Matteo Bosso, and Paolo Emilio, the writer of the History of
+France, all three his compatriots. Very much his friends, likewise, were
+Sannazzaro, Bud�, and Aldus Manutius, with all the Academy of Rome; and
+he had a disciple in Julius C�sar Scaliger, one of the most learned men
+of our times. Finally, being very old, he died, but precisely at what
+time and in what place this happened, and consequently where he was
+buried, is not known.
+
+Even as it is true that the city of Verona is very similar to Florence
+in situation, manners, and other respects, so it is also true that in
+the first as well as in the second there have always flourished men of
+the finest genius in all the noblest and most honourable professions.
+Saying nothing of the learned, for with them I have nothing to do here,
+and continuing to speak of the men of our arts, who have always had an
+honourable abode in that most noble city, I come to Liberale of Verona,
+a disciple of Vincenzio di Stefano, a native of the same city, already
+mentioned in another place, who executed for the Church of Ognissanti,
+belonging to the Monks of S. Benedict, at Mantua, in the year 1463, a
+Madonna that was a very praiseworthy example of the work of those times.
+Liberale imitated the manner of Jacopo Bellini, for when a young man,
+while the said Jacopo was painting the Chapel of S. Niccol� at Verona,
+he gave his attention under Bellini to the studies of design in such
+thorough fashion that, forgetting all that he had learned from Vincenzio
+di Stefano, he acquired the manner of Bellini and retained it ever
+after.
+
+The first paintings of Liberale were in the Chapel of the Monte della
+Piet� in S. Bernardino, in his native city; and there, in the principal
+picture, he painted a Deposition from the Cross, with certain Angels,
+some of whom have in their hands the Mysteries (for so they are called)
+of the Passion, and all with their weeping faces show grief at the Death
+of the Saviour. Very natural, in truth, are these figures, as are other
+works of the same kind by this master, who strove to show in many places
+that he was able to paint weeping countenances. This may also be seen in
+S. Anastasia, a church of Friars of S. Dominic, likewise in Verona,
+where he painted a Dead Christ with the Maries mourning for Him on the
+pediment of the Chapel of the Buonaveri; and he executed many pictures
+in the same manner of painting as the work mentioned above, which are
+dispersed among the houses of various gentlemen in Verona.
+
+In the same chapel he painted a God the Father surrounded by many Angels
+who are playing instruments and singing, with three figures on either
+side--S. Peter, S. Dominic, and S. Thomas Aquinas on one side, and S.
+Lucia, S. Agnese, and another female Saint on the other; but the first
+three are much the finer, being executed in a better manner and with
+more relief. On the main wall of that chapel he painted Our Lady, with
+the Infant Christ marrying S. Catharine, the Virgin-Martyr; and in this
+work he made a portrait of Messer Piero Buonaveri, the owner of the
+chapel. Around this group are some Angels presenting flowers, with some
+heads that are smiling, executed with such grace in their gladness, that
+they prove that he was able to paint a smiling face as well as he had
+painted tears in other figures. In the altar-piece of the same chapel he
+painted S. Mary Magdalene in the air, supported by some Angels, with S.
+Catharine below--a work which was held to be very beautiful. On the
+altar of the Madonna in the Church of S. Maria della Scala, belonging to
+the Servite Friars, he executed the story of the Magi on two
+folding-doors that enclose that Madonna, which is held in vast
+veneration in that city; but the work did not long remain there, for it
+was removed because it was being spoilt by the smoke of the candles, and
+placed in the sacristy, where it is much admired by the painters of
+Verona.
+
+In the tramezzo[4] of the Church of S. Bernardino, above the Chapel of
+the Company of the Magdalene, he painted in fresco the story of the
+Purification, wherein is a figure of Simeon that is much extolled, as
+also is that of the Infant Christ, who with great affection is kissing
+that old man, who is holding Him in his arms; and very beautiful,
+likewise, is a priest standing there on one side, who, with his arms
+extended and his face uplifted towards Heaven, appears to be thanking
+God for the salvation of the world. Beside this chapel is a picture of
+the story of the Magi by the hand of the same Liberale; and in the
+pediment of the picture there is the Death of the Madonna, executed
+with little figures, which are highly extolled. Great, indeed, was his
+delight in painting works with little figures, with which he always took
+such pains that they seem to be the work rather of an illuminator than
+of a painter, as may be seen in the Duomo of the same city, where there
+is a picture by his hand of the story of the Magi, with a vast number of
+little figures, horses, dogs, and various other animals, and near them a
+group of rosy-coloured Cherubim, who serve as a support to the Mother of
+Jesus. In this picture the heads are so finished, and everything is
+executed with such diligence, that, as I have said, it appears to be the
+work of an illuminator.
+
+He also painted stories of Our Lady on a small predella, likewise after
+the manner of miniatures, for the Chapel of the Madonna in the Duomo.
+But this was afterwards removed from that chapel by order of Monsignor
+Messer Giovan Matteo Giberti, Bishop of Verona, and placed in the Palace
+of the Vescovado, which is the residence of the Bishops, in that chapel
+wherein they hear Mass every morning. And there that predella stands in
+company with a most beautiful Crucifix in relief, executed by Giovanni
+Battista Veronese, a sculptor, who now lives in Mantua. Liberale also
+painted a panel-picture for the Chapel of the Allegni in S. Vitale,
+containing a figure of S. Mestro, the Confessor, a Veronese and a man of
+great sanctity, whom he placed between a S. Francis and a S. Dominic.
+For the Chapel of S. Girolamo in the Vittoria, a church and convent of
+certain Eremite Friars, he executed at the commission of the
+Scaltritegli family an altar-piece of S. Jerome in the habit of a
+Cardinal, with a S. Francis and a S. Paul, all much extolled. And in the
+tramezzo[5] of the Church of S. Giovanni in Monte he painted the
+Circumcision of Christ and other works, which were destroyed not long
+since, because it was considered that the tramezzo impaired the beauty
+of the church.
+
+Being then summoned to Siena by the General of the Monks of Monte
+Oliveto, Liberale illuminated many books for that Order; and in these he
+succeeded so well, that he was commissioned in consequence to illuminate
+some that had been left unfinished--that is to say, only written--in
+the library of the Piccolomini. He also illuminated some books of
+plain-song for the Duomo of that city, where he would have remained
+longer, executing many works that he had in hand; but, being driven away
+by envy and persecution, he set off to return to Verona, with eight
+hundred crowns that he had earned, which he lent afterwards to the Monks
+of Monte Oliveto at S. Maria in Organo, from whom he drew interest to
+support him from day to day.
+
+Having thus returned to Verona, he gave his attention for the rest of
+his life more to illumination than to any other kind of work. At
+Bardolino, a place on the Lake of Garda, he painted a panel-picture
+which is now in the Pieve; and another for the Church of S. Tommaso
+Apostolo. For the Chapel of S. Bernardo, likewise, in the Church of S.
+Fermo, a convent of Friars of S. Francis, he painted a panel-picture of
+the first-named Saint, with some scenes from his life in the predella.
+In the same place, also, and in others, he executed many nuptial
+pictures, one of which, containing the Madonna with the Child in her
+arms marrying S. Catharine, is in the house of Messer Vincenzio de'
+Medici at Verona.
+
+On the corner of the house of the Cartai, on the way from the Ponte
+Nuovo to S. Maria in Organo, in Verona, he painted a Madonna and S.
+Joseph in fresco, a work which was much extolled. Liberale would have
+liked to paint the Chapel of the Riva family, which had been built in
+order to honour the memory of Giovanni Riva, a captain of men-at-arms at
+the battle of the Taro, in the Church of S. Eufemia; but he did not
+receive the commission, which was given to some strangers, and he was
+told that he was too old and that his sight was failing him. When this
+chapel was opened, a vast number of faults were perceived in it, and
+Liberale said that he who had given the commission had been much more
+blind than himself.
+
+[Illustration: MINIATURE
+
+(_After_ Liberale da Verona. _Siena: Duomo Library_)
+
+_Anderson_]
+
+Finally, being eighty-four years of age, or even more, Liberale allowed
+himself to be ruled by his relatives, and particularly by a married
+daughter, who, like the rest, treated him very badly. At which, having
+grown angry both with her and with his other relatives, and happening to
+have under his charge one Francesco Turbido, called Il Moro, then a
+young man, who was a diligent painter and much affected towards him,
+he appointed him as heir to the house and garden that he had at S.
+Giovanni in Valle, a very pleasant part of the city; and with him he
+took up his quarters, saying that he would rather give the enjoyment of
+his property to one who loved virtue than to those who ill-treated their
+nearest of kin. But no long time passed before he died, which was on the
+day of S. Chiara in the year 1536, at the age of eighty-five; and he was
+buried in S. Giovanni in Valle.
+
+His disciples were Giovan Francesco Caroto and Giovanni Caroto,
+Francesco Turbido, called Il Moro, and Paolo Cavazzuola, of whom, since
+they were truly excellent masters, I shall make mention in their due
+order.
+
+Giovan Francesco Caroto was born at Verona in the year 1470, and after
+having learned the first rudiments of letters, being drawn to painting,
+he abandoned the studies of grammar and placed himself to learn painting
+under the Veronese Liberale, undertaking to recompense him for his
+pains. Young as he was, then, Giovan Francesco devoted himself with such
+love and diligence to design, that even in his earliest years he was a
+great assistance to Liberale both in that and in colouring. No long time
+after, when his judgment had increased with his years, he saw the works
+of Andrea Mantegna in Verona; and thinking, as indeed was the truth,
+that these were of another manner and better than those of his master,
+he so wrought upon his father that he was given leave, with the gracious
+consent of Liberale, to apprentice himself to Mantegna. Having gone to
+Mantua, therefore, and having placed himself under Mantegna, in a short
+time he made such proficience that Andrea sent out works by Caroto as
+works by his own hand. In short, before many years had passed by, he had
+become an able master. The first works that he executed after leaving
+the discipline of Mantegna were on the altar of the three Magi in the
+Church of the Hospital of S. Cosimo at Verona, where he painted on the
+folding-doors that enclose that altar the Circumcision of Christ and the
+Flight into Egypt, with other figures. In the Church of the Frati
+Ingiesuati, called S. Girolamo, in two angles of a chapel, he painted
+the Madonna and the Angel of the Annunciation. And for the Prior of the
+Friars of S. Giorgio he executed a little panel-picture of the Manger,
+in which he may be seen to have greatly improved his manner, since the
+heads of the shepherds and of all the other figures have expressions so
+sweet and so beautiful, that this work was much extolled, and that
+rightly; and if it were not that the priming of gesso is peeling off
+through having been badly prepared, so that the picture is gradually
+perishing, it would be enough by itself to keep him alive for ever in
+the memory of his fellow-citizens.
+
+Next, having been commissioned by the men who governed the Company of
+the Angel Raphael to paint their chapel in the Church of S. Eufemia, he
+executed therein two stories of the Angel Raphael in fresco, and in the
+altar-piece, in oils, three large Angels, Raphael in the centre, and
+Gabriel and Michael on either side, and all with good draughtsmanship
+and colouring. He was reproached, indeed, for having made the legs of
+those Angels too slender and wanting in softness; to which he made a
+pleasant and gracious answer, saying that even as Angels were
+represented with wings and with bodies, so to speak, celestial and
+ethereal, as if they were birds, so it was only right to make their legs
+lean and slender, to the end that they might fly and soar upwards with
+greater ease. For that altar of the Church of S. Giorgio where there is
+a Christ bearing His Cross, he painted S. Rocco and S. Sebastian, with
+some scenes in the predella executed with very beautiful little figures.
+And by order of the Company of the Madonna he painted on the predella of
+the altar of that Company, in S. Bernardino, the Nativity of the Madonna
+and the Massacre of the Innocents, with a great variety of attitudes in
+the murderers and in the groups of children whom their mothers are
+defending with all their might. This work is held in great veneration,
+and is kept covered, the better to preserve it; and it was the reason
+that the men of the Fraternity of S. Stefano commissioned him to paint
+three pictures with similar figures for their altar in the old Duomo of
+Verona, containing three little scenes from the life of Our Lady--her
+Marriage, the Nativity of Christ, and the story of the Magi.
+
+[Illustration: GIOVAN FRANCESCO CAROTO: ELISABETTA GONZAGA, DUCHESS OF
+MANTUA
+
+(_Florence: Uffizi, 1121. Panel_)]
+
+After these works, thinking that he had gained enough credit in Verona,
+Giovan Francesco was minded to depart and make trial of other places;
+but his friends and relatives, pressing him much, persuaded him to
+take to wife a young woman of noble birth, the daughter of Messer
+Braliassarti Grandoni, whom he married in 1505. In a short time,
+however, after he had had a son by her, she died in child-birth; and
+Giovan Francesco, thus left free, departed from Verona and went off to
+Milan, where Signor Anton Maria Visconti received him into his house and
+caused him to execute many works for its adornment.
+
+Meanwhile there was brought to Milan by a Fleming a head of a young man,
+taken from life and painted in oils, which was admired by everyone in
+that city; but Giovan Francesco, seeing it, laughed and said: "I am
+confident that I can do a better." At which the Fleming mocked him, but
+after many words the matter came to this, that Giovan Francesco was to
+try his hand, losing his own picture and twenty-five crowns if he lost,
+and winning the Fleming's head and likewise twenty-five crowns if he
+won. Setting to work, therefore, with all his powers, Giovan Francesco
+made a portrait of an aged gentleman with shaven face, with a falcon on
+his wrist; but, although this was a good likeness, the head of the
+Fleming was judged to be the better. Giovan Francesco did not make a
+good choice in executing his portrait, for he took a head that could not
+do him honour; whereas, if he had chosen a handsome young man, and had
+made as good a likeness of him as he did of the old man, he would at
+least have equalled his adversary's picture, even if he had not
+surpassed it. But for all this the head of Giovan Francesco did not fail
+to win praise, and the Fleming showed him courtesy, for he contented
+himself with the head of the shaven old man, and, being a noble and
+courteous person, would by no means accept the five-and-twenty crowns.
+This picture came after some time into the possession of Madonna
+Isabella d'Este, Marchioness of Mantua, who paid a very good price for
+it to the Fleming and placed it as a choice work in her study, in which
+she had a vast number of very beautiful coins, pictures, works in
+marble, and castings.
+
+After completing his work for Visconti, Giovan Francesco, being invited
+by Guglielmo, Marquis of Montferrat, went willingly to serve him, as
+Visconti straitly besought him to do. On his arrival, a fine provision
+was assigned to him; and, setting to work, he painted for that noble at
+Casale, in a chapel where he heard Mass, as many pictures as were
+necessary to fill it and adorn it on every side, with subjects from the
+Old Testament and the New, which were executed by him with supreme
+diligence, as was also the chief altar-piece. He then executed many
+works throughout the apartments of that Castle, which brought him very
+great fame. And in S. Domenico, by order of that Marquis, he painted the
+whole of the principal chapel for the adornment of the tomb wherein he
+was to be laid to rest; in which work Giovan Francesco acquitted himself
+so well, that he was rightly rewarded with honourable gifts by the
+liberality of his patron, who also favoured him by making him one of his
+own chamberlains, as may be seen from an instrument that is in the
+possession of his heirs at Verona. He made portraits of that lord and of
+his wife, with many pictures that they sent to France, and also the
+portrait of Guglielmo, their eldest child, who was then a boy, and
+likewise portraits of their daughters and of all the ladies who were in
+the service of the Marchioness.
+
+On the death of the Marquis Guglielmo, Giovan Francesco departed from
+Casale, after first selling all the property that he had in those parts,
+and made his way to Verona, where he so arranged his affairs and those
+of his son, to whom he gave a wife, that in a short time he found
+himself in possession of more than seven thousand ducats. But he did not
+therefore abandon his painting; indeed, having a quiet mind, and not
+being obliged to rack his brain for a livelihood, he gave more attention
+to it than ever. It is true that either from envy or for some other
+reason he was accused of being a painter who could do nothing but little
+figures; wherefore, in executing the altar-piece of the Chapel of the
+Madonna in S. Fermo, a convent of Friars of S. Francis, wishing to show
+that the accusation was a calumny, he painted the figures larger than
+life, and so well, that they were the best that he had ever done. In the
+air is Our Lady seated in the lap of S. Anne, with some Angels standing
+upon clouds, and beneath are S. Peter, S. John the Baptist, S. Rocco,
+and S. Sebastian; and not far away, in a most beautiful landscape, is S.
+Francis receiving the Stigmata. This work, indeed, is held by craftsmen
+to be not otherwise than good.
+
+[Illustration: MADONNA AND CHILD WITH S. ANNE AND SAINTS
+
+(_After the painting by =Giovan Francesco Caroto=. Verona: S. Fermo
+Maggiore_)
+
+_Alinari_]
+
+For the Chapel of the Cross in S. Bernardino, a seat of the Frati
+Zoccolanti, he painted Christ kneeling on one knee and taking leave of
+His Mother. In this work, stirred to emulation by the many notable
+pictures by the hands of other masters that are in that place, he strove
+to surpass them all; wherefore, in truth, he acquitted himself very
+well, and was praised by all who saw it, save only by the Guardian of
+that convent, who, like the boorish and solemn fool that he was,
+reproved Giovan Francesco with biting words, saying that he had made
+Christ show such little reverence to His Mother as to kneel only upon
+one knee. To which Giovan Francesco answered by saying: "Father, first
+do me the favour of kneeling down and rising up again, and I will then
+tell you for what reason I have painted Christ so." The Guardian, after
+much persuasion, knelt down, placing on the ground first his right knee
+and then his left; and in rising up he raised first the left and then
+the right. Which done, Giovan Francesco said: "Did you observe, Father
+Guardian, that you neither knelt down nor rose up with both knees
+together? I tell you, therefore, that this Christ of mine is right,
+because one might say that He is either coming to His knees before His
+Mother, or beginning, after having knelt a while, to raise one leg in
+order to rise." At which the Guardian had to appear a little appeased,
+although he went off muttering under his breath.
+
+Giovan Francesco was very sharp in his answers; and it is also related
+of him that once, being told by a priest that his figures were too
+seductive for altar-pieces, he replied: "A lusty fellow you must be, if
+painted figures so move you. Think how much you are to be trusted in
+places where there are living people for you to touch." At Isola, a
+place on the Lake of Garda, he painted two panel-pictures for the Church
+of the Zoccolanti; and at Malsessino, a township above that same lake,
+he painted a very beautiful Madonna over the door of a church, and some
+Saints within the church, at the request of Fracastoro, a very famous
+poet, who was much his friend. For Count Giovan Francesco Giusti,
+executing a subject conceived by that nobleman, he painted a young man
+wholly naked except for the parts of shame, and in an attitude of
+indecision as to whether he shall rise up or not; and on one side he had
+a most beautiful young woman representing Minerva, who with one hand
+was pointing out to him a figure of Fame on high, and with the other was
+urging him to follow her; but Sloth and Idleness, who were behind the
+young man, were striving to detain him. Below these was a figure with an
+uncouth face, rather that of a slave and a plebeian than of one of noble
+blood, who had two great snails clinging to his elbows and was seated on
+a crab, and near him was another figure with the hands full of poppies.
+This invention, in which are other beautiful details and fancies, was
+executed by Giovan Francesco with supreme diligence and love; and it
+serves as the head-board of a bedstead at that nobleman's lovely place
+near Verona, which is called S. Maria in Stella.
+
+The same master painted the whole of a little chamber with various
+scenes in little figures, for Count Raimondo della Torre. And since he
+delighted to work in relief, he executed not only models for his own
+purposes and for the arrangement of draperies, but also other things of
+his own fancy, of which there are some to be seen in the house of his
+heirs, and in particular a scene in half-relief, which is not otherwise
+than passing good. He also executed portraits on medallions, and some
+are still to be seen, such as that of Guglielmo, Marquis of Montferrat,
+which has on the reverse a Hercules slaying ..., with a motto that runs:
+"Monstra domat." He painted portraits of Count Raimondo della Torre,
+Messer Giulio his brother, and Messer Girolamo Fracastoro.
+
+But when Giovan Francesco became old, he began gradually to lose his
+mastery over art, as may be seen from the organ-doors in S. Maria della
+Scala, from the panel-picture of the Movi family, wherein is a
+Deposition from the Cross, and from the Chapel of S. Martino in S.
+Anastasia. Giovan Francesco had always a great opinion of himself, and
+not for anything in the world would he have ever copied another man's
+work in his own. Now Bishop Giovan Matteo Giberti wished him to paint
+some stories of the Madonna in the great chapel of the Duomo, and had
+the designs for these drawn in Rome by Giulio Romano, who was very much
+his friend (for Giberti was Datary to Pope Clement VII). But, when the
+Bishop had returned to Verona, Giovan Francesco would never consent to
+execute these designs; at which the Bishop, in disdain, caused them to
+be put into execution by Francesco, called Il Moro.
+
+Giovan Francesco held an opinion, in which he was not far from the
+truth, that varnishing pictures spoiled them, and made them become old
+sooner than they otherwise would; and for this reason he used varnish in
+the darks while painting, together with certain purified oils. He was
+also the first who executed landscapes well in Verona; wherefore there
+are some by his hand to be seen in that city, which are very beautiful.
+Finally, when seventy-six years of age, Giovan Francesco died the death
+of a good Christian, leaving his grandchildren and his brother, Giovanni
+Caroto, passing well provided. This Giovanni, after first applying
+himself to art under his brother, and then spending some time in Venice,
+had just returned to Verona when Giovan Francesco passed to the other
+life; and thus he took a hand with the grandchildren in inspecting the
+things of art that had been left to them. Among these they found a
+portrait of an old man in armour, very beautiful both in drawing and in
+colour, which was the best work by the hand of Giovan Francesco that was
+ever seen; and likewise a little picture containing a Deposition from
+the Cross, which was presented to Signor Spitech, a man of great
+authority with the King of Poland, who had come at that time to some
+baths that are in the territory of Verona. Giovan Francesco was buried
+in the Madonna dell' Organo, in the Chapel of S. Niccol�, which he
+himself had adorned with his paintings.
+
+Giovanni Caroto, brother of Giovan Francesco, although he followed the
+manner of the latter, yet gained less reputation in the practice of
+painting. This master painted the altar-piece in the above-mentioned
+Chapel of S. Niccol�, wherein is the Madonna enthroned on clouds; and
+below this he placed a portrait of himself, taken from life, and that of
+his wife Placida. He also painted some little figures of female Saints
+for the altar of the Schioppi in the Church of S. Bartolommeo, together
+with a portrait of Madonna Laura degli Schioppi, who had caused that
+chapel to be built, and who was much celebrated by the writers of those
+times no less for her virtues than for her beauty. Giovanni likewise
+painted a S. Martin in a little altar-piece for S. Giovanni in Fonte,
+near the Duomo; and he made a portrait of Messer Marc' Antonio della
+Torre (who afterwards became a man of learning and gave public lectures
+at Padua and Pavia) as a young man, and also one of Messer Giulio; which
+heads are in the possession of their heirs at Verona. For the Prior of
+S. Giorgio he painted a picture of Our Lady, which, as a good painting,
+has been kept ever since, as it still is, in the chamber of the Priors.
+And he painted another picture, representing the transformation of
+Act�on into a stag, for the organist Brunetto, who afterwards presented
+it to Girolamo Cicogna, an excellent embroiderer, and engineer to Bishop
+Giberti; and it now belongs to Messer Vincenzio Cicogna, his son.
+
+Giovanni took ground-plans of all the ancient buildings of Verona, with
+the triumphal arches and the Colosseum. These were revised by the
+Veronese architect Falconetto, and they were meant for the adornment of
+the book of the Antiquities of Verona, which had been written after his
+own original research by Messer Torello Saraina, who afterwards had the
+book printed. This book was sent to me by Giovanni Caroto when I was in
+Bologna (where I was executing the work of the Refectory of S. Michele
+in Bosco), together with the portrait of the reverend Father, Don
+Cipriano da Verona, who was twice General of the Monks of Monte Oliveto;
+and the portrait, which was sent to me by Giovanni to the end that I
+might make use of it, as I did, for one of those pictures, is now in my
+house at Florence, with other paintings by the hands of various masters.
+
+Finally, having lived without children and without ambition, but with
+good means, Giovanni died at about the age of sixty, full of gladness
+because he saw some of his disciples, particularly Anselmo Canneri and
+Paolo Veronese, already in good repute. Paolo is now working in Venice,
+and is held to be a good master; and Anselmo has executed many works
+both in oils and in fresco, and in particular at the Villa Soranza on
+the Tesino, and in the Palace of the Soranzi at Castelfranco, and also
+in many other places, but more at Vicenza than anywhere else. But to
+return to Giovanni; he was buried in S. Maria dell' Organo, where he had
+painted a chapel with his own hand.
+
+Francesco Turbido, called Il Moro, a painter of Verona, learned the
+first rudiments of art, when still quite young, from Giorgione da
+Castelfranco, whom he imitated ever afterwards in colouring and in
+softness of painting. But just when Il Moro was making progress, he came
+to words with I know not whom, and handled him so roughly, that he was
+forced to leave Venice and return to Verona. There, abandoning his
+painting, since he was somewhat ready with his hands and associated with
+the young noblemen, being a person of very good breeding, he lived for a
+time without doing any work. And associating in this way, in particular,
+with the Counts Sanbonifazi and the Counts Giusti, two illustrious
+families of Verona, he became so intimate with them that he lived in
+their houses as if he had been born in them; and, what is more, no long
+time passed before Count Zenovello Giusti gave him a natural daughter of
+his own for a wife, and granted him a commodious apartment in his own
+house for himself, his wife, and the children that were born to them.
+
+It is said that Francesco, while living in the service of those
+noblemen, always carried a pencil in his pouch; and wherever he went, if
+only he had time, he would draw a head or something else on the walls.
+Wherefore the same Count Zenovello, seeing him to be so much inclined to
+painting, relieved him of his other duties, like the generous nobleman
+that he was, and made him give his whole attention to art; and since
+Francesco had all but forgotten everything, he placed himself, through
+the good offices of that patron, under Liberale, a famous painter and
+illuminator of that time. And thus, practising under that master without
+ever ceasing, he went on making such progress from one day to another,
+that not only did all that he had forgotten awaken in his memory, but he
+also acquired in a short time as much more knowledge as sufficed to make
+him an able craftsman. It is true, however, that, although he always
+held to the manner of Liberale, he yet imitated the softness and
+well-blended colouring of Giorgione, his first instructor, believing
+that the works of Liberale, while good in other respects, suffered from
+a certain dryness.
+
+Now Liberale, having recognized the beauty of Francesco's spirit,
+conceived such an affection for him, that he loved him ever afterwards
+as a son, and, when death came upon him, left him heir to all his
+possessions. And thus, after the death of Liberale, Francesco followed
+in his steps and executed many works, which are dispersed among various
+private houses. Of those in Verona which deserve to be extolled above
+all others, the first is the great chapel of the Duomo, on the vaulting
+of which are four large pictures painted in fresco, wherein are the
+Nativity of the Madonna and the Presentation in the Temple, and, in the
+picture in the centre, which appears to recede inwards, three Angels in
+the air, who are seen foreshortened from below, and are holding a crown
+of stars wherewith to crown the Madonna, who is in the recess, in the
+act of ascending into Heaven, accompanied by many Angels, while the
+Apostles are gazing upwards in attitudes of great variety; and these
+Apostles are figures twice the size of life. All these pictures were
+executed by Il Moro after the designs of Giulio Romano, according to the
+wish of Bishop Giovan Matteo Giberti, who gave the commission for the
+work, and who, as has been said, was very much the friend of that same
+Giulio.
+
+After this Il Moro painted the fa�ade of the house of the Manuelli,
+which stands on the abutment of the Ponte Nuovo, and a fa�ade for
+Torello Saraina, the doctor, who wrote the above-mentioned book of the
+Antiquities of Verona. In Friuli, likewise, he painted in fresco the
+principal chapel of the Abbey of Rosazzo, for Bishop Giovan Matteo, who
+held it "in commendam," and, being a noble and truly religious
+dignitary, rebuilt it; for it had been allowed to fall completely into
+ruin, as such buildings are generally found to be, by those who had held
+it "in commendam" before him, attending only to the drawing of the
+revenues and spending not a farthing in the service of God and of the
+Church.
+
+[Illustration: PORTRAIT OF A MAN
+
+(_After the painting by =Francesco Turbido [Il Moro]=. Munich:
+Pinacoteca, 1125_)
+
+_Bruckmann_]
+
+Il Moro afterwards painted many works in oils at Verona and in Venice.
+On the outer wall (of a chapel) in S. Maria in Organo he executed in
+fresco the figures that are still there, with the exception of the Angel
+Michael and the Angel Raphael, which are by the hand of Paolo
+Cavazzuola. For the same chapel he painted an altar-piece in oils,
+wherein he made a portrait of Messer Jacopo Fontani, who gave the
+commission for the work, in a figure of S. James, in addition to the
+Madonna and other very beautiful figures. And in a large semicircle
+above that altar-piece, occupying the whole width of the chapel, he
+painted the Transfiguration of Our Lord, and the Apostles beneath, which
+were held to be among the best figures that he ever executed. For the
+Chapel of the Bombardieri, in S. Eufemia, he painted an altar-piece with
+S. Barbara in the heavens, in the centre, and a S. Anthony below, with
+his hand on his beard, which is a most beautiful head, and on the other
+side a S. Rocco, which is also held to be a very good figure; whence
+this work is rightly looked upon as one executed with supreme diligence
+and unity of colouring. In a picture on the altar of the Santificazione,
+in the Madonna della Scala, he painted a S. Sebastian, in competition
+with Paolo Cavazzuola, who executed a S. Rocco in another picture; and
+he afterwards painted an altar-piece that was taken to Bagolino, a place
+in the mountains of Brescia.
+
+Il Moro executed many portraits, and his heads are in truth beautiful to
+a marvel, and very good likenesses of those whom they were meant to
+represent. At Verona he executed a portrait of Count Francesco
+Sanbonifazio, who, on account of the length of his body, was called the
+Long Count; with that of one of the Franchi, which was an amazing head.
+He also painted the portrait of Messer Girolamo Verit�, which remained
+unfinished, because Il Moro was inclined to be dilatory in his work; and
+this, still unfinished, is in the possession of the sons of that good
+nobleman. Among many other portraits, likewise, he executed one of the
+Venetian, Monsignor de' Martini, a knight of Rhodes, and to the same man
+he sold a head of marvellous beauty and excellence, which he had painted
+many years before as the portrait of a Venetian gentleman, the son of
+one who was then Captain in Verona. This head, through the avarice of
+the Venetian, who never paid him, was left in the hands of Francesco,
+and he disposed of it to Monsignor de' Martini, who had the Venetian
+dress changed into that of a shepherd or herdsman. It is as rare a
+portrait as ever issued from the hand of any craftsman, and it is now in
+the house of the heirs of the same Monsignor de' Martini, where it is
+rightly held in vast veneration. In Venice he painted a portrait of
+Messer Alessandro Contarini, Procurator of S. Mark and Proveditor of the
+forces, and one of Messer Michele San Michele for one of Messer
+Michele's dearest friends, who took the portrait to Orvieto; and it is
+said that he executed another of the same architect, Messer Michele,
+which is now in the possession of Messer Paolo Ramusio, the son of
+Messer Giovan Battista. He also painted a portrait of Fracastoro, a very
+famous poet, at the instance of Monsignor Giberti, by whom it was sent
+to Giovio, who placed it in his museum.
+
+Il Moro executed many other works, of which there is no need to make
+mention, although they are all well worthy of remembrance, because he
+was as diligent a colourist as any master that lived in his day, and
+because he bestowed much time and labour on his work. So great, indeed,
+was his diligence, that it brought upon him more blame than praise, as
+may also be seen at times to happen to others, for the reason that he
+accepted any commission and took the earnest-money from every patron,
+and trusted to the will of God to finish the work; and if he did this in
+his youth, everyone may imagine what he must have done in his last
+years, when to his natural slowness there was added that which old age
+brings in its train. By this method of procedure he brought upon himself
+more entanglements and annoyances than he cared for; and Messer Michele
+San Michele, therefore, moved by compassion for him, took him into his
+house in Venice and treated him like a friend and man of talent.
+
+Finally, having been invited back to Verona by his former patrons, the
+Counts Giusti, Il Moro died among them in their beautiful Palace of S.
+Maria in Stella, and was buried in the church of that villa, being
+accompanied to his tomb by all those loving noblemen, and even laid to
+rest with extraordinary affection by their own hands; for they loved him
+as a father, since they had all been born and brought up while he was
+living in their house. In his youth Il Moro was very courageous and
+agile in body, and handled all kinds of arms with great skill. He was
+most faithful to his friends and patrons, and he showed spirit in all
+his actions. His most intimate friends were the architect, Messer
+Michele San Michele, Danese da Carrara, an excellent sculptor, and the
+very reverend and most learned Fra Marco de' Medici, who often went
+after his studies to sit with him, watching him at work, and discoursing
+lovingly with him, in order to refresh his mind when he was weary with
+labour.
+
+A disciple and son-in-law of Il Moro, who had two daughters, was
+Battista d' Agnolo, who was afterwards called Battista del Moro. This
+master, although he had his hands full for a time with the complications
+of the inheritance that Il Moro bequeathed to him, has yet executed many
+works which are not otherwise than passing good. In Verona he has
+painted a S. John the Baptist in the Church of the Nuns of S. Giuseppe,
+and in the tramezzo[6] of S. Eufemia, above the altar of S. Paolo, a
+scene in fresco showing the latter Saint presenting himself to Ananias
+after being converted by Christ; which work, although he executed it
+when still a lad, is much extolled. For the noble Counts Canossi he
+painted two apartments, and in a hall two friezes with battle-pieces,
+which are very beautiful and praised by everyone. In Venice he painted
+the fa�ade of a house near the Carmine, a work of no great size, but
+much extolled, in which he executed a figure of Venice crowned and
+seated upon a lion, the device of that Republic. For Camillo Trevisano
+he painted the fa�ade of his house at Murano, and in company with his
+son Marco he decorated the inner court with very beautiful scenes in
+chiaroscuro. And in competition with Paolo Veronese he painted a large
+chamber in the same house, which proved to be so beautiful that it
+brought him much honour and profit.
+
+The same master has also executed many works in miniature, of which the
+most recent is a very beautiful drawing of S. Eustachio adoring Christ,
+who has appeared to him between the horns of a deer, with two dogs near
+him, which could not be more excellent, and a landscape full of trees,
+receding and fading away little by little into the distance, which is an
+exquisite thing. This drawing has been very highly praised by the many
+persons who have seen it, and particularly by Danese da Carrara, who saw
+it when he was in Verona, carrying out the work of the Chapel of the
+Signori Fregosi, which is one of rare distinction among all the number
+that there are in Italy at the present day. Danese, I say, having seen
+this drawing, was lost in astonishment at its beauty, and exhorted the
+above-mentioned Fra Marco de' Medici, his old and particular friend, not
+for anything in the world to let it slip through his hands, but to
+contrive to place it among the other choice examples of all the arts in
+his possession. Whereupon Battista, having heard that Fra Marco desired
+it, and knowing of his friendship with his father-in-law, gave it to
+him, almost forcing him to accept it, in the presence of Danese; nor was
+that good Father ungrateful to him for so much courtesy. However, since
+that same Battista and his son Marco are alive and still at work, I
+shall say nothing more of them for the present.
+
+Il Moro had another disciple, called Orlando Fiacco, who has become a
+good master and a very able painter of portraits, as may be seen from
+the many that he has painted, all very beautiful and most lifelike. He
+made a portrait of Cardinal Caraffa when he was returning from Germany,
+which he took secretly by torch-light while the Cardinal was at supper
+in the Vescovado of Verona; and this was such a faithful likeness that
+it could not have been improved. He also painted a very lifelike
+portrait of the Cardinal of Lorraine, when, coming from the Council of
+Trent, he passed through Verona on his return to Rome; and likewise
+portraits of the two Bishops Lippomani of Verona, Luigi the uncle and
+Agostino the nephew, which Count Giovan Battista della Torre now has in
+a little apartment. Other portraits that he painted were those of Messer
+Adamo Fumani, a Canon and a very learned gentleman of Verona, of Messer
+Vincenzio de' Medici of Verona, and of his consort, Madonna Isotta, in
+the guise of S. Helen, and of their grandson, Messer Niccol�. He has
+likewise executed portraits of Count Antonio della Torre, of Count
+Girolamo Canossi, and his brothers, Count Lodovico and Count Paolo, of
+Signor Astorre Baglioni, Captain-General of all the light cavalry of
+Venice and Governor of Verona, the latter clad in white armour and most
+beautiful in aspect, and of his consort, Signora Ginevra Salviati. In
+like manner, he has portrayed the eminent architect Palladio and many
+others; and he still continues at work, wishing to become in the art of
+painting as true an Orlando as once was that great Paladin of France.
+
+[Illustration: BONSIGNORI (MONSIGNORI): PORTRAIT OF A GENTLEMAN
+
+(_London: National Gallery, 736. Tempera Panel_)]
+
+In Verona, where an extraordinary degree of attention has been given to
+design ever since the death of Fra Giocondo, there have flourished at
+all times men excellent in painting and architecture, as will now be
+seen, in addition to what has been observed hitherto, in the Lives of
+Francesco Monsignori, of Domenico Morone and his son Francesco, of Paolo
+Cavazzuola, of the architect Falconetto, and, lastly, of the
+miniaturists Francesco and Girolamo.
+
+Francesco Monsignori, the son of Alberto, was born at Verona in the year
+1455; and when he was well grown he was advised by his father, who had
+always delighted in painting, although he had not practised it save for
+his own pleasure, to give his attention to design. Having, therefore,
+gone to Mantua to seek out Mantegna, who was then working in that city,
+he exerted himself in such a manner, being fired by the fame of his
+instructor, that no long time passed before Francesco II, Marquis of
+Mantua, who found an extraordinary delight in painting, took him into
+his own service; and in the year 1487 he gave him a house for his
+habitation in Mantua, and assigned him an honourable provision. For
+these benefits Francesco was not ungrateful, for he always served that
+lord with supreme fidelity and lovingness; whence the Marquis came to
+love and favour him more and more every day, insomuch that he could not
+leave the city without having Francesco in his train, and was once heard
+to say that Francesco was as dear to him as the State itself.
+
+Francesco painted many works for that lord in his Palace of S.
+Sebastiano at Mantua, and also in the Castello di Gonzaga and in the
+beautiful Palace of Marmirolo without the city. In the latter Francesco
+had finished painting in the year 1499, after a vast number of other
+pictures, some triumphs and many portraits of gentlemen of the Court;
+and on Christmas Eve, on which day he had finished those works, the
+Marquis presented to him an estate of a hundred fields in the territory
+of Mantua, at a place called La Marzotta, with a mansion, garden,
+meadows, and other things of great beauty and convenience. He was most
+excellent at taking portraits from life, and the Marquis caused him to
+paint many portraits, of himself, of his sons, and of many other lords
+of the house of Gonzaga, which were sent to France and Germany as
+presents for various Princes. And many of these portraits are still in
+Mantua, such as those of the Emperor Frederick Barbarossa; of Doge
+Barbarigo of Venice; of Francesco Sforza, Duke of Milan; of
+Massimiliano, also Duke of Milan, who died in France; of the Emperor
+Maximilian; of Signor Ercole Gonzaga, who afterwards became a Cardinal;
+of his brother, Duke Federigo (then a young man); of Signor Giovan
+Francesco Gonzaga; of Messer Andrea Mantegna, the painter; and of many
+others; of all which Francesco preserved copies drawn on paper in
+chiaroscuro, which are now in the possession of his heirs at Mantua.
+
+Above the pulpit of S. Francesco de' Zoccolanti, in the same city, is a
+picture that he painted of S. Louis and S. Bernardino holding a large
+circle that contains the name of Jesus; and in the refectory of those
+friars there is a picture on canvas as large as the whole of the
+head-wall, of the Saviour in the midst of the twelve Apostles, painted
+in perspective and all very beautiful, and executed with many proofs of
+consideration. Among them is the traitor Judas, with a face wholly
+different from those of the others, and in a strange attitude; and the
+others are all gazing intently at Jesus, who is speaking to them, being
+near His Passion. On the right hand of this work is a S. Francis of the
+size of life, a very beautiful figure, the countenance of which is the
+very presentment of that sanctity which was peculiar to that most
+saintly man; and he is presenting to Christ the Marquis Francesco, who
+is kneeling at his feet, portrayed from life in a long coat pleated and
+worked with a curly pattern, according to the fashion of those times,
+and embroidered with white crosses, perchance because he may have been
+at that time Captain of the Venetians. And in front of the Marquis is a
+portrait, with the hands clasped, of his eldest son, who was then a very
+beautiful boy, and afterwards became Duke Federigo. On the other side is
+painted a S. Bernardino, equal in excellence to the figure of S.
+Francis, and likewise presenting to Christ the brother of the Marquis,
+Cardinal Sigismondo Gonzaga, a very beautiful kneeling figure, robed in
+the habit of a Cardinal, with the rochet, which is also a portrait from
+life; and in front of that Cardinal is a portrait of Signora Leonora,
+the daughter of the same Marquis, who was then a girl, and afterwards
+became Duchess of Urbino. This whole work is held by the most excellent
+painters to be a marvellous thing.
+
+[Illustration: S. SEBASTIAN
+
+(_After the painting by =Francesco Monsignori [Bonsignori]=. Berlin:
+Kaiser Friedrich Museum, 46 c_)
+
+_Hanfstaengl_]
+
+The same master painted a picture of S. Sebastian, which was afterwards
+placed in the Madonna delle Grazie, without the city of Mantua; and to
+this he devoted extraordinary pains, copying many things in it from the
+life. It is related that the Marquis, going one day, while Francesco was
+executing this picture, to see him at work, as he used often to do, said
+to him: "Francesco, you must take some fine figure as your model in
+painting this Saint." To which Francesco answered: "I am using as my
+model a porter with a very handsome figure, whom I bind in a fashion of
+my own in order to make the work natural." "But the limbs of this Saint
+of yours," rejoined the Marquis, "are not true to life, for they have
+not the appearance of being strained by force or by that fear which one
+would expect in a man bound and shot with arrows; and by your leave I
+will undertake to show you what you ought to do in order to make this
+figure perfect." "Nay, but I beg you to do it, my lord," said Francesco;
+and the Marquis added: "When you have your porter bound here, send for
+me, and I will show you what you must do." The next day, therefore, when
+Francesco had the porter bound in the manner that he wished, he sent a
+secret summons to the Marquis, but without knowing what he intended to
+do. And the Marquis, bursting out of a neighbouring room in a great
+fury, with a loaded cross-bow in his hand, rushed towards the porter,
+crying out at the top of his voice, "Traitor, prepare to die! At last I
+have caught thee as I would have thee," and other suchlike words; which
+hearing, the wretched porter, thinking himself as good as dead,
+struggled in a frenzy of terror with the ropes wherewith he was bound,
+and made frantic efforts to break them, thus truly representing one
+about to be shot with arrows, and revealing fear in his face and the
+horror of death in his strained and distorted limbs, as he sought to
+escape from his peril. This done, the Marquis said to Francesco, "There
+he is in the state that he ought to be: the rest is for you to do";
+which the painter having well considered, made his figure as perfect as
+could be imagined.
+
+Francesco painted in the Gonzaga Palace, besides many other things, the
+Election of the first Lords of Mantua, with the jousts that were held on
+the Piazza di S. Piero, which is seen there in perspective. When the
+Grand Turk sent one of his men with a most beautiful dog, a bow, and a
+quiver, as presents for the Marquis, the latter caused the dog, the Turk
+who had brought it, and the other things, to be painted in the same
+Gonzaga Palace; and, this done, wishing to see whether the painted dog
+were truly lifelike, he had one of his own dogs, of a breed very hostile
+to the Turkish dog, brought to the place where the other one stood on a
+pedestal painted in imitation of stone. The living dog, then, arriving
+there, had no sooner seen the painted one than, precisely as if it had
+been a living animal and the very one for whom he had a mortal hatred,
+he broke loose from his keeper and rushed at it with such vehemence, in
+order to bite it, that he struck his head full against the wall and
+dashed it all to pieces.
+
+[Illustration: GIOVAN FRANCESCO MORONE: MADONNA AND CHILD
+
+(_London: National Gallery, 285. Panel_)]
+
+Another story is told by persons who were present at the scene, of a
+little picture by the hand of Francesco, little more than two span in
+height, and belonging to his nephew Benedetto Baroni, in which is a
+Madonna painted in oils, from the breast upwards, and almost life-size,
+and, lower down, in the corner of the picture, the Child, seen from the
+shoulders upwards, with one arm uplifted and in the act of caressing His
+Mother. It is related, I say, that, when the Emperor was master of
+Verona, Don Alfonso of Castille and Alarcon, a very famous Captain,
+happened to be in that city on behalf of His Majesty and the Catholic
+King; and that these lords, being in the house of the Veronese Count
+Lodovico da Sesso, said that they had a great desire to see that
+picture. Whereupon it was sent for; and one evening they were standing
+contemplating it in a good light, and admiring its masterly workmanship,
+when Signora Caterina, the wife of the Count, entered into the room
+where those noblemen were, together with one of her sons, who had on his
+wrist one of those green birds--called in Verona "terrazzani,"[7]
+because they make their nests on the ground--which learn to perch on the
+wrist, like hawks. It happened, then, that, while she stood with the
+others contemplating the picture, the bird, seeing the extended arm and
+wrist of the painted Child, flew to perch upon it; but, not having been
+able to find a hold on the surface of the painting, and having
+therefore fallen to the ground, it twice returned to settle on the
+wrist of that painted Child, precisely as if it had been one of those
+living children who were always holding it on their wrists. At which
+those noblemen, being amazed, offered to pay a great price to Benedetto
+for the picture, if only he would give it to them; but it was not
+possible by any means to wrest it from him. Not long afterwards the same
+persons planned to have it stolen from him on the day of the festival of
+S. Biagio in S. Nazzaro; but the owner was informed of this, and their
+design did not succeed.
+
+For S. Paolo, in Verona, Francesco painted a panel-picture in gouache,
+which is very beautiful, and another, also most beautiful, for the
+Chapel of the Bandi in S. Bernardino. In Mantua he executed for Verona a
+picture with two most lovely nudes, a Madonna in the sky, with the Child
+in her arms, and some Angels, all marvellous figures, which is in the
+chapel where S. Biagio is buried, in the Black Friars Church of S.
+Nazzaro.
+
+Francesco was a man of saintly life, and the enemy of every vice,
+insomuch that he would never on any account paint licentious works,
+although he was very often entreated to do so by the Marquis; and equal
+to him in goodness were his brothers, as will be related in the proper
+place. Finally, being old, and suffering in the bladder, Francesco, with
+the leave of the Marquis and by the advice of the physicians, went with
+his wife and many servants to the Baths of Caldero, in the territory of
+Verona, to take the waters. There, one day, after he had drunk the
+water, he allowed himself to be overcome by drowsiness, and slept a
+little, being indulged in this by his wife out of compassion; whereupon,
+a violent fever having come upon him in consequence of his sleeping,
+which is a deadly thing for one who has just taken that water, he
+finished the course of his life on the second day of July, 1519; which
+having been reported to the Marquis, he straightway sent orders by a
+courier that the body of Francesco should be brought to Mantua. This was
+done, although it gave little pleasure to the people of Verona; and he
+was laid to rest with great honour in the burial-place of the Compagnia
+Segreta in S. Francesco at Mantua. Francesco lived to the age of
+sixty-four, and the portrait of him which belongs to Messer Fermo was
+executed when he was fifty. Many compositions were written in his
+praise, and he was mourned by all who knew him as a virtuous and saintly
+man, which he was. He had for wife Madonna Francesca Gioacchini of
+Verona, but he had no children.
+
+The eldest of his three brothers was called Monsignore; and he, being a
+person of culture and learning, received offices with good salaries in
+Mantua from the Marquis, on account of that nobleman's love of
+Francesco. He lived to the age of eighty, and left children, who keep
+the family of the Monsignori alive in Mantua. Another brother of
+Francesco had the name of Girolamo when in the world, and of Fra
+Cherubino among the Frati Zoccolanti di San Francesco; and he was a very
+beautiful calligrapher and illuminator. The third, who was a Friar of S.
+Dominic and an Observantine, and was called Fra Girolamo, chose out of
+humility to become a lay-brother. He was not only a man of good and holy
+life, but also a passing good painter, as may be seen in the Convent of
+S. Domenico in Mantua, where, besides other works, he executed a most
+beautiful Last Supper in the refectory, with a Passion of Christ, which
+remained unfinished on account of his death. The same friar painted the
+beautiful Last Supper that is in the refectory of the very rich abbey
+which the Monks of S. Benedict possess in the territory of Mantua. In S.
+Domenico he painted the altar of the Rosary; and in the Convent of S.
+Anastasia, in Verona, he painted in fresco the Madonna, S. Remigio the
+Bishop, and S. Anastasia; with a Madonna, S. Dominic, and S. Thomas
+Aquinas, all executed with mastery, on a little arch over the second
+door of entrance in the second cloister.
+
+[Illustration: THE CRUCIFIXION
+
+(_After the painting by =Giovan Francesco Morone=. Verona: S.
+Bernardino_)
+
+_Alinari_]
+
+Fra Girolamo was a person of great simplicity, wholly indifferent to the
+things of the world. He lived in the country, at a farm belonging to his
+convent, in order to avoid all noise and disturbance, and the money sent
+to him in return for his works, which he used for buying colours and
+suchlike things, he kept in a box without a cover, hung from the ceiling
+in the middle of his chamber, so that all who wished could take some;
+and in order not to have the trouble of thinking every day what he
+was to eat, he used to cook a pot of beans every Monday to last him the
+whole week.
+
+When the plague came to Mantua and the sick were abandoned by all, as
+happens in such cases, Fra Girolamo, with no other motive but the purest
+love, would never desert the poor plague-stricken monks, and even tended
+them all day long with his own hands. And thus, careless of his life for
+the love of God, he became infected with that malady and died at the age
+of sixty, to the great grief of all who knew him.
+
+But to return to Francesco Monsignori: he painted a life-size portrait,
+which I forgot to mention above, of Count Ercole Giusti of Verona, in a
+robe of cloth of gold, such as he was wont to wear; and this is a very
+beautiful likeness, as may be seen in the house of his son, Count
+Giusto.
+
+Domenico Morone, who was born at Verona about the year 1430, learned the
+art of painting from some masters who were disciples of Stefano, and
+from works by the same Stefano, by Jacopo Bellini, by Pisano, and by
+others, which he saw and copied. Saying nothing of the many pictures
+that he executed after the manner of those times, which are now in
+monasteries and private houses, I begin by recording that he painted in
+chiaroscuro, with "terretta verde," the fa�ade of a house belonging to
+the city of Verona, on the square called the Piazza de' Signori; and in
+this may be seen many ornamental friezes and scenes from ancient
+history, with a very beautiful arrangement of figures and costumes of
+bygone days. But the best work to be seen by the hand of this master is
+the Leading of Christ to the Cross, with a multitude of figures and
+horses, which is in S. Bernardino, on the wall above the Chapel of the
+Monte di Piet�, for which Liberale painted the picture of the Deposition
+with the weeping Angels. The same Domenico received a commission to
+paint the chapel that is next to that one, both within and without, at
+great expense and with a lavish use of gold, from the Chevalier, Messer
+Niccol� de' Medici, who was considered to be the richest man of his day
+in Verona, and who spent great sums of money on other pious works, being
+a man who was inclined to this by nature. This gentleman, after he had
+built many monasteries and churches, and had left scarcely any place in
+that city where he had not executed some noble and costly work to the
+honour of God, chose as his burial-place the chapel mentioned above, for
+the ornamentation of which he availed himself of Domenico, at that time
+more famous than any other painter in that city, Liberale being in
+Siena.
+
+Domenico, then, painted in the interior of this chapel the Miracles of
+S. Anthony of Padua, to whom it is dedicated, and portrayed the
+Chevalier in an old man with shaven face and white hair, without any
+cap, and wearing a long gown of cloth of gold, such as Chevaliers used
+to wear in those times. All this, for a work in fresco, is very well
+designed and executed. Then, in certain medallions in the outer
+vaulting, which is all overlaid with gold, he painted the four
+Evangelists; and on the pilasters both within and without he executed
+figures of Saints, among which are S. Elizabeth of the Third Order of S.
+Francis, S. Helen, and S. Catharine, which are very beautiful figures,
+and much extolled for the draughtsmanship, colouring, and grace. This
+work, then, can bear witness to the talent of Domenico and to the
+magnificent liberality of that Chevalier.
+
+Domenico died very old, and was buried in S. Bernardino, wherein are the
+works by his hand described above, leaving his son, Francesco Morone,
+heir to his property and his talents. This Francesco, who learned the
+first principles of art from his father, afterwards exerted himself in
+such a manner that in a short time he became a much better master than
+his father had been, as the works that he executed in emulation of those
+of his father clearly demonstrate. Below his father's work on the altar
+of the Monte, in the aforesaid Church of S. Bernardino, Francesco
+painted in oils the folding-doors that enclose the altar-piece of
+Liberale; on the inner side of which he depicted in one the Virgin, and
+in the other S. John the Evangelist, both life-size figures, with great
+beauty in the faces, which are weeping, in the draperies, and in every
+other part. In the same chapel, at the foot of the face of that wall
+which serves as head-wall to the tramezzo,[8] he painted the Miracle
+that Our Lord performed with the five loaves and two fishes, which
+satisfied the multitude; and in this are many beautiful figures and
+many portraits from life, but most of all is praise given to a S. John
+the Evangelist, who is very slender, and has his back partly turned
+towards the spectator. He then executed in the same place, beside the
+altar-piece, in the vacant spaces on the wall against which it rests, a
+S. Louis, Bishop and Friar of S. Francis, and another figure; with some
+heads in foreshortening in a sunk medallion on the vaulting. All these
+works are much extolled by the painters of Verona. And for the altar of
+the Cross, on which are so many painted pictures, between that chapel
+and the Chapel of the Medici, in the same church, he executed a picture
+which is in the centre above all the others, containing Christ on the
+Cross, the Madonna, and S. John, and very beautiful. In another picture,
+which is above that of Caroto, on the left-hand side of the same altar,
+he painted Our Lord washing the feet of the Apostles, who are seen in
+various attitudes; in which work, so men say, this painter made a
+portrait of himself in the figure of one who is serving Christ by
+bringing water.
+
+For the Chapel of the Emilii, in the Duomo, Francesco executed a S.
+James and a S. John, one on either side of Christ, who is bearing His
+Cross; and the beauty and excellence of these two figures leave nothing
+to be desired. The same master executed many works at Lonico, in an
+abbey of Monks of Monte Oliveto, whither great multitudes flock together
+to adore a figure of the Madonna which performs many miracles in that
+place. Afterwards, Francesco being very much the friend, and, as it
+were, the brother of Girolamo dai Libri, the painter and illuminator,
+they undertook to paint in company the organ-doors of S. Maria in
+Organo, a church of Monks of Monte Oliveto. In one of these, on the
+outer side, Francesco painted a S. Benedict clothed in white, and S.
+John the Evangelist, and on the inner side the Prophets Daniel and
+Isaiah, with two little Angels in the air, and a ground all full of very
+beautiful landscapes. And then he executed the great altar-piece of the
+altar of the Muletta, painting therein a S. Peter and a S. John, which
+are little more than one braccio in height, but wrought so well and with
+such diligence, that they have the appearance of miniatures. The
+carvings of this work were executed by Fra Giovanni da Verona, a master
+of tarsia and carving.
+
+In the same place, on the wall of the choir, Francesco painted two
+scenes in fresco--one of Our Lord riding on an ass into Jerusalem, and
+the other of His Prayer in the Garden, wherein, on one side, is the
+armed multitude coming to take Him, guided by Judas. But more beautiful
+than all the rest is the vaulted sacristy, which is all painted by the
+same master, excepting only the S. Anthony being scourged by Demons,
+which is said to be by the hand of his father, Domenico. In this
+sacristy, then, besides the Christ and some little Angels that are seen
+in foreshortening on the vaulting, he painted in the lunettes, two in
+each niche, and robed in their pontifical vestments, the various Popes
+who have been exalted to the Pontificate from the Order of S. Benedict.
+Round the sacristy, below the lunettes of the vaulting, is drawn a
+frieze four feet high, and divided into compartments, wherein are
+painted in the monastic habit various Emperors, Kings, Dukes, and other
+Princes, who have abandoned the States and Principalities that they
+ruled, and have become monks. In these figures Francesco made portraits
+from life of many of the monks who had their habitation or a temporary
+abode in that monastery, the while that he was working there; and among
+them are portraits of many novices and other monks of every kind, which
+are heads of great beauty, and executed with much diligence. In truth,
+by reason of these ornaments, that was then the most beautiful sacristy
+that there was in all Italy, since, in addition to the beauty of the
+room, which is of considerable size and well proportioned, and the
+pictures described above, which are also very beautiful, there is at the
+foot of the walls a range of panelled seats adorned with fine
+perspective-views, so well executed in tarsia and carving, that there is
+no work to be seen of those times, and perchance even of our own, that
+is much better. For Fra Giovanni da Verona, who executed this work, was
+most excellent in that art, as was said in the Life of Raffaello da
+Urbino, and as is demonstrated not only by his many other works in
+houses of his Order, but also by those that are in the Papal Palace at
+Rome, in Monte Oliveto di Chiusuri in the territory of Siena, and in
+other places. But those of this sacristy are the best of all the works
+that Fra Giovanni ever executed, for the reason that it may be said that
+in them he surpassed himself by as much as he excelled in the rest every
+other master. Among other things, Fra Giovanni carved for this place a
+candelabrum more than fourteen feet in height to hold the Paschal
+candle, all made of walnut-wood, and wrought with such extraordinary
+patience that I do not believe that there is a better work of the same
+kind to be seen.
+
+But to return to Francesco: he painted for the same church the
+panel-picture which is in the Chapel of the Counts Giusti, in which he
+depicted the Madonna, with S. Augustine and S. Martin in pontifical
+robes. And in the cloister he executed a Deposition from the Cross, with
+the Maries and other Saints, works in fresco which are much extolled in
+Verona. In the Church of the Vittoria he painted the Chapel of the
+Fumanelli, which is below the wall that supports the choir which was
+built by the Chevalier Messer Niccol� de' Medici; and a Madonna in
+fresco in the cloister. And afterwards he painted a portrait from life
+of Messer Antonio Fumanelli, a physician very famous for the works
+written by him in connection with his profession. He painted in fresco,
+also, on a house which is seen on the left hand as one crosses the Ponte
+delle Navi on the way to S. Paolo, a Madonna with many Saints, which is
+held to be a very beautiful work, both in design and in colouring; and
+on the house of the Sparvieri, in the Br�, opposite to the garden of the
+Friars of S. Fermo, he painted another like it. Francesco painted a
+number of other works, of which there is no need to make mention, since
+the best have been described; let it suffice to say that he gave grace,
+unity, and good design to his pictures, with a colouring as vivid and
+pleasing as that of any other painter. Francesco lived fifty-five years,
+and died on May 16, 1529. He chose to be carried to his tomb in the
+habit of a Friar of S. Francis, and he was buried in S. Domenico, beside
+his father. He was so good a man, so religious, and so exemplary, that
+there was never heard to issue from his mouth any word that was
+otherwise than seemly.
+
+A disciple of Francesco, and much more able than his master, was the
+Veronese Paolo Cavazzuola, who executed many works in Verona; I say in
+Verona, because it is not known that he ever worked in any other place.
+In S. Nazzaro, a seat of Black Friars at Verona, he painted many works
+in fresco near those of his master Francesco; but these were all thrown
+to the ground when that church was rebuilt by the pious munificence of
+the reverend Father, Don Mauro Lonichi, a nobleman of Verona and Abbot
+of that Monastery. On the old house of the Fumanelli, in the Via del
+Paradiso, Paolo painted, likewise in fresco, the Sibyl showing to
+Augustus Our Lord in the heavens, in the arms of His Mother; which work
+is beautiful enough for one of the first that he executed. On the outer
+side of the Chapel of the Fontani, in S. Maria in Organo, he painted,
+also in fresco, two Angels--namely, S. Michael and S. Raphael. In the
+street into which there opens the Chapel of the Angel Raphael, in S.
+Eufemia, over a window that gives light to a recess in the staircase of
+that chapel, he painted the Angel Raphael, and with him Tobias, whom he
+guided on his journey; which was a very beautiful little work. And in S.
+Bernardino, in a round picture over the door where there is the bell, he
+painted a S. Bernardino in fresco, and in another round picture on the
+same wall, but lower down, and above the entrance to a confessional, a
+S. Francis, which is beautiful and well executed, as is also the S.
+Bernardino. These are all the works that Paolo is known to have painted
+in fresco.
+
+[Illustration: THE DEPOSITION
+
+(_After the panel by =Paolo Cavazzuola=. Verona: Museo Civico, 392_)
+
+_Anderson_]
+
+As for his works in oils, he painted a picture of S. Rocco for the altar
+of the Santificazione in the Church of the Madonna della Scala, in
+emulation of the S. Sebastian which Il Moro painted for the other side
+of the same place; which S. Rocco is a very beautiful figure. But the
+best figures that this painter ever executed are in S. Bernardino, where
+all the large pictures that are on the altar of the Cross, round the
+principal altar-piece, are by his hand, excepting that with the Christ
+Crucified, the Madonna, and S. John, which is above all the others, and
+is by the hand of his master Francesco. Beside it, in the upper part,
+are two large pictures by the hand of Paolo, in one of which is Christ
+being scourged at the Column, and in the other His Coronation, painted
+with many figures somewhat more than life-size. In the principal
+picture, which is lower down, in the first range, he painted a
+Deposition from the Cross, with the Madonna, the Magdalene, S. John,
+Nicodemus, and Joseph; and he made a portrait of himself, so good that
+it has the appearance of life, in one of these figures, a young man with
+a red beard, who is near the Tree of the Cross, with a coif on his head,
+such as it was the custom to wear at that time. On the right-hand side
+is a picture by Paolo of Our Lord in the Garden, with the three
+Disciples near Him; and on the left-hand side is another of Christ with
+the Cross on His shoulder, being led to Mount Calvary. The excellence of
+these works, which stand out strongly in comparison with those by the
+hand of his master that are in the same place, will always give Paolo a
+place among the best craftsmen.
+
+On the base he painted some Saints from the breast upwards, which are
+all portraits from life. The first figure, wearing the habit of S.
+Francis, and representing a Beato, is a portrait of Fra Girolamo
+Rechalchi, a noble Veronese; the figure beside the first, painted to
+represent S. Bonaventura, is the portrait of Fra Bonaventura Rechalchi,
+brother of the aforesaid Fra Girolamo; and the head of S. Joseph is the
+portrait of a steward of the Marchesi Malespini, who had been charged at
+that time by the Company of the Cross to see to the execution of this
+work. All these heads are very beautiful.
+
+For the same church Paolo painted the altar-piece of the Chapel of S.
+Francesco, in which work, the last that he executed, he surpassed
+himself. There are in it six figures larger than life; one being S.
+Elizabeth, of the Third Order of S. Francis, who is a most beautiful
+figure, with a smiling air and a gracious countenance, and with her lap
+full of roses; and she seems to be rejoicing at the sight of the bread
+that she, great lady as she was, had been carrying to the poor, turned
+by a miracle of God into roses, in token that her humble charity in thus
+ministering to the poor with her own hands was acceptable to God. This
+figure is a portrait of a widowed lady of the Sacchi family. Among the
+other figures are S. Bonaventura the Cardinal and S. Louis the Bishop,
+both Friars of S. Francis. Near these are S. Louis, King of France, S.
+Eleazar in a grey habit, and S. Ivo in the habit of a priest. Then there
+is the Madonna on a cloud above them all, with S. Francis and other
+figures round her; but it is said that these are not by the hand of
+Paolo, but by that of a friend who helped him to execute the picture;
+and it is evident, indeed, that these figures are not equal in
+excellence to those beneath. And in this picture is a portrait from life
+of Madonna Caterina de' Sacchi, who gave the commission for the work.
+
+Now Paolo, having set his heart on becoming great and famous, made to
+this end such immoderate exertions that he fell ill and died at the
+early age of thirty-one, at the very moment when he was beginning to
+give proofs of what might be expected from him at a riper age. It is
+certain that Paolo, if Fortune had not crossed him at the height of his
+activity, would without a doubt have attained to the highest, best, and
+greatest honours that could be desired by a painter. His loss,
+therefore, grieved not only his friends, but all men of talent and
+everyone who knew him, and all the more because he had been a young man
+of excellent character, untainted by a single vice. He was buried in S.
+Paolo, after making himself immortal by the beautiful works that he left
+behind him.
+
+Stefano Veronese, a very rare painter in his day, as has been related,
+had a brother-german, called Giovanni Antonio, who, although he learned
+to paint from that same Stefano, nevertheless did not become anything
+more than a mediocre painter, as may be seen from his works, of which
+there is no need to make mention. To this Giovanni Antonio was born a
+son, called Jacopo, who likewise became a painter of commonplace works;
+and to Jacopo were born Giovan Maria, called Falconetto, whose Life we
+are about to write, and Giovanni Antonio. The latter, devoting himself
+to painting, executed many works at Rovereto, a very famous township in
+the Trentino, and many pictures at Verona, which are dispersed among the
+houses of private citizens. He also painted many works in the valley of
+the Adige, above Verona, and a panel-picture of S. Nicholas, with many
+animals, at Sacco, opposite to Rovereto, with many others; after which
+he finally died at Rovereto, where he had gone to live. This master was
+particularly excellent in making animals and fruits, of which many very
+beautiful drawings, executed in miniature, were taken to France by the
+Veronese Mondella; and many of them were given by Agnolo, the son of
+Giovanni Antonio, to Messer Girolamo Lioni, a Venetian gentleman of
+noble spirit.
+
+But to come at last to Giovan Maria, the brother of Giovanni Antonio. He
+learned the rudiments of painting from his father, whose manner he
+rendered no little better and grander, although even he was not a
+painter of much reputation, as is evident from the Chapels of the Maffei
+and of the Emilii in the Duomo of Verona, from the upper part of the
+cupola of S. Nazzaro, and from works in other places. This master,
+recognizing the little value of his work in painting, and delighting
+beyond measure in architecture, set himself with great diligence to
+study and draw all the antiquities in his native city of Verona. He then
+resolved to visit Rome, and to learn architecture from its marvellous
+remains, which are the true masters; and he made his way to that city,
+and stayed there twelve whole years. That time he spent, for the most
+part, in examining and drawing all those marvellous antiquities,
+searching out in every place all the ground-plans that he could see and
+all the measurements that he could find. Nor did he leave anything in
+Rome, either buildings or their members, such as cornices, capitals, and
+columns, of whatsoever Order, that he did not draw with his own hand,
+with all the measurements; and he also drew all the sculptures which
+were discovered in those times, insomuch that when he returned to his
+own country, after those twelve years, he was rich in all the treasures
+of his art. And, not content with the things in the city of Rome itself,
+he drew all that was good and beautiful in the whole of the Roman
+Campagna, going even as far as the Kingdom of Naples, the Duchy of
+Spoleto, and other parts. It is said that Giovan Maria, being poor, and
+therefore having little wherewith to live or to maintain himself in
+Rome, used to spend two or three days every week in assisting some
+painter with his work; and with his earnings, since at that time masters
+were well paid and living was cheap, he was able to live the other days
+of the week, pursuing the studies of architecture. Thus, then, he drew
+all those antiquities as if they were complete, reconstructing them in
+his drawings from the parts and members that he saw, from which he
+imagined all the other parts of the buildings in all their perfection
+and integrity, and all with such true measurements and proportions,
+that he could not make an error in a single detail.
+
+Having returned to Verona, and finding no opportunity of exercising
+himself in architecture, since his native city was in the throes of a
+change of government, Giovan Maria gave his attention for the time to
+painting, and executed many works. On the house of the Della Torre
+family he painted a large escutcheon crowned by some trophies; and for
+two German noblemen, counsellors of the Emperor Maximilian, he executed
+in fresco some scenes from the Scriptures on a wall of the little Church
+of S. Giorgio, and painted there life-size portraits of those two
+Germans, one kneeling on one side and one on the other. He executed a
+number of works at Mantua, for Signor Luigi Gonzaga; and some others at
+Osimo, in the March of Ancona. And while the city of Verona was under
+the Emperor, he painted the imperial arms on all the public buildings,
+and received for this from the Emperor a good salary and a patent of
+privilege, from which it may be seen that many favours and exemptions
+were granted to him, both on account of his good service in matters of
+art, and because he was a man of great spirit, brave and formidable in
+the use of arms, with which he might likewise be expected to give
+valiant and faithful service: and all the more because he drew after
+him, on account of the great credit that he had with his neighbours, the
+whole mass of the people who lived in the Borgo di San Zeno, a very
+populous part of the city, in which he had been born and had taken a
+wife from the family of the Provali. For these reasons, then, he had all
+the inhabitants of his district as his following, and was called
+throughout the city by no other name but that of the "Red-head of San
+Zeno."
+
+Now, when the city again changed its government and returned to the rule
+of its ancient masters the Venetians, Giovan Maria, being known as one
+who had served the party of the Emperor, was forced to seek safety in
+flight; and he went, therefore, to Trento, where he passed some time
+painting certain pictures. Finally, however, when matters had mended, he
+made his way to Padua, where he was first received in audience and then
+much favoured by the very reverend Monsignor Bembo, who presented him
+not long afterwards to the illustrious Messer Luigi Cornaro, a Venetian
+gentleman of lofty spirit and truly regal mind, as is proved by his many
+magnificent enterprises. This gentleman, who, in addition to his other
+truly noble qualities, delighted in the study of architecture, the
+knowledge of which is worthy of no matter how great a Prince, had
+therefore read the works of Vitruvius, Leon Batista Alberti, and others
+who have written on this subject, and he wished to put what he had
+learned into practice. And when he saw the designs of Falconetto, and
+perceived with what profound knowledge he spoke of these matters, and
+rendered clear all the difficulties that can arise through the variety
+of the Orders of architecture, he conceived such a love for him that he
+took him into his own house and kept him there as an honoured guest for
+twenty-one years, which was the whole of the rest of Giovan Maria's
+life.
+
+During this time Falconetto executed many works with the help of the
+same Messer Luigi. The latter, desiring to see the antiquities of Rome
+on the spot, even as he had seen them in the drawings of Giovan Maria,
+went to Rome, taking him with him; and there he devoted himself to
+examining everything minutely, having him always in his company. After
+they had returned to Padua, a beginning was made with building from the
+design and model of Falconetto that most beautiful and ornate loggia
+which is in the house of the Cornari, near the Santo; and the palace was
+to be erected next, after the model made by Messer Luigi himself. In
+this loggia the name of Giovan Maria is carved on a pilaster.
+
+The same architect built a very large and magnificent Doric portal for
+the Palace of the Captain of that place; and this portal is much praised
+by everyone as a work of great purity. He also erected two very
+beautiful gates for the city, one of which, called the Porta di S.
+Giovanni, and leading to Vicenza, is very fine, and commodious for the
+soldiers who guard it; and the other, which is very well designed, was
+called the Porta Savonarola. He made, likewise, for the Friars of S.
+Dominic, the design and model of the Church of S. Maria delle Grazie,
+and laid the foundations; and this work, as may be seen from the model,
+is so beautiful and well designed, that one of equal size to rival it
+has perhaps never been seen up to our own day in any other place. And
+by the same master was made the model of a most superb palace for Signor
+Girolamo Savorgnano, at his well fortified stronghold of Usopo in
+Friuli; for which all the foundations were then laid, and it had begun
+to rise above the ground, when, by reason of the death of that nobleman,
+it was left in that condition without being carried further; but if this
+building had been finished, it would have been a marvel.
+
+About the same time Falconetto went to Pola, in Istria, for the sole
+purpose of seeing and drawing the theatre, amphitheatre, and arch that
+are in that most ancient city. He was the first who made drawings of
+theatres and amphitheatres and traced their ground-plans, and those that
+are to be seen, particularly in the case of Verona, came from him, and
+were printed at the instance of others after his designs. Giovan Maria
+was a man of exalted mind, and, being one who had never done anything
+else but draw the great works of antiquity, he desired nothing save that
+there should be presented to him opportunities of executing works
+similar to those in greatness. He would sometimes make ground-plans and
+designs for them, with the very same pains that he would have taken if
+he had been commissioned to put them into execution at once; and in this
+he lost himself so much, so to speak, that he would not deign to make
+designs for the private houses of gentlemen, either in the country or in
+the city, although he was much besought to do so.
+
+Giovan Maria was in Rome on many occasions besides those described
+above; whence that journey was so familiar to him, that when he was
+young and vigorous he would undertake it on the slightest opportunity.
+Persons who are still alive relate that, falling one day into a
+discussion with a foreign architect, who happened to be in Verona, about
+the measurements of I know not what ancient cornice in Rome, after many
+words Giovan Maria said, "I will soon make myself certain in this
+matter," and then went straight to his house and set out on his way to
+Rome.
+
+[Illustration: PALAZZO DEL CAPITANIO
+
+(_After_ Falconetto. _Padua_)
+
+_Anderson_]
+
+This master made for the Cornaro family two very beautiful designs of
+tombs, which were to be erected in S. Salvatore, at Venice--one for the
+Queen of Cyprus, a lady of that family, and the other for Cardinal
+Marco Cornaro, who was the first of that house to be honoured with
+that dignity. And in order that these designs might be carried out, a
+great quantity of marble was quarried at Carrara and taken to Venice,
+where the rough blocks still are, in the house of the same Cornari.
+
+Giovan Maria was the first who brought the true methods of building and
+of good architecture to Verona, Venice, and all those parts, where
+before him there had not been one who knew how to make even a cornice or
+a capital, or understood either the measurements or the proportions of a
+column or of any Order of architecture, as is evident from the buildings
+that were erected before his day. This knowledge was afterwards much
+increased by Fra Giocondo, who lived about the same time, and it
+received its final perfection from Messer Michele San Michele, insomuch
+that those parts are therefore under an everlasting obligation to the
+people of Verona, in which city were born and lived at one and the same
+time these three most excellent architects. To them there then succeeded
+Sansovino, who, not resting content with architecture, which he found
+already grounded and established by the three masters mentioned above,
+also brought thither sculpture, to the end that by its means their
+buildings might have all the adornments that were proper to them. And
+for this a debt of gratitude--if one may use such a word--is due to the
+ruin of Rome, by reason of which the masters were dispersed over many
+places and the beauties of these arts communicated throughout all
+Europe.
+
+Giovan Maria caused some works in stucco to be carried out in Venice,
+and taught the method of executing them. Some declare that when he was a
+young man he had the vaulting of the Chapel of the Santo, at Padua,
+decorated with stucco by Tiziano da Padova and many others, and also had
+similar works executed in the house of the Cornari, which are very
+beautiful. He taught his work to two of his sons, Ottaviano, who was,
+like himself, also a painter, and Provolo. Alessandro, his third son,
+worked in his youth at making armour, and afterwards adopted the calling
+of a soldier; he was three times victor in the lists, and finally, when
+a captain of infantry, died fighting valiantly before Turin in Piedmont,
+having been wounded by a harquebus-ball.
+
+Giovan Maria, on his part, after being crippled by gout, finished the
+course of his life at Padua, in the house of the aforesaid Messer Luigi
+Cornaro, who always loved him like a brother, or rather, like his own
+self. And to the end that there might be no separation in death between
+the bodies of those whose minds had been united together in the world by
+friendship and love of art, Messer Luigi had intended that Giovan Maria
+should be laid to rest beside himself in the tomb that was to be erected
+for his own burial, together with that most humorous poet, Ruzzante, his
+very familiar friend, who lived and died in his house; but I do not know
+whether this design of the illustrious Cornaro was ever carried into
+effect. Giovan Maria was a fine talker, pleasant and agreeable in
+conversation, and very acute in repartee, insomuch that Cornaro used to
+declare that a whole book could have been made with his sayings. And
+since, although he was crippled by gout, he lived cheerfully, he
+preserved his life to the age of seventy-six, dying in 1534.
+
+He had six daughters, five of whom he gave in marriage himself, and the
+sixth was married by her brothers, after his death, to Bartolommeo
+Ridolfi of Verona, who executed many works in stucco in company with
+them, and was a much better master than they were. This may be seen from
+his works in many places, and in particular at Verona, in the house of
+Fiorio della Seta on the Ponte Nuovo, in which he decorated some
+apartments in a very beautiful manner. There are others in the house of
+the noble Counts Canossi, which are amazing; and such, also, are those
+that he executed in the house of the Murati, near S. Nazzaro; and for
+Signor Giovan Battista della Torre, for Cosimo Moneta, the Veronese
+banker, at his beautiful villa, and for many others in various places,
+all works of great beauty. Palladio, most excellent of architects,
+declares that he knows no person more marvellous in invention or better
+able to adorn apartments with beautiful designs in stucco, than this
+Bartolommeo Ridolfi. Not many years since, Spitech Giordan, a nobleman
+of great authority with the King of Poland, took Bartolommeo with him to
+that King; and there, enjoying an honourable salary, he has executed, as
+he still does, many works in stucco, large portraits, medallions, and
+many designs for palaces and other buildings, with the assistance of a
+son of his own, who is in no way inferior to his father.
+
+[Illustration: GIROLAMO DAI LIBRI: MADONNA AND CHILD, WITH S. ANNE
+
+(_London: National Gallery, 748. Canvas_)]
+
+The elder Francesco dai Libri of Verona lived some time before Liberale,
+although it is not known exactly at what date he was born; and he was
+called "Dai Libri"[9] because he practised the art of illuminating
+books, his life extending from the time when printing had not yet been
+invented to the very moment when it was beginning to come into use.
+Since, therefore, there came to him from every quarter books to
+illuminate--a work in which he was most excellent--he was known by no
+other surname than that of "Dai Libri"; and he executed great numbers of
+them, for the reason that whoever went to the expense of having them
+written, which was very great, wished also to have them adorned as much
+as was possible with illuminations.
+
+This master illuminated many choral books, all beautiful, which are at
+Verona, in S. Giorgio, in S. Maria in Organo, and in S. Nazzaro; but the
+most beautiful is a little book, or rather, two little pictures that
+fold together after the manner of a book, on one side of which is a S.
+Jerome, a figure executed with much diligence and very minute
+workmanship, and on the other a S. John in the Isle of Patmos, depicted
+in the act of beginning to write his Book of the Apocalypse. This work,
+which was bequeathed to Count Agostino Giusti by his father, is now in
+S. Leonardo, a convent of Canons Regular, of which Don Timoteo Giusti,
+the son of that Count, is a member. Finally, after having executed
+innumerable works for various noblemen, Francesco died, content and
+happy for the reason that, in addition to the serenity of mind that his
+goodness brought him, he left behind him a son, called Girolamo, who was
+so excellent in art that before his death he saw him already a much
+greater master than himself.
+
+This Girolamo, then, was born at Verona in the year 1472, and at the age
+of sixteen he painted for the Chapel of the Lischi, in S. Maria in
+Organo, an altar-piece which caused such marvel to everyone when it was
+uncovered and set in its place, that the whole city ran to embrace and
+congratulate his father Francesco. In this picture is a Deposition from
+the Cross, with many figures, and among the many beautiful weeping
+heads the best of all are a Madonna and a S. Benedict, which are much
+commended by all craftsmen; and he also made therein a landscape, with a
+part of the city of Verona, drawn passing well from the reality. Then,
+encouraged by the praises that he heard given to his work, Girolamo
+painted the altar of the Madonna in S. Paolo in a masterly manner, and
+also the picture of the Madonna with S. Anne, which is placed between
+the S. Sebastian of Il Moro and the S. Rocco of Cavazzuola in the Church
+of the Scala. For the family of the Zoccoli he painted the great
+altar-piece of the high-altar in the Church of the Vittoria, and for the
+family of the Cipolli the picture of S. Onofrio, which is near the
+other, and is held to be both in design and in colouring the best work
+that he ever executed.
+
+For S. Leonardo nel Monte, also, near Verona, he painted at the
+commission of the Cartieri family the altar-piece of the high-altar,
+which is a large work with many figures, and much esteemed by everyone,
+above all for its very beautiful landscape. Now a thing that has
+happened very often in our own day has caused this work to be held to be
+a marvel. There is a tree painted by Girolamo in the picture, and
+against it seems to rest the great chair on which the Madonna is seated.
+This tree, which has the appearance of a laurel, projects considerably
+with its branches over the chair, and between the branches, which are
+not very thick, may be seen a sky so clear and beautiful, that the tree
+seems to be truly a living one, graceful and most natural. Very often,
+therefore, birds that have entered the church by various openings have
+been seen to fly to this tree in order to perch upon it, and
+particularly swallows, which had their nests among the beams of the
+roof, and likewise their little ones. Many persons well worthy of
+credence declare that they have seen this, among them Don Giuseppe
+Mangiuoli of Verona, a person of saintly life, who has twice been
+General of his Order and would not for anything in the world assert a
+thing that was not absolutely true, and also Don Girolamo Volpini,
+likewise a Veronese, and many others.
+
+[Illustration: MADONNA AND CHILD WITH SAINTS
+
+(_After the painting by =Girolamo dai Libri=. Verona: Museo Civico,
+290_)
+
+_Brogi_]
+
+In S. Maria in Organo, where was the first work executed by Girolamo, he
+also painted two Saints on the outer side of one of the folding doors of
+the organ--the other being painted by Francesco Morone, his
+companion--and on the inner side a Manger. And afterwards he painted
+the picture that is opposite to his first work, containing the Nativity
+of Our Lord, with shepherds, landscapes, and very beautiful trees; but
+most lifelike and natural of all are two rabbits, which are executed
+with such diligence that each separate hair may actually be seen in
+them. He painted another altar-piece for the Chapel of the Buonalivi,
+with a Madonna seated in the centre, two other figures, and some Angels
+below, who are singing. Then, in the ornamental work made by Fra
+Giovanni da Verona for the altar of the Sacrament, the same Girolamo
+painted three little pictures after the manner of miniatures. In the
+central picture is a Deposition from the Cross, with two little Angels,
+and in those at the sides are painted six Martyrs, kneeling towards the
+Sacrament, three in each picture, these being saints whose bodies are
+deposited in that very altar. The first three are Cantius, Cantianus,
+and Cantianilla, who were nephews of the Emperor Diocletian, and the
+others are Protus, Chrysogonus, and Anastasius, who suffered martyrdom
+at Aqu� Gradat�, near Aquileia; and all these figures are in miniature,
+and very beautiful, for Girolamo was more able in that field of art than
+any other master of his time in Lombardy and in the State of Venice.
+
+Girolamo illuminated many books for the Monks of Montescaglioso in the
+Kingdom of Naples, some for S. Giustina at Padua, and many others for
+the Abbey of Praia in the territory of Padua; and also some at Candiana,
+a very rich monastery of the Canons Regular of S. Salvatore, to which
+place he went in person to work, although he would never go to any other
+place. While he was living there, Don Giulio Clovio, who was a friar in
+that place, learned the first rudiments of illumination; and he has
+since become the greatest master of that art that is now alive in Italy.
+Girolamo illuminated at Candiana a sheet with a Kyrie, which is an
+exquisite work, and for the same monks the first leaf of a psalter for
+the choir; with many things for S. Maria in Organo and for the Friars of
+S. Giorgio, in Verona. He executed, likewise, some other very beautiful
+illuminations for the Black Friars of S. Nazzaro at Verona. But that
+which surpassed all the other works of this master, which were all
+divine, was a sheet on which was depicted in miniature the Earthly
+Paradise, with Adam and Eve driven forth by the Angel, who is behind
+them with a sword in his hand. One would not be able to express how
+great and how beautiful is the variety of the trees, fruits, flowers,
+animals, birds, and all the other things that are in this amazing work,
+which was executed at the commission of Don Giorgio Cacciamale of
+Bergamo, then Prior of S. Giorgio in Verona, who, in addition to the
+many other courtesies that he showed to Girolamo, gave him sixty crowns
+of gold. This work was afterwards presented by that Father to a Roman
+Cardinal, at that time Protector of his Order, who showed it to many
+noblemen in Rome, and they all declared it to be the best example of
+illumination that had ever been seen up to that day.
+
+Girolamo painted flowers with such diligence, and made them so true, so
+beautiful, and so natural, that they appeared to all who beheld them to
+be real; and he counterfeited little cameos and other engraved stones
+and jewels in such a manner, that there was nothing more faithfully
+imitated or more diminutive to be seen. Among his little figures there
+are seen some, as in his imitations of cameos and other stones, that are
+no larger than little ants, and yet all the limbs and all the muscles
+can be perceived so clearly that one who has not seen them could
+scarcely believe it. Girolamo used to say in his old age that he knew
+more in his art then than he had ever known, and saw where every stroke
+ought to go, but that when he came to handle the brushes, they went the
+wrong way, because neither his eye nor his hand would serve him any
+longer. He died on the 2nd of July in the year 1555, at the age of
+eighty-three, and was laid to rest in the burial-place of the Company of
+S. Biagio in S. Nazzaro.
+
+He was a good and upright man, who never had a quarrel or dispute with
+anyone, and his life was very pure. He had, besides other children, a
+son called Francesco, who learned his art from him, and executed
+miracles of illumination when still a mere lad, so that Girolamo
+declared that he had not known as much at that age as his son knew. But
+this young man was led away from him by a brother of his mother, who,
+being passing rich, and having no children, took him with him to Vicenza
+and placed him in charge of a glass-furnace that he was setting up. When
+Francesco had spent his best years in this, his uncle's wife dying, he
+fell from his high hopes, and found that he had wasted his time, for
+the uncle took another wife, and had children by her, and thus Francesco
+did not become his uncle's heir, as he had thought to be. Thereupon he
+returned to his art after an absence of six years, and, after acquiring
+some knowledge, set himself to work. Among other things, he made a large
+globe, four feet in diameter, hollow within, and covered on the outer
+side, which was of wood, with a glue made of bullock's sinews, which was
+of a very strong admixture, so that there should be no danger of cracks
+or other damage in any part. This sphere, which was to serve as a
+terrestrial globe, was then carefully measured and divided under the
+personal supervision of Fracastoro and Beroldi, both eminent physicians,
+cosmographers, and astrologers; and it was to be painted by Francesco
+for Messer Andrea Navagiero, a Venetian gentleman, and a most learned
+poet and orator, who wished to make a present of it to King Francis of
+France, to whom he was about to go as Ambassador from his Republic. But
+Navagiero had scarcely arrived in France after a hurried journey, when
+he died, and this work remained unfinished. A truly rare work it would
+have been, thus executed by Francesco with the advice and guidance of
+two men of such distinction; but it was left unfinished, as we have
+said, and, what was worse, in its incomplete condition it received some
+injury, I know not what, in the absence of Francesco. However, spoiled
+as it was, it was bought by Messer Bartolommeo Lonichi, who has never
+consented to give it up to anyone, although he has been much besought
+and offered vast prices.
+
+Before this, Francesco had made two smaller globes, one of which is in
+the possession of Mazzanti, Archpriest of the Duomo of Verona, and the
+other belonged to Count Raimondo della Torre, and is now in the hands of
+his son, Count Giovan Batista, who holds it very dear, because this one,
+also, was made with the measurements and personal assistance of
+Fracastoro, who was a very familiar friend of Count Raimondo.
+
+Finally, growing weary of the extraordinary labour that miniatures
+demand, Francesco devoted himself to painting and to architecture, in
+which he became very skilful, executing many works in Venice and in
+Padua. About that time the Bishop of Tournai, a very rich and noble
+Fleming, had come to Italy in order to study letters, to see the
+country, and to learn our manners and ways of living. This man,
+delighting much in architecture, and happening to be in Padua, became so
+enamoured of the Italian method of building that he resolved to take the
+modes of our architecture with him to his own country; and in order to
+facilitate this purpose, he drew Francesco, whose ability he had
+recognized, into his service with an honourable salary, meaning to take
+him to Flanders, where he intended to carry out many magnificent works.
+But when the time came to depart, poor Francesco, who had caused designs
+to be made of all the best and greatest and most famous buildings in
+Italy, was overtaken by death, while still young and the object of the
+highest expectations, leaving his patron much grieved by his loss.
+
+Francesco left an only brother, in whom, being a priest, the Dai Libri
+family became extinct, after producing in succession three men most
+excellent in their field of art. Nor have any disciples survived them to
+keep this art alive, excepting the above-mentioned churchman, Don
+Giulio, who, as we have related, learned it from Girolamo when he was
+working at Candiana, where the former was a friar; and this Don Giulio
+has since raised it to a height of excellence which very few have
+reached and no one has ever surpassed.
+
+I knew for myself some of the facts about the excellent and noble
+craftsmen mentioned above, but I would never have been able to learn the
+whole of what I have related of them if the great goodness and diligence
+of the reverend and most learned Fra Marco de' Medici of Verona, a man
+profoundly conversant with all the most noble arts and sciences, and
+with him Danese Cattaneo of Carrara, a sculptor of great excellence,
+both being very much my friends, had not given me that complete and
+perfect information which I have just written down, to the best of my
+ability, for the convenience and advantage of all who may read these our
+Lives, in which the courtesy of many friends, who have taken pains with
+the investigation of these matters in order to please me and to benefit
+the world, has been, as it still is, of great assistance to me. And let
+this be the end of the Lives of these craftsmen of Verona, the portraits
+of each of whom I have not been able to obtain, because this full notice
+did not reach my hands until I found myself almost at the close of my
+work.
+
+FOOTNOTE:
+
+[1] Canal of the slaughter-houses.
+
+[2] Small canal of the corn-magazines.
+
+[3] Scarpagnino.
+
+[4] See note on page 57, Vol. I.
+
+[5] See note on page 57, Vol. I.
+
+[6] See note on page 57, Vol. I.
+
+[7] From "terra," earth.
+
+[8] See note on page 57, Vol. I.
+
+[9] _I.e._, "of the books."
+
+
+
+
+FRANCESCO GRANACCI (IL GRANACCIO)
+
+
+
+
+LIFE OF FRANCESCO GRANACCI (IL GRANACCIO)
+
+PAINTER OF FLORENCE
+
+
+Great, indeed, is the good fortune of those craftsmen who are brought
+into contact, either by their birth or by the associations that are
+formed in childhood, with those men whom Heaven has chosen out to be
+distinguished and exalted above all others in our arts, for the reason
+that a good and beautiful manner can be acquired with the greatest
+facility by seeing the methods and works of men of excellence, not to
+mention that rivalry and emulation, as we have said elsewhere, have
+great power over our minds.
+
+Francesco Granacci, of whom we have already spoken, was one of those who
+were placed by the Magnificent Lorenzo de' Medici to learn in his
+garden; whence it happened that, recognizing, boy as he was, the great
+genius of Michelagnolo, and what extraordinary fruits he was likely to
+produce when full grown, he could never tear himself away from his side,
+and even strove with incredible attention and humility to be always
+following that great brain, insomuch that Michelagnolo was constrained
+to love him more than all his other friends, and to confide so much in
+him, that there was no one with whom he was more willing to confer
+touching his works or to share all that he knew of art at that time,
+than with Granacci. Then, after they had been companions together in the
+workshop of Domenico Ghirlandajo, it came to pass that Granacci, because
+he was held to be the best of Ghirlandajo's young men, the strongest
+draughtsman, and the one who had most grace in painting in distemper,
+assisted David and Benedetto Ghirlandajo, the brothers of Domenico, to
+finish the altar-piece of the high-altar in S. Maria Novella, which had
+been left unfinished at the death of the same Domenico. By this work
+Granacci gained much experience, and afterwards he executed in the same
+manner as that altar-piece many pictures that are in the houses of
+citizens, and others which were sent abroad.
+
+And since he was very gracious, and made himself very useful in certain
+ceremonies that were performed in the city during the festivals of the
+Carnival, he was constantly employed by the Magnificent Lorenzo de'
+Medici in many similar works, and in particular for the masquerade that
+represented the Triumph of Paulus Emilius, which was held in honour of
+the victory that he gained over certain foreign nations. In this
+masquerade, which was full of most beautiful inventions, Granacci
+acquitted himself so well, although he was a mere lad, that he won the
+highest praise. And here I will not omit to tell that the same Lorenzo
+de' Medici, as I have said in another place, was the first inventor of
+those masquerades that represent some particular subject, and are called
+in Florence "Canti";[10] for it is not known that any were performed in
+earlier times.
+
+In like manner Granacci was employed in the sumptuous and magnificent
+preparations that were made in the year 1513 for the entry of Pope Leo
+X, one of the Medici, by Jacopo Nardi, a man of great learning and most
+beautiful intellect, who, having been commanded by the Tribunal of Eight
+to prepare a splendid masquerade, executed a representation of the
+Triumph of Camillus. This masquerade, in so far as it lay in the
+province of the painter, was so beautifully arranged and adorned by
+Granacci that no man could imagine anything better; and the words of the
+song, which Jacopo composed, began thus:
+
+  Contempla in quanta gloria sei salita,
+    Felice alma Fiorenza,
+    Poich� dal Ciel discesa,
+
+with what follows. For the same spectacle Granacci executed a great
+quantity of theatrical scenery, as he did both before and afterwards.
+And while working with Ghirlandajo he painted standards for ships, and
+also banners and devices for certain Knights of the Golden Spur, for
+their public entry into Florence, all at the expense of the Captains of
+the Guelph Party, as was the custom at that time, and as has been done
+in our own day, not long since.
+
+[Illustration: FRANCESCO GRANACCI: THE HOLY FAMILY
+
+(_Florence: Pitti, 199. Panel_)]
+
+In like manner he made many beautiful embellishments and decorations of
+his own invention for the Potenze[11] and their tournaments. These
+festivals were of a kind which is peculiar to the Florentines, and very
+pleasing, and in them were seen men standing almost upright on
+horseback, with very short stirrups, and breaking a lance with the same
+facility as do the warriors firmly seated on their saddles; and all this
+was done for the above-mentioned visit of Leo to Florence. Granacci also
+made, besides other things, a most beautiful triumphal arch opposite to
+the door of the Badia, covered with scenes in chiaroscuro and very
+lovely things of fancy. This arch was much extolled, and particularly
+for the invention of the architecture, and because he had made an
+imitation of that same door of the Badia for the entrance of the Via del
+Palagio, executed in perspective with the steps and every other thing,
+so that the painted and supposititious door was in no way different from
+the real and true one. To adorn the same arch he executed with his own
+hand some very beautiful figures of clay in relief, and on the summit of
+the arch he placed a great inscription with these words: LEONI X PONT.
+MAX. FIDEI CULTORI.
+
+But to come at length to some works by Granacci that are in existence,
+let me relate that, having studied the cartoon of Michelagnolo
+Buonarroti while the latter was executing it for the Great Hall of the
+Palace, he found it so instructive and made such proficience, that, when
+Michelagnolo was summoned to Rome by Pope Julius II to the end that he
+might paint the vaulting of the Chapel in his Palace, Granacci was one
+of the first to be sent for by Buonarroti to help him to paint that work
+in fresco after the cartoons that he himself had prepared. It is true
+that Michelagnolo, being dissatisfied with the manner and method of
+every one of his assistants, afterwards found means to make them all
+return to Florence without dismissing them, by closing the door on them
+all and not allowing himself to be seen.
+
+In Florence Granacci painted for Pier Francesco Borgherini a scene in
+oils on the head-board of a couch which stood in an apartment wherein
+Jacopo da Pontormo, Andrea del Sarto, and Francesco Ubertini had painted
+many stories from the life of Joseph, in Pier Francesco's house in Borgo
+Sant' Apostolo; and in this scene were little figures representing a
+story of the same Joseph, executed with extraordinary finish and with
+great charm and beauty of colouring, and a building in perspective,
+wherein he depicted Joseph ministering to Pharaoh, which could not be
+more beautiful in any part. For the same man, also, he painted a round
+picture, likewise in oils, of the Trinity, or rather, God the Father
+supporting a Christ Crucified. And in the Church of S. Piero Maggiore
+there is a picture of the Assumption by his hand, with many Angels and a
+S. Thomas, to whom the Madonna is giving the Girdle. The figure of S.
+Thomas is very graceful, turning to one side in a beautiful attitude
+worthy of the hand of Michelagnolo, and such, also, is that of Our Lady.
+The drawing for these two figures by the hand of Granacci is in our
+book, together with others likewise by him. On either side of this
+picture are figures of S. Paul, S. Laurence, S. James, and S. John,
+which are all so beautiful that the work is held to be the best that
+Francesco ever painted; and in truth this work alone, even if he had
+never executed another, would ensure his being considered to be, as
+indeed he was, an excellent painter.
+
+For the Church of S. Gallo, without the Gate of the same name, and
+formerly a seat of the Eremite Friars of S. Augustine, he painted an
+altar-piece with the Madonna and two children, S. Zanobi, Bishop of
+Florence, and S. Francis. This altar-piece, which was in the Chapel of
+the Girolami, to which family that S. Zanobi belonged, is now in S.
+Jacopo tra Fossi at Florence.
+
+Michelagnolo Buonarroti, having a niece who was a nun in S. Apollonia at
+Florence, had therefore executed an ornament for the high-altar of that
+church, and a design for the altar-piece; and Granacci painted there
+some scenes in oils with figures large and small, which gave much
+satisfaction to the nuns at that time, and also to the other painters.
+For the same place he painted another altar-piece, which stood lower
+down, but this was burned one night, together with some draperies of
+great value, through some lights being inadvertently left on the altar;
+which was certainly a great loss, seeing that the work was much extolled
+by craftsmen. And for the Nuns of S. Giorgio in sulla Costa he executed
+the altar-piece of their high-altar, painting in it the Madonna, S.
+Catharine, S. Giovanni Gualberto, S. Bernardo Uberti the Cardinal, and
+S. Fedele.
+
+Granacci also executed many pictures, both square and round, which are
+dispersed among the houses of gentlemen in the city; and he made many
+cartoons for glass-windows, which were afterwards put into execution by
+the Frati Ingiesuati of Florence. He delighted much in painting on
+cloth, either alone or in company with others; wherefore, in addition to
+the works mentioned above, he painted many church-banners. And since he
+practised art more to pass the time than from necessity, he worked at
+his ease, always consulting his own convenience, and avoiding
+discomforts as much as he was able, more than any other man; and yet,
+without being covetous of the goods of others, he always preserved his
+own. Allowing but few cares to oppress him, he was a merry fellow, and
+took his pleasures with a glad heart. He lived sixty-seven years, at the
+end of which he finished the course of his life after an ordinary
+malady, a kind of fever; and he was buried in the Church of S. Ambrogio
+at Florence, on the day of S. Andrew the Apostle, in 1544.
+
+[Illustration: THE MADONNA GIVING THE GIRDLE TO S. THOMAS
+
+(_After the panel by =Francesco Granacci=. Florence: Uffizi, 1280_)
+
+_Alinari_]
+
+FOOTNOTE:
+
+[10] From the "canti," or "songs," that were sung in them.
+
+[11] The "Potenze" were merry companies composed of the men of
+the various quarters in costume. Each quarter had its own, representing
+an Emperor, King, or Prince, and his Court.
+
+
+
+
+BACCIO D' AGNOLO
+
+
+
+
+LIFE OF BACCIO D' AGNOLO
+
+ARCHITECT OF FLORENCE
+
+
+Great is the pleasure that I take in studying at times the beginnings of
+our craftsmen, for one sees some rising from the lowest depth to the
+greatest height, and especially in architecture, a science which has not
+been practised for several years past save by carvers and cunning
+impostors who profess to understand perspective without knowing even its
+terms or its first principles. The truth, indeed, is that architecture
+can never be practised to perfection save by those who have an excellent
+judgment and a good mastery of design, or have laboured much in
+painting, sculpture, or works in wood, for the reason that in it have to
+be executed with true measurements the dimensions of their figures,
+which are columns, cornices, and bases, and all the ornaments, which are
+made for the adornment of the figures, and for no other reason. And thus
+the workers in wood, by continually handling such things, in course of
+time become architects; and sculptors likewise, by having to find
+positions for their statues and by making ornaments for tombs and other
+works in the round, come in time to a knowledge of architecture; and
+painters, on account of their perspectives, the variety of their
+inventions, and the buildings that they draw, are compelled to take the
+ground-plans of edifices, seeing that they cannot plant houses or
+flights of steps on the planes where their figures stand, without in the
+first place grasping the order of the architecture.
+
+Working in his youth excellently well at wood-inlaying, Baccio executed
+the backs of the stalls in the choir of S. Maria Novella, in the
+principal chapel, wherein are most beautiful figures of S. John the
+Baptist and S. Laurence. In carving, he executed the ornaments of that
+same chapel, those of the high-altar in the Nunziata, the decorations of
+the organ in S. Maria Novella, and a vast number of other works, both
+public and private, in his native city of Florence. Departing from that
+city, he went to Rome, where he applied himself with great zeal to the
+study of architecture; and on his return he made triumphal arches of
+wood in various places for the visit of Pope Leo X. But for all this he
+never gave up his workshop, where there were often gathered round him,
+in addition to many citizens, the best and most eminent masters of our
+arts, so that most beautiful conversations and discussions of importance
+took place there, particularly in winter. The first of these masters was
+Raffaello da Urbino, then a young man, and next came Andrea Sansovino,
+Filippino, Maiano, Cronaca, Antonio da San Gallo and Giuliano da San
+Gallo, Granaccio, and sometimes, but not often, Michelagnolo, with many
+young Florentines and strangers.
+
+Having thus given his attention to architecture in so thorough a manner,
+and having made some trial of his powers, Baccio began to be held in
+such credit in Florence, that the most magnificent buildings that were
+erected in his time were entrusted to him and were put under his
+direction. When Piero Soderini was Gonfalonier, Baccio took part, with
+Cronaca and others, as has been related above, in the deliberations that
+were held with regard to the great Hall of the Palace; and with his own
+hand he executed in wood the ornament for the large panel-picture which
+was begun by Fra Bartolommeo, after the design by Filippino. In company
+with the same masters he made the staircase that leads to that Hall,
+with a very beautiful ornamentation of stone, and also the columns of
+variegated marble and the doors of marble in the hall that is now called
+the Sala de' Dugento.
+
+He built a palace for Giovanni Bartolini, which is very ornate within,
+on the Piazza di S. Trinit�; and he made many designs for the garden of
+the same man in Gualfonda. And since that palace was the first edifice
+that was built with ornaments in the form of square windows with
+pediments, and a portal with columns supporting architrave, frieze, and
+cornice, these things were much censured by the Florentines with spoken
+words and sonnets, and festoons of boughs were hung upon them, as is
+done in churches for festivals, men saying that the fa�ade was more like
+that of a temple than of a palace; so that Baccio was like to go out of
+his mind. However, knowing that he had imitated good examples, and that
+his work was sound, he regained his peace of mind. It is true that the
+cornice of the whole palace proved, as has been said in another place,
+to be too large; but in every other respect the work has always been
+much extolled.
+
+For Lanfredino Lanfredini he erected a house on the bank of the Arno,
+between the Ponte a S. Trinit� and the Ponte alla Carraja; and on the
+Piazza de' Mozzi he began the house of the Nasi, which looks out upon
+the sandy shore of the Arno, but did not finish it. For Taddeo, of the
+Taddei family, he built a house that was held to be very beautiful and
+commodious. For Pier Francesco Borgherini he made the designs of the
+house that he built in Borgo S. Apostolo, in which he caused ornaments
+for the doors and most beautiful chimney-pieces to be executed at great
+expense, and made for the adornment of one chamber, in particular,
+coffers of walnut-wood covered with little boys carved with supreme
+diligence. Such a work it would now be impossible to execute with such
+perfection as he gave to it. He also prepared the design for the villa
+that Borgherini caused to be built on the hill of Bellosguardo, which
+was very beautiful and commodious, and erected at vast expense. For
+Giovan Maria Benintendi he executed an antechamber, with an ornamental
+frame for some scenes painted by excellent masters, which was a rare
+thing. The same Baccio made the model of the Church of S. Giuseppe near
+S. Nofri, and directed the construction of the door, which was his last
+work. He also caused to be built of masonry the campanile of S. Spirito
+in Florence, which was left unfinished, and is now being completed by
+order of Duke Cosimo after the original design of Baccio; and he
+likewise erected the campanile of S. Miniato sul Monte, which was
+battered by the artillery of the camp, but never destroyed, on which
+account it gained no less fame for the affront that it offered to the
+enemy than for the beauty and excellence with which Baccio had caused it
+to be built and carried to completion.
+
+Next, having been appointed on account of his abilities, and because he
+was much beloved by the citizens, as architect to S. Maria del Fiore,
+Baccio gave the design for constructing the gallery that encircles the
+cupola. This part of the work Filippo Brunelleschi, being overtaken by
+death, had not been able to execute; and although he had made designs
+even for this, they had been lost or destroyed through the negligence of
+those in charge of the building. Baccio, then, having made the design
+and model for this gallery, carried into execution all the part that is
+to be seen facing the Canto de' Bischeri. But Michelagnolo Buonarroti,
+on his return from Rome, perceiving that in carrying out this work they
+were cutting away the toothings that Filippo Brunelleschi, not without a
+purpose, had left projecting, made such a clamour that the work was
+stopped; saying that it seemed to him that Baccio had made a cage for
+crickets, that a pile so vast required something grander and executed
+with more design, art, and grace than appeared to him to be displayed by
+Baccio's design, and that he himself would show how it should be done.
+Michelagnolo having therefore made a model, the matter was disputed at
+great length before Cardinal Giulio de' Medici by many craftsmen and
+competent citizens; and in the end neither the one model nor the other
+was carried into execution. Baccio's design was censured in many
+respects, not that it was not a well-proportioned work of its kind, but
+because it was too insignificant in comparison with the size of the
+structure; and for these reasons that gallery has never been brought to
+completion.
+
+Baccio afterwards gave his attention to executing the pavement of S.
+Maria del Fiore, and to his other buildings, which were not a few, for
+he had under his particular charge all the principal monasteries and
+convents of Florence, and many houses of citizens, both within and
+without the city. Finally, when near the age of eighty-three, but still
+of good and sound judgment, he passed to a better life in 1543, leaving
+three sons, Giuliano, Filippo, and Domenico, who had him buried in S.
+Lorenzo.
+
+Of these sons, who all gave their attention after the death of Baccio to
+the art of carving and working in wood, Giuliano, who was the second,
+was the one who applied himself with the greatest zeal to architecture
+both during his father's lifetime and afterwards; wherefore, by favour
+of Duke Cosimo, he succeeded to his father's place as architect to S.
+Maria del Fiore, and continued not only all that Baccio had begun in
+that temple, but also all the other buildings that had remained
+unfinished at his death. At that time Messer Baldassarre Turini da
+Pescia was intending to place a panel-picture by the hand of Raffaello
+da Urbino in the principal church of Pescia, of which he was Provost,
+and to erect an ornament of stone, or rather, an entire chapel, around
+it, and also a tomb; and Giuliano executed all this after his own
+designs and models, and also restored for the same patron his house at
+Pescia, making in it many beautiful and useful improvements. For Messer
+Francesco Campana, formerly First Secretary to Duke Alessandro, and
+afterwards to Duke Cosimo de' Medici, the same Giuliano built at
+Montughi, without Florence, beside the church, a house which is small
+but very ornate, and so well situated, that it commands from its slight
+elevation a view of the whole city of Florence and the surrounding
+plain. And a most beautiful and commodious house was built at Colle, the
+native place of that same Campana, from the design of Giuliano, who
+shortly afterwards began for Messer Ugolino Grifoni, Lord of Altopascio,
+a palace at San Miniato al Tedesco, which was a magnificent work.
+
+For Ser Giovanni Conti, one of the secretaries of the Lord Duke Cosimo,
+he made many useful and beautiful improvements in his house at Florence;
+although it is true that in the two ground-floor windows, supported by
+knee-shaped brackets, which open out upon the street, Giuliano departed
+from his usual method, and so cut them up with projections, little
+brackets, and off-sets, that they inclined rather to the German manner
+than to the true and good manner of ancient or modern times. Works of
+architecture, without a doubt, must first be massive, solid, and simple,
+and then enriched by grace of design and by variety of subject in the
+composition, without, however, disturbing by poverty or by excess of
+ornamentation the order of the architecture or the impression produced
+on a competent judge.
+
+Meanwhile Baccio Bandinelli, having returned from Rome, where he had
+finished the tombs of Leo and Clement, persuaded the Lord Duke Cosimo,
+then a young man, to make at the head of the Great Hall of the Ducal
+Palace a fa�ade full of columns and niches, with a range of fine marble
+statues; and this fa�ade was to have windows of marble and grey-stone
+looking out upon the Piazza. The Duke having resolved to have this done,
+Bandinelli set his hand to making the design; but finding that the hall,
+as has been related in the Life of Cronaca, was out of square, and
+having never given attention to architecture, which he considered an art
+of little value, marvelling and even laughing at those who gave their
+attention to it, he was forced, on recognizing the difficulty of this
+work, to confer with Giuliano with regard to his model, and to beseech
+him that he, as an architect, should direct the work. And so all the
+stone-cutters and carvers of S. Maria del Fiore were set to work, and a
+beginning was made with the structure. Bandinelli had resolved, with the
+advice of Giuliano, to let the work remain out of square, following in
+part the course of the wall. It came to pass, therefore, that he was
+forced to make all the stones irregular in shape, preparing them with
+great labour by means of the pifferello, which is the instrument
+otherwise called the bevel-square; and this made the work so clumsy,
+that, as will be related in the Life of Bandinelli, it has been
+difficult to bring it to such a form as might be in harmony with the
+rest. Such a thing would not have happened if Bandinelli had possessed
+as much knowledge in architecture as he did in sculpture; not to mention
+that the great niches in the side-walls at each end proved to be squat,
+and that the one in the centre was not without defect, as will be told
+in the Life of that same Bandinelli. This work, after having been
+pursued for ten years, was abandoned, and so it remained for some time.
+It is true that the profiled stones as well as the columns, both of
+Fossato stone and of marble, were wrought with the greatest diligence by
+the stone-cutters and carvers under the care of Giuliano, and were
+afterwards so well built in that it would not be possible to find any
+masonry better put together, all the stones being accurately measured.
+In this respect Giuliano may be celebrated as most excellent; and the
+work, as will be related in the proper place, was finished in five
+months, with an addition, by Giorgio Vasari of Arezzo.
+
+Giuliano, meanwhile, not neglecting his workshop, was giving his
+attention, together with his brothers, to the execution of many carvings
+and works in wood, and also to pressing on the making of the pavement
+of S. Maria del Fiore; and since he was superintendent and architect of
+that building, he was requested by the same Bandinelli to make designs
+and models of wood, after some fantasies of figures and other ornaments
+of his own, for the high-altar of that same S. Maria del Fiore, which
+was to be constructed of marble; which Giuliano did most willingly,
+being a good and kindly person and one who delighted in architecture as
+much as Bandinelli despised it, and being also won over by the lavish
+promises of profit and honour that Bandinelli made him. Setting to work,
+therefore, on that model, Giuliano made it much after the simple pattern
+formerly designed by Brunelleschi, save that he enriched it by doubling
+both the columns and the arch above. And when he had brought it to
+completion, and the model, together with many designs, had been carried
+by Bandinelli to Duke Cosimo, his most illustrious Excellency resolved
+in his regal mind to execute not only the altar, but also the ornament
+of marble that surrounds the choir, following its original octagonal
+shape, with all those rich adornments with which it has since been
+carried out, in keeping with the grandeur and magnificence of that
+temple. Giuliano, therefore, with the assistance of Bandinelli, made a
+beginning with that choir, without altering anything save the principal
+entrance, which is opposite to the above-mentioned altar; for which
+reason he wished that it should be exactly similar to that altar, with
+the same arch and decorations. He also made two other similar arches,
+which unite with the entrance and the altar in forming a cross; and
+these were for two pulpits, which the old choir also had, serving for
+music and other ceremonies of the choir and of the altar. In this choir,
+around the eight faces, Giuliano made an ornament of the Ionic Order,
+and placed at every corner a pilaster bent in the middle, and one on
+every face; and since each pilaster so narrowed that the extension-lines
+of its side-faces met in the centre of the choir, from inside it looked
+narrow and bent in, and from outside broad and pointed. This invention
+was not much extolled, nor can it be commended as beautiful by any man
+of judgment; and for a work of such cost, in a place so celebrated,
+Bandinelli, if he despised architecture, or had no knowledge of it,
+should have availed himself of someone living at that time with the
+knowledge and ability to do better. Giuliano deserves to be excused in
+the matter, because he did all that he could, which was not a little;
+but it is very certain that one who has not strong powers of design and
+invention in himself, will always be too poor in grace and judgment to
+bring to perfection great works of architecture.
+
+Giuliano made for Filippo Strozzi a couch of walnut-wood, which is now
+at Citt� di Castello, in the house of the heirs of Signor Alessandro
+Vitelli. For an altar-piece which Giorgio Vasari painted for the
+high-altar of the Abbey of Camaldoli in the Casentino, he made a very
+rich and beautiful frame, after the design of Giorgio; and he carved
+another ornamental frame for a large altar-piece that the same Giorgio
+executed for the Church of S. Agostino in Monte Sansovino. The same
+Giuliano made another beautiful frame for another altar-piece by the
+hand of Vasari, which is in the Abbey of Classi, a seat of the Monks of
+Camaldoli, at Ravenna. He also executed the frames for the pictures by
+the hand of the same Giorgio of Arezzo that are in the refectory of the
+Monks of the Abbey of S. Fiore at Arezzo; and in the Vescovado in the
+same city, behind the high-altar, he made a most beautiful choir of
+walnut-wood, after the design of Giorgio, which provided for the
+bringing forward of the altar. And, finally, a short time before his
+death, he made the rich and beautiful Ciborium of the most Holy
+Sacrament for the high-altar of the Nunziata, with the two Angels of
+wood, in full-relief, which are on either side of it. This was the last
+work that he executed, and he passed to a better life in the year 1555.
+
+Nor was Domenico, the brother of that Giuliano, inferior to him in
+judgment, seeing that, besides carving much better in wood, he was also
+very ingenious in matters of architecture, as may be seen from the house
+that was built for Bastiano da Montaguto in the Via de' Servi after his
+design, wherein there are also many works in wood by Domenico's own
+hand. The same master executed for Agostino del Nero, in the Piazza de'
+Mozzi, the buildings that form the street-corner and a very beautiful
+terrace for that house of the Nasi formerly begun by his father Baccio.
+And it is the common belief that, if he had not died so young, he would
+have surpassed by a great measure both his father and his brother
+Giuliano.
+
+
+
+
+VALERIO VICENTINO, GIOVANNI DA CASTEL BOLOGNESE, MATTEO DAL NASSARO OF
+VERONA, AND OTHER EXCELLENT ENGRAVERS OF CAMEOS AND GEMS
+
+
+
+
+LIVES OF VALERIO VICENTINO, GIOVANNI DA CASTEL BOLOGNESE, MATTEO DAL
+NASSARO OF VERONA, AND OTHER EXCELLENT ENGRAVERS OF CAMEOS AND GEMS
+
+
+Since the Greeks were such divine masters in the engraving of Oriental
+stones and so perfect in the cutting of cameos, it seems to me certain
+that I should commit no slight error were I to pass over in silence
+those of our own age who have imitated those marvellous intellects;
+although among our moderns, so it is said, there have been none who in
+this present and happy age have surpassed the ancients in delicacy and
+design, save perchance those of whom we are about to give an account.
+But before making a beginning, it is proper for me to discourse briefly
+on this art of engraving hard stones and gems, which was lost, together
+with the other arts of design, after the ruin of Greece and Rome. Of
+this work, whether engraved in intaglio or in relief, we have seen
+examples discovered daily among the ruins of Rome, such as cameos,
+cornelians, sardonyxes, and other most excellent intagli; but for many
+and many a year the art remained lost, there being no one who gave
+attention to it, and even if any work was done, it was not in such a
+manner as to be worthy to be taken into account. So far as is known, it
+is not found that anyone began to do good work or to attain to
+excellence until the time of Pope Martin V and Pope Paul II; after which
+the art continued to grow little by little down to the time of Lorenzo
+de' Medici, the Magnificent, who greatly delighted in the engraved
+cameos of the ancients. Lorenzo and his son Piero collected a great
+quantity of these, particularly chalcedonies, cornelians, and other
+kinds of the choicest engraved stones, which contained various fanciful
+designs; and in consequence of this, wishing to establish the art in
+their own city, they summoned thither masters from various countries,
+who, besides restoring those stones, brought to them other works which
+were at that time rare.
+
+By these masters, at the instance of the Magnificent Lorenzo, this art
+of engraving in intaglio was taught to a young Florentine called
+Giovanni delle Corniole,[12] who received that surname because he
+engraved them excellently well, of which we have testimony in the great
+numbers of them by his hand that are to be seen, both great and small,
+but particularly in a large one, which was a very choice intaglio,
+wherein he made the portrait of Fra Girolamo Savonarola, who was adored
+in Florence in his day on account of his preaching. A rival of Giovanni
+was Domenico de' Cammei,[13] a Milanese, who, living at the same time as
+Duke Lodovico, Il Moro, made a portrait of him in intaglio on a
+balas-ruby greater than a giulio, which was an exquisite thing and one
+of the best works in intaglio that had been seen executed by a modern
+master. This art afterwards rose to even greater excellence in the
+pontificate of Pope Leo X, through the talents and labours of Pier Maria
+da Pescia, who was a most faithful imitator of the works of the
+ancients; and he had a rival in Michelino, who was no less able than
+Pier Maria in works both great and small, and was held to be a graceful
+master.
+
+These men opened the way in this art, which is so difficult, for
+engraving in intaglio is truly working in the dark, since the craftsman
+can use nothing but impressions of wax, as spectacles, as it were,
+wherewith to see from time to time what he is doing. And finally they
+brought it to such a condition that Giovanni da Castel Bolognese,
+Valerio Vicentino, Matteo dal Nassaro, and others, were able to execute
+the many beautiful works of which we are about to make mention.
+
+Let me begin, then, by saying that Giovanni Bernardi of Castel
+Bolognese, who worked in his youth in the service of Duke Alfonso of
+Ferrara, made for him, in the three years of honourable service that he
+gave him, many little works, of which there is no need to give any
+description. Of his larger works the first was an intaglio on a piece of
+crystal, in which he represented the whole of the action of Bastia,
+which was very beautiful; and then he executed the portrait of that
+Duke in a steel die for the purpose of making medals, with the Taking of
+Jesus Christ by the Multitude on the reverse. Afterwards, urged by
+Giovio, he went to Rome, and obtained by favour of Cardinal Ippolito de'
+Medici and Cardinal Giovanni Salviati the privilege of taking a portrait
+of Clement VII, from which he made a die for medals, which was very
+beautiful, with Joseph revealing himself to his brethren on the reverse;
+and for this he was rewarded by His Holiness with the gift of a Mazza,
+an office which he afterwards sold in the time of Paul III, receiving
+two hundred crowns for it. For the same Clement he executed figures of
+the four Evangelists on four round crystals, which were much extolled,
+and gained for him the favour and friendship of many prelates, and in
+particular the good-will of Salviati and of the above-mentioned Cardinal
+Ippolito de' Medici, that sole refuge for men of talent, whose portrait
+he made on steel medals, besides executing for him on crystal the
+Presentation of the Daughter of Darius to Alexander the Great.
+
+After this, when Charles V went to Bologna to be crowned, Giovanni made
+a portrait of him in steel, from which he struck a medal of gold. This
+he carried straightway to the Emperor, who gave him a hundred pistoles
+of gold, and sent to inquire whether he would go with him to Spain; but
+Giovanni refused, saying that he could not leave the service of Clement
+and of Cardinal Ippolito, for whom he had begun some work that was still
+unfinished.
+
+Having returned to Rome, Giovanni executed for the same Cardinal de'
+Medici a Rape of the Sabines, which was very beautiful. And the
+Cardinal, knowing himself to be much indebted to him for all these
+things, rewarded him with a vast number of gifts and courtesies; but the
+greatest of all was this, that the Cardinal, when departing for France
+in the midst of a company of many lords and gentlemen, turned to
+Giovanni, who was there among the rest, and, taking from his own neck a
+little chain to which was attached a cameo worth more than six hundred
+crowns, he gave it to him, telling him that he should keep it until his
+return, and intending to bestow upon him afterwards such a recompense as
+he knew to be due to the talent of Giovanni.
+
+On the death of the Cardinal, that cameo fell into the hands of Cardinal
+Farnese, for whom Giovanni afterwards executed many works in crystal,
+and in particular a Christ Crucified for a Cross, with a God the Father
+above, Our Lady and S. John at the sides, and the Magdalene at the foot;
+and in a triangle at the base of the Cross he made three scenes of the
+Passion of Christ, one in each angle. For two candelabra of silver he
+engraved six round crystals. In the first is the Centurion praying
+Christ that He should heal his son, in the second the Pool of Bethesda,
+in the third the Transfiguration on Mount Tabor, in the fourth the
+Miracle of the five loaves and two fishes, in the fifth the scene of
+Christ driving the traders from the Temple, and in the last the Raising
+of Lazarus; and all were exquisite. The same Cardinal Farnese afterwards
+desired to have a very rich casket made of silver, and had the work
+executed by Manno, a Florentine goldsmith, of whom there will be an
+account in another place; but he entrusted all the compartments of
+crystal to Giovanni, who made them all full of scenes, with marble in
+half-relief; and he made figures of silver and ornaments in the round,
+and all with such diligence, that no other work of that kind was ever
+carried to such perfection. On the body of this casket are the following
+scenes, engraved in ovals with marvellous art by the hand of Giovanni:
+The Chase of Meleager after the Calydonian Boar, the Followers of
+Bacchus, a naval battle, Hercules in combat with the Amazons, and other
+most beautiful fantasies of the Cardinal, who caused finished designs of
+them to be executed by Perino del Vaga and other masters. Giovanni then
+executed on a crystal the triumph of the taking of Goletta, and the War
+of Tunis on another. For the same Cardinal he engraved, likewise on
+crystal, the Birth of Christ and the scenes when He prays in the Garden;
+when He is taken by the Jews; when He is led before Annas, Herod, and
+Pilate; when He is scourged and then crowned with thorns; when He
+carries the Cross; when He is nailed upon it and raised on high; and,
+finally, His divine and glorious Resurrection. All these works were not
+only very beautiful, but also executed with such rapidity, that every
+man was struck with astonishment.
+
+[Illustration: CASSETTA FARNESE
+
+(_After_ Giovanni da Castel Bolognese (Giovanni Bernardi). _Naples:
+Museo Nazionale_)
+
+_Brogi_]
+
+Michelagnolo had made for the above-mentioned Cardinal de' Medici a
+drawing, which I forgot to mention before, of a Tityus whose heart was
+being devoured by a vulture; and Giovanni engraved this beautifully on
+crystal. And he did the same with another drawing by Buonarroti, in
+which Phaethon, not being able to manage the chariot of the Sun, has
+fallen into the Po, and his weeping sisters are transformed into trees.
+
+Giovanni executed a portrait of Madama Margherita of Austria, daughter
+of the Emperor Charles V, who had been the wife of Duke Alessandro de'
+Medici, and was then the consort of Duke Ottavio Farnese; and this he
+did in competition with Valerio Vicentino. For these works executed for
+Cardinal Farnese, he received from that lord a reward in the form of the
+office of Giannizzero, from which he drew a good sum of money; and, in
+addition, he was so beloved by that Cardinal that he obtained a great
+number of other favours from him, nor did the Cardinal ever pass through
+Faenza, where Giovanni had built a most commodious house, without going
+to take up his quarters with him. Having thus settled at Faenza, in
+order to rest after a life of much labour in the world, Giovanni
+remained there ever afterwards; and his first wife, by whom he had not
+had children, being dead, he took a second. By her he had two sons and a
+daughter; and with them he lived in contentment, being well provided
+with landed property and other revenues, which yielded him more than
+four hundred crowns, until he came to the age of sixty, when he rendered
+up his soul to God on the day of Pentecost, in the year 1555.
+
+Matteo dal Nassaro, who was born in Verona, and was the son of Jacopo
+dal Nassaro, a shoemaker, gave much attention in his early childhood not
+only to design, but also to music, in which he became excellent, having
+had as his masters in that study Marco Carr� and Il Tromboncino, both
+Veronese, who were then in the service of the Marquis of Mantua. In
+matters of intaglio he was much assisted by two Veronese of honourable
+family, with whom he was continually associated. One of these was
+Niccol� Avanzi, who, working privately in Rome, executed cameos,
+cornelians, and other stones, which were taken to various Princes; and
+there are persons who remember to have seen a lapis-lazuli by his hand,
+three fingers in breadth, containing the Nativity of Christ, with many
+figures, which was sold as a choice work to the Duchess of Urbino. The
+other was Galeazzo Mondella, who, besides engraving gems, drew very
+beautifully.
+
+After Matteo had learned from these two masters all that they knew, it
+chanced that there fell into his hands a beautiful piece of green
+jasper, marked with red spots, as the good pieces are; and he engraved
+in it a Deposition from the Cross with such diligence, that he made the
+wounds come in those parts of the jasper that were spotted with the
+colour of blood, which caused that work to be a very rare one, and
+brought him much commendation. That jasper was sold by Matteo to the
+Marchioness Isabella d'Este.
+
+He then went to France, taking with him many works by his own hand which
+might serve to introduce him to the Court of King Francis I; and when he
+had been presented to that Sovereign, who always held in estimation
+every manner of man of talent, the King, after taking many of the stones
+engraved by him, received him into his service and ordained him a good
+salary; and he held Matteo dear no less because he was an excellent
+musician and could play very well upon the lute, than for his profession
+of engraving stones. Of a truth, there is nothing that does more to
+kindle men's minds with love for the arts than to see them appreciated
+and rewarded by Princes and noblemen, as has always been done in the
+past, and is done more than ever at the present day, by the illustrious
+House of Medici, and as was also done by that truly magnanimous
+Sovereign, King Francis.
+
+Matteo, thus employed in the service of that King, executed many rare
+works, not only for His Majesty, but also for almost all the most noble
+lords and barons of the Court, of whom there was scarcely one who did
+not have some work by his hand, since it was much the custom at that
+time to wear cameos and other suchlike gems on the neck and in the cap.
+For the King he made an altar-piece for the altar of the chapel which
+His Majesty always took with him on his journeys; and this was full of
+figures of gold, partly in the round and partly in half-relief, with
+many engraved gems distributed over the limbs of those figures. He also
+engraved many pieces of crystal in intaglio, impressions of which in
+sulphur and gesso are to be seen in many places, and particularly in
+Verona, where there are marvellous representations of all the planets,
+and a Venus with a Cupid that has the back turned, which could not be
+more beautiful. In a very fine chalcedony, found in a river, Matteo
+engraved divinely well the head of a Deianira almost in full-relief,
+wearing the lion's skin, the surface being tawny in colour; and he
+turned to such good advantage a vein of red that was in that stone,
+representing with it the inner side of the lion's skin at its junction
+with the head, that the skin had the appearance of one newly flayed.
+Another spot of colour he used for the hair, and the white for the face
+and breast, and all with admirable mastery. This head came into the
+possession of King Francis, together with the other things; and there is
+an impression of it at the present day in Verona, which belongs to the
+goldsmith Zoppo, who was Matteo's disciple.
+
+Matteo was a man of great spirit and generosity, insomuch that he would
+rather have given his works away than sold them for a paltry price.
+Wherefore when a baron, for whom he had made a cameo of some value,
+wished to pay him a wretched sum for it, Matteo besought him straitly
+that he should accept it as a present. To this the other would not
+consent, and yet wished to have it for the same miserable price;
+whereupon Matteo, flying into a rage, crushed it to powder with a hammer
+in his presence. For the same King Matteo executed many cartoons for
+tapestries, and with these, to please His Majesty, he was obliged to go
+to Flanders, and to stay there until they had been woven in silk and
+gold; which being finished and taken to France, they were held to be
+very beautiful. Finally, Matteo returned to his own country, as almost
+all men do, taking with him many rare things from those foreign parts,
+and in particular some landscapes on canvas painted in Flanders in oils
+and in gouache, and executed by very able hands, which are still
+preserved and treasured in Verona, in memory of him, by Signor Luigi and
+Signor Girolamo Stoppi. Having returned to Verona, Matteo took up his
+abode in a cave hollowed out under a rocky cliff, above which is the
+garden of the Frati Ingiesuati--a place which, besides being very warm
+in winter and very cool in summer, commands a most beautiful view. But
+he was not able to enjoy that habitation, thus contrived after his own
+fancy, as long as he would have liked, for King Francis, as soon as he
+had been released from his captivity, sent a special messenger to recall
+Matteo to France, and to pay him his salary even for all the time that
+he had been in Verona; and when he had arrived there, the King made him
+master of dies for the Mint. Taking a wife in France, therefore, Matteo
+settled down to live in those parts, since such was the pleasure of the
+King his master. By that wife he had some children, but all so unlike
+himself that he had little satisfaction from them.
+
+Matteo was so gentle and courteous, that he welcomed with extraordinary
+warmth anyone who arrived in France, not only from his own city of
+Verona, but from every part of Lombardy. His dearest friend in those
+regions was Paolo Emilio of Verona, who wrote the history of France in
+the Latin tongue. Matteo taught many disciples, among them a
+fellow-Veronese, the brother of Domenico Brusciasorzi, two of his
+nephews, who went to Flanders, and many other Italians and Frenchmen, of
+whom there is no need to make mention. And finally he died, not long
+after the death of King Francis of France.
+
+But to come at length to the marvellous art of Valerio Vicentino, of
+whom we have now to speak: this master executed so many works, both
+great and small, either in intaglio or in relief, and all with such a
+finish and such facility, that it is a thing incredible. If Nature had
+made Valerio a good master of design, even as she made him most
+excellent in engraving, in which he executed his works with
+extraordinary patience, diligence, and rapidity, he would not merely
+have equalled the ancients, as he did, but would have surpassed them by
+a great measure; and even so he had such judgment, that he always
+availed himself in his works of the designs of others or of the intagli
+of the ancients.
+
+[Illustration: CASKET OF ROCK CRYSTAL
+
+(_After_ Valerio Vincentino (Valerio Belli). _Florence; Uffizi, Cabinet
+of Gems_)
+
+_Alinari_]
+
+Valerio fashioned for Pope Clement VII a casket entirely of crystal,
+wrought with admirable mastery, for which he received two thousand
+crowns of gold from that Pontiff in return for his labour. In those
+crystals Valerio engraved the whole Passion of Jesus Christ, after the
+designs of others; and that casket was afterwards presented by Pope
+Clement to King Francis at Nice, at the time when his niece went to be
+married to the Duke of Orleans, who afterwards became King Henry. For
+the same Pope Valerio made some most beautiful paxes, and a divine cross
+of crystal, and likewise dies for striking medals, containing the
+portrait of Pope Clement, with very beautiful reverses; and through him
+that art produced in his day many masters, both from Milan and from
+other parts, who had grown to such a number before the sack of Rome,
+that it was a marvel. He made the medals of the twelve Emperors, with
+their reverses, copying the most beautiful antiques, with a great number
+of Greek medals; and he engraved so many other works in crystal, that
+the shops of the goldsmiths, or rather, the whole world, may be seen to
+be full of impressions taken in gesso, sulphur, or other compositions,
+from the intagli in which he made scenes, figures, or heads. He had,
+indeed, a skill of hand so extraordinary, that there was never anyone in
+his profession who executed more works than Valerio.
+
+He also fashioned many vases of crystal for Pope Clement, who presented
+some to various Princes, and others were placed in the Church of S.
+Lorenzo at Florence, together with many vases that were formerly in the
+Palace of the Medici and had belonged to the elder Lorenzo, the
+Magnificent, and to other members of that most illustrious family, that
+they might serve to contain the relics of many Saints, which that
+Pontiff presented to that church in memory of himself. It would not be
+possible to find anything more varied than the curves of those vases,
+some of which are of sardonyx, agate, amethyst, and lapis-lazuli, and
+some of plasma, heliotrope, jasper, crystal, and cornelian, so that in
+point of value or beauty nothing more could be desired. For Pope Paul
+III he made a cross and two candelabra, likewise of crystal, engraved
+with scenes of the Passion of Jesus Christ in various compartments; with
+a vast number of stones, both great and small, of which it would take
+too long to make mention. And in the collection of Cardinal Farnese may
+be seen many things by the hand of Valerio, who left no fewer finished
+works than did the above-named Giovanni. At the age of seventy-eight he
+performed miracles, so sure were his eye and hand; and he taught his art
+to a daughter of his own, who works very well. He so delighted to lay
+his hands on antiquities in marble, impressions in gesso of works both
+ancient and modern, and drawings and pictures by rare masters, that he
+shrank from no expense; wherefore his house at Vicenza is adorned by
+such an abundance of various things, that it is a marvel. It is clearly
+evident that when a man bears love to art, it never leaves him until he
+is in the grave; whence he gains praise and his reward during his
+lifetime, and makes himself immortal after death. Valerio was well
+remunerated for his labours, and received offices and many benefits from
+those Princes whom he served; and thus those who survived him are able,
+thanks to him, to maintain an honourable state. And in the year 1546,
+when, by reason of the infirmities that old age brings in its train, he
+could no longer attend to his art, or even live, he rendered up his soul
+to God.
+
+At Parma, in times past, lived Marmita, who gave his attention for a
+period to painting, and then turned to intaglio, in which he imitated
+the ancients very closely. Many most beautiful works by his hand are to
+be seen, and he taught the art to a son of his own, called Lodovico, who
+lived for a long time in Rome with Cardinal Giovanni de' Salviati.
+Lodovico executed for that Cardinal four ovals of crystal engraved with
+figures of great excellence, which were placed on a very beautiful
+casket of silver that was afterwards presented to the most illustrious
+Signora Leonora of Toledo, Duchess of Florence. He made, among many
+other works, a cameo with a most beautiful head of Socrates, and he was
+a great master at counterfeiting ancient medals, from which he gained
+extraordinary advantage.
+
+There followed, in Florence, Domenico di Polo, a Florentine and an
+excellent master of intaglio, who was the disciple of Giovanni delle
+Corniole, of whom we have spoken. In our own day this Domenico executed
+a divine portrait of Duke Alessandro de' Medici, from which he made dies
+in steel and most beautiful medals, with a reverse containing a
+Florence. He also made a portrait of Duke Cosimo in the first year after
+his election to the government of Florence, with the sign of Capricorn
+on the reverse; and many other little works in intaglio, of which there
+is no need to make record. He died at the age of sixty-five.
+
+[Illustration: MEDALS
+
+(_London: British Museum_)
+
+  1. POPE JULIUS III
+  (_After_ Alessandro Cesati)
+
+  2. PIETRO BEMBO
+  3. POPE CLEMENT VII
+  (_After_ Benvenuto Cellini)]
+
+[Illustration: MEDALS
+
+(_London: British Museum_)
+
+  1. IPPOLITO D'ESTE
+  2. TITIAN
+  3. MARGARET, DUCHESS OF MANTUA
+  4. LUCREZIA DE' MEDICI
+  (_After_ Pastorino of Siena)
+
+  5. BENEDETTO VARCHI
+  6. COSIMO DE' MEDICI
+  (_After_ Domenico Poggini)]
+
+Domenico, Valerio, Marmita, and Giovanni da Castel Bolognese being
+dead, there remained many who have surpassed them by a great measure;
+one in Venice, for example, being Luigi Anichini of Ferrara, who, with
+the delicacy of his engraving and the sharpness of his finish, has
+produced works that are marvellous. But far beyond all others in grace,
+excellence, perfection, and versatility, has soared Alessandro Cesati,
+surnamed Il Greco, who has executed cameos in relief and gems in
+intaglio in so beautiful a manner, as well as dies of steel in incavo,
+and has used the burin with such supreme diligence and with such mastery
+over the most delicate refinements of his art, that nothing better could
+be imagined. Whoever wishes to be amazed by his miraculous powers,
+should study a medal that he made for Pope Paul III, with his portrait
+on one side, which has all the appearance of life, and on the reverse
+Alexander the Great, who has thrown himself at the feet of the
+High-Priest of Jerusalem, and is doing him homage--figures which are so
+marvellous that it would not be possible to do anything better. And
+Michelagnolo Buonarroti himself, looking at them in the presence of
+Giorgio Vasari, said that the hour of death had come upon the art, for
+nothing better could ever be seen. This Alessandro made the medal of
+Pope Julius III for the holy year of 1550, with a reverse showing the
+prisoners that were released in the days of the ancients at times of
+jubilee, which was a rare and truly beautiful medal; with many other
+dies and portraits for the Mint of Rome, which he kept busily employed
+for many years. He executed portraits of Pier Luigi Farnese, Duke of
+Castro, and his son, Duke Ottavio; and he made a portrait of Cardinal
+Farnese in a medal, a very choice work, the head being of gold and the
+ground of silver. The same master engraved for Cardinal Farnese in
+intaglio, on a cornelian larger than a giulio, a head of King Henry of
+France, which has been considered in point of design, grace, excellence,
+and perfection of finish, one of the best modern intagli that have ever
+been seen. There may also be seen many other stones engraved by his
+hand, in the form of cameos; truly perfect is a nude woman wrought with
+great art, and another in which is a lion, and likewise one of a boy,
+with many small ones, of which there is no need to speak; but that which
+surpassed all the others was the head of the Athenian Phocion, which is
+marvellous, and the most beautiful cameo that is to be seen.
+
+A master who gives his attention to cameos at the present day is
+Giovanni Antonio de' Rossi, an excellent craftsman of Milan, who, in
+addition to the various beautiful works that he has engraved in relief
+and in intaglio, has executed for the most illustrious Duke Cosimo de'
+Medici a very large cameo, one-third of a braccio in height and the same
+in width, in which he has cut two figures from the waist
+upwards--namely, His Excellency and the most illustrious Duchess
+Leonora, his consort, who are both holding with their hands a medallion
+containing a Florence, and beside them are portraits from life of the
+Prince Don Francesco, Don Giovanni the Cardinal, Don Garzia, Don
+Ernando, and Don Pietro, together with Donna Isabella and Donna
+Lucrezia, all their children. It would not be possible to find a more
+amazing or a larger work in cameo than this; and since it surpasses all
+the other cameos and smaller works that he has made, I shall make no
+further mention of them, for they are all to be seen.
+
+Cosimo da Trezzo, also, has executed many works worthy of praise in this
+profession, and has won much favour on account of his rare gifts from
+Philip, the great Catholic King of Spain, who retains him about his
+person, honouring and rewarding him in return for his ability in his
+vocation of engraving in intaglio and in relief. He has no equal in
+making portraits from life; and in other kinds of work, as well as in
+that, his talent is extraordinary.
+
+Of the Milanese Filippo Negrolo, who worked at chasing arms of iron with
+foliage and figures, I shall say nothing, since copper-engravings of his
+works, which have given him very great fame, may be seen about. By
+Gasparo and Girolamo Misuroni, engravers of Milan, have been seen most
+beautiful vases and tazze of crystal. For Duke Cosimo, in particular,
+they have executed two that are marvellous; besides which, they have
+made out of a piece of heliotrope a vase extraordinary in size and
+admirable for its engraving, and also a large vase of lapis-lazuli,
+which deserves infinite praise. Jacopo da Trezzo practises the same
+profession in Milan; and these men, in truth, have brought great beauty
+and facility to this art. Many masters could I mention who, in executing
+in incavo heads and reverses for medals, have equalled and even
+surpassed the ancients; as, for example, Benvenuto Cellini, who, during
+the time when he exercised the goldsmith's art in Rome under Pope
+Clement, made two medals with a head of Pope Clement that is a living
+likeness, and on the reverse of one a figure of Peace that has bound
+Fury and is burning her arms, and on the other Moses striking the rock
+and causing water to flow to quench the thirst of his people: beyond
+which it is not possible to go in that art. And the same might be said
+of the coins and medals that Benvenuto afterwards made for Duke
+Alessandro in Florence.
+
+Of the Chevalier, Leone Aretino, who has done equally well in the same
+art, and of the works that he has made and still continues to make,
+there will be an account in another place.
+
+The Roman Pietro Paolo Galeotto, also, has executed for Duke Cosimo, as
+he still does, medals with portraits of that lord, dies for coins, and
+works in tarsia, imitating the methods of Maestro Salvestro, a most
+excellent master, who produced marvellous works in that profession at
+Rome.
+
+Pastorino da Siena, likewise, has executed so many heads from life, that
+he may be said to have made portraits of every kind of person in the
+whole world, great nobles, followers of the arts, and many people of low
+degree. He discovered a kind of hard stucco for making portraits,
+wherewith he gave them the colouring of nature, with the tints of the
+beard, hair, and flesh, so that they had the appearance of life itself;
+but he deserves much more praise for his work in steel, in which he has
+made excellent dies for medals.
+
+It would take too long if I were to speak of all those who execute
+portrait-medals of wax, seeing that every goldsmith at the present day
+makes them, and a number of gentlemen have given their attention to
+this, and still do so; such as Giovan Battista Sozzini at Siena, Rosso
+de' Giugni at Florence, and very many others, of whom I shall not now
+say more. And, to bring this account to conclusion, I return to the
+steel-engravers, of whom one is Girolamo Fagiuoli of Bologna, a master
+of chasing and of copper-engraving, and another, at Florence, is
+Domenico Poggini, who has made, as he still does, dies for the Mint,
+with medals of Duke Cosimo, and who also executes statues of marble,
+imitating, in so far as he is able, the rarest and most excellent
+masters who have ever produced choice works in these professions.
+
+FOOTNOTE:
+
+[12] Giovanni of the Cornelians.
+
+[13] Domenico of the Cameos.
+
+
+
+
+MARC' ANTONIO BOLOGNESE AND OTHER ENGRAVERS OF PRINTS
+
+
+
+
+LIVES OF MARC' ANTONIO BOLOGNESE AND OF OTHER ENGRAVERS OF PRINTS
+
+
+Seeing that in the Treatise on the Technique of Painting there was
+little said of copper-plate engraving, since it was enough at that time
+to describe the method of engraving silver with the burin, which is a
+square tool of iron, cut on the slant, with a sharp point, I shall use
+the occasion of this Life to say as much on that subject as I may
+consider to be sufficient. The beginning of print-engraving, then, came
+from the Florentine Maso Finiguerra, about the year of our salvation
+1460; for of all the works which that master engraved in silver with
+designs to be filled up with niello, he took impressions in clay, over
+which he poured melted sulphur, which reproduced the lines of the
+design; and these, when filled with smoke-black mixed with oil, produced
+the same effect as the silver. He also did the same with damped paper
+and with the same tint, going over the whole with a round and smooth
+roller, which not only gave the designs the appearance of prints, but
+they also came out as if drawn with the pen. This master was followed by
+Baccio Baldini, a goldsmith of Florence, who, not having much power of
+design, took all that he did from the invention and design of Sandro
+Botticelli. And this method, coming to the knowledge of Andrea Mantegna
+in Rome, was the reason that he made a beginning with engraving many of
+his works, as was said in his Life.
+
+This invention having afterwards passed into Flanders, a certain Martin,
+who was held to be an excellent painter in Antwerp at that time,
+executed many works, and sent to Italy a great number of printed
+designs, which were all signed in the following manner: "M.C." The first
+of these were the Five Foolish Virgins with their lamps extinguished,
+the Five Wise Virgins with their lamps burning, and a Christ Crucified,
+with S. John and the Madonna at the foot of the Cross, which was so good
+an engraving, that Gherardo, the Florentine illuminator, set himself to
+copy it with the burin, and succeeded very well; but he went no further
+with this, for he did not live long. Martin then published four round
+engravings of the four Evangelists, and Jesus Christ with the twelve
+Apostles, in small sheets, Veronica with six Saints, of the same size,
+and some coats of arms of German noblemen, supported by men, both naked
+and clothed, and also by women. He published, likewise, a S. George
+slaying the Dragon, a Christ standing before Pilate, who is washing his
+hands, and a Passing of Our Lady, with all the Apostles, a work of some
+size, which was one of the best designs that this master ever engraved.
+In another he represented S. Anthony beaten by Devils, and carried
+through the air by a vast number of them in the most varied and bizarre
+forms that could possibly be imagined; which sheet so pleased
+Michelagnolo, when he was a mere lad, that he set himself to colour it.
+
+[Illustration: CHRIST AND THE VIRGIN ENTHRONED
+
+(_After the engraving by =Martin Schongauer=. London: British Museum, B.
+71_)
+
+_M.S._]
+
+After this Martin, Albrecht D�rer began to give attention to prints of
+the same kind at Antwerp, but with more design and better judgment, and
+with more beautiful invention, seeking to imitate the life and to draw
+near to the Italian manners, which he always held in much account. And
+thus, while still quite young, he executed many works which were
+considered as beautiful as those of Martin; and he engraved them with
+his own hand, signing them with his name. In the year 1503 he published
+a little Madonna, in which he surpassed both Martin and his own self;
+and afterwards many other sheets with horses, two in each sheet, taken
+from nature and very beautiful. In another he depicted the Prodigal Son,
+in the guise of a peasant, kneeling with his hands clasped and gazing up
+to Heaven, while some swine are eating from a trough; and in this work
+are some most beautiful huts after the manner of German cottages. He
+engraved a little S. Sebastian, bound, with the arms upraised; and a
+Madonna seated with the Child in her arms, with the light from a window
+falling upon her, a small work, than which there is nothing better to be
+seen. He also made a Flemish woman on horseback, with a groom at her
+feet; and on a larger copper-plate he engraved a nymph being
+carried away by a sea-monster, while some other nymphs are bathing. On a
+plate of the same size he engraved with supreme delicacy of workmanship,
+attaining to the final perfection of this art, a Diana beating a nymph,
+who has fled for protection to the bosom of a satyr; in which sheet
+Albrecht sought to prove that he was able to make nudes.
+
+[Illustration: HERCULES
+
+(_After the engraving by =Albrecht D�rer=. London: British Museum, B.
+73_)
+
+_M.S._]
+
+But although those masters were extolled at that time in those
+countries, in ours their works are commended only for the diligent
+execution of the engraving. I am willing, indeed, to believe that
+Albrecht was perhaps not able to do better because, not having any
+better models, he drew, when he had to make nudes, from one or other of
+his assistants, who must have had bad figures, as Germans generally have
+when naked, although one sees many from those parts who are fine men
+when in their clothes. In various little printed sheets he executed
+figures of peasant men and women in different Flemish costumes, some
+playing on the bagpipes and dancing, some selling fowls and suchlike
+things, and others in many other attitudes. He also drew a man sleeping
+in a bathroom who has Venus near him, leading him into temptation in a
+dream, while Love is diverting himself by mounting on stilts, and the
+Devil blows into his ears with a pair of bellows. And he engraved two
+different figures of S. Christopher carrying the Infant Christ, both
+very beautiful, and executed with much diligence in the close detail of
+the hair and in every other respect.
+
+[Illustration: CHRIST TAKING LEAVE OF HIS MOTHER
+
+(_After the woodcut by =Albrecht D�rer=. London: British Museum, B. 92_)
+
+_M.S._]
+
+After these works, perceiving how much time he consumed in engraving on
+copper, and happening to have in his possession a great abundance of
+subjects drawn in various ways, he set himself to making woodcuts, a
+method of working in which those who have the greatest powers of design
+find the widest field wherein to display their ability in its
+perfection. And in the year 1510 he published two little prints in this
+manner, in one of which is the Beheading of S. John, and in the other
+the scene of the head of the same S. John being presented in a charger
+to Herod, who is seated at table; with other sheets of S. Christopher,
+S. Sixtus the Pope, S. Stephen, and S. Laurence. Then, having seen that
+this method of working was much easier than engraving on copper, he
+pursued it and executed a S. Gregory chanting the Mass, accompanied by
+the deacon and sub-deacon. And, growing in courage, in the year 1510 he
+represented on a sheet of royal folio part of the Passion of
+Christ--that is, he executed four pieces, with the intention of
+afterwards finishing the whole, these four being the Last Supper, the
+Taking of Christ by Night in the Garden, His Descent into the Limbo of
+Hell in order to deliver the Holy Fathers, and His glorious
+Resurrection. That second piece he also painted in a very beautiful
+little picture in oils, which is now at Florence, in the possession of
+Signor Bernardetto de' Medici. As for the eight other parts, although
+they were afterwards executed and printed with the signature of
+Albrecht, to us it does not seem probable that they are the work of his
+hand, seeing that they are poor stuff, and bear no resemblance to his
+manner, either in the heads, or in the draperies, or in any other
+respect. Wherefore it is believed that they were executed after his
+death, for the sake of gain, by other persons, who did not scruple to
+father them on Albrecht. That this is true is also proved by the
+circumstance that in the year 1511 he represented the whole life of Our
+Lady in twenty sheets of the same size, executing it so well that it
+would not be possible, whether in invention, in the composition of the
+perspective-views, in the buildings, in the costumes, or in the heads of
+old and young, to do better. Of a truth, if this man, so able, so
+diligent, and so versatile, had had Tuscany instead of Flanders for his
+country, and had been able to study the treasures of Rome, as we
+ourselves have done, he would have been the best painter of our land,
+even as he was the rarest and most celebrated that has ever appeared
+among the Flemings. In the same year, continuing to give expression to
+his fantasies, Albrecht resolved to execute fifteen woodcuts of the same
+size, representing the terrible vision that S. John the Evangelist
+described in his Apocalypse on the Isle of Patmos. And so, setting his
+hand to the work, with his extravagant imagination, so well suited to
+such a subject, he depicted all those things both of heaven and of earth
+so beautifully, that it was a marvel, and with such a variety of forms
+in those animals and monsters, that it was a great light to many of our
+craftsmen, who have since availed themselves of the vast abundance of
+his beautiful fantasies and inventions. By the hand of the same master,
+also, is a woodcut that is to be seen of a nude Christ, who has round
+Him the Mysteries of His Passion, and is weeping for our sins, with His
+hands to His face; and this, for a small work, is not otherwise than
+worthy of praise.
+
+Then, having grown both in power and in courage, as he saw that his
+works were prized, Albrecht executed some copper-plates that astonished
+the world. He also set himself to make an engraving, for printing on a
+sheet of half-folio, of a figure of Melancholy, with all the instruments
+that reduce those who use them, or rather, all mankind, to a melancholy
+humour; and in this he succeeded so well, that it would not be possible
+to do more delicate engraving with the burin. He executed three small
+plates of Our Lady, all different one from another, and most subtle in
+engraving. But it would take too long if I were to try to enumerate all
+the works that issued from Albrecht's hand; let it be enough for the
+present to tell that, having drawn a Passion of Christ in thirty-six
+parts, and having engraved these, he made an agreement with Marc'
+Antonio Bolognese that they should publish the sheets in company; and
+thus, arriving in Venice, this work was the reason that marvellous
+prints of the same kind were afterwards executed in Italy, as will be
+related below.
+
+While Francesco Francia was working at his painting in Bologna, there
+was among his many disciples a young man called Marc' Antonio, who,
+being more gifted than the others, was much brought forward by him, and,
+from having been many years with Francia and greatly beloved by him,
+acquired the surname of De' Franci. This Marc' Antonio, who was more
+able in design than his master, handled the burin with facility and
+grace, and executed in niello girdles and many other things much in
+favour at that time, which were very beautiful, for the reason that he
+was indeed most excellent in that profession. Having then been seized,
+as happens to many, with a desire to go about the world and see new
+things and the methods of other craftsmen, with the gracious leave of
+Francia he went off to Venice, where he was well received by the
+craftsmen of that city. About the same time there arrived in Venice some
+Flemings with many copper-plate engravings and woodcuts by Albrecht
+D�rer, which were seen by Marc' Antonio on the Piazza di S. Marco; and
+he was so amazed at the manner and method of the work of Albrecht, that
+he spent on those sheets almost all the money that he had brought from
+Bologna. Among other things, he bought the Passion of Jesus Christ,
+which had been engraved on thirty-six wood-blocks and printed not long
+before on sheets of quarter-folio by the same Albrecht. This work began
+with the Sin of Adam and the scene of the Angel expelling him from
+Paradise, and continued down to the Descent of the Holy Spirit.
+
+Marc' Antonio, having considered what honour and profit might be
+acquired by one who should apply himself to that art in Italy, formed
+the determination to give his attention to it with all possible
+assiduity and diligence. He thus began to copy those engravings by
+Albrecht D�rer, studying the manner of each stroke and every other
+detail of the prints that he had bought, which were held in such
+estimation on account of their novelty and their beauty, that everyone
+sought to have some. Having then counterfeited on copper, with engraving
+as strong as that of the woodcuts that Albrecht had executed, the whole
+of the said Life and Passion of Christ in thirty-six parts, he added to
+these the signature that Albrecht used for all his works, which was
+"A.D.," and they proved to be so similar in manner, that, no one knowing
+that they had been executed by Marc' Antonio, they were ascribed to
+Albrecht, and were bought and sold as works by his hand. News of this
+was sent in writing to Albrecht, who was in Flanders, together with one
+of the counterfeit Passions executed by Marc' Antonio; at which he flew
+into such a rage that he left Flanders and went to Venice, where he
+appeared before the Signoria and laid a complaint against Marc' Antonio.
+But he could obtain no other satisfaction but this, that Marc' Antonio
+should no longer use the name or the above-mentioned signature of
+Albrecht on his works.
+
+[Illustration: S. JEROME IN HIS STUDY
+
+(_After the engraving by =Albrecht D�rer=. London: British Museum, B.
+60_)
+
+_M.S._]
+
+After this affair, Marc' Antonio went off to Rome, where he gave his
+whole attention to design; and Albrecht returned to Flanders, where he
+found that another rival had already begun to execute many most delicate
+engravings in competition with him. This was Lucas of Holland,[14]
+who, although he was not as fine a master of design as Albrecht, was yet
+in many respects his equal with the burin. Among the many large and
+beautiful works that Lucas executed, the first were two in 1509, round
+in shape, in one of which is Christ bearing the Cross, and in the other
+His Crucifixion. Afterwards he published a Samson, a David on horseback,
+and a S. Peter Martyr, with his tormentors; and then he made a
+copper-plate engraving of Saul seated with the young David playing in
+his presence. And not long after, having made a great advance, he
+executed a very large plate with the most delicate engraving, of Virgil
+suspended from the window in the basket, with some heads and figures so
+marvellous, that they were the reason that Albrecht, growing more subtle
+in power through this competition, produced some printed sheets of such
+excellence, that nothing better could be done. In these, wishing to
+display his ability, Albrecht made an armed man on horseback,
+representing Human Strength, which is so well finished, that one can see
+the lustre of the arms and of the black horse's coat, which is a
+difficult thing to reproduce in design. This stalwart horseman had
+Death, hour-glass in hand, beside him, and the Devil behind. There was
+also a long-haired dog, executed with the most subtle delicacy that can
+possibly be achieved in engraving. In the year 1512 there issued from
+the hand of the same master sixteen little scenes of the Passion of
+Jesus Christ, engraved so well on copper, that there are no little
+figures to be seen that are more beautiful, sweet, and graceful, nor any
+that are stronger in relief.
+
+Spurred likewise by rivalry, the same Lucas of Holland executed twelve
+similar plates, very beautiful, and yet not so perfect in engraving and
+design; and, in addition to these, a S. George who is comforting the
+Maiden, who is weeping because she is destined to be devoured by the
+Dragon; and also a Solomon, who is worshipping idols; the Baptism of
+Christ; Pyramus and Thisbe; and Ahasuerus with Queen Esther kneeling
+before him. Albrecht, on his part, not wishing to be surpassed by Lucas
+either in the number or in the excellence of his works, engraved a nude
+figure on some clouds, and a Temperance with marvellous wings, holding
+a cup of gold and a bridle, with a most delicate little landscape; and
+then a S. Eustachio kneeling before the stag, which has the Crucifix
+between its horns, a sheet which is amazing, and particularly for the
+beauty of some dogs in various attitudes, which could not be more
+perfect. Among the many children of various kinds that he made for the
+decoration of arms and devices, he engraved some who are holding a
+shield, wherein is a Death with a cock for crest, the feathers of which
+are rendered in such detail, that it would be impossible to execute
+anything more delicate with the burin.
+
+Finally, he published the sheet with S. Jerome in the habit of a
+Cardinal, writing, with the Lion sleeping at his feet. In this work
+Albrecht represented a room with windows of glass, through which stream
+the rays of the sun, falling on the place where the Saint sits writing,
+with an effect so natural, that it is a marvel; besides which, there are
+books, timepieces, writings, and so many other things, that nothing more
+and nothing better could be done in this field of art. Not long
+afterwards, in the year 1523, he executed a Christ with the twelve
+Apostles, in little figures, which was almost the last of his works.
+There may also be seen prints of many heads taken from life by him, such
+as that of Erasmus of Rotterdam, that of Cardinal Albrecht of
+Brandenburg, Elector of the Empire, and also his own. Nor, with all the
+engravings that he produced, did he ever abandon painting; nay, he was
+always executing panels, canvases, and other paintings, all excellent,
+and, what is more, he left many writings on matters connected with
+engraving, painting, perspective, and architecture.
+
+[Illustration: THE _ECCE HOMO_ OF 1610
+
+(_After the engraving by =Lucas van Leyden=. London: British Museum_)
+
+_M.S._]
+
+But to return to the subject of engraving: the works of Albrecht D�rer
+induced Lucas of Holland to follow in his steps to the best of his
+power. After the works already mentioned, Lucas engraved on copper four
+scenes from the life of Joseph, and also the four Evangelists, the three
+Angels who appeared to Abraham in the Valley of Mamre, Susannah in the
+Bath, David praying, Mordecai riding in Triumph on Horseback, Lot made
+drunk by his Daughters, the Creation of Adam and Eve, God commanding
+them that they shall not eat of the Fruit from the Tree that He points
+out to them, and Cain killing his brother Abel; all which sheets were
+published in the year 1529. But that which did more than anything else
+to bring renown and fame to Lucas, was a large sheet in which he
+represented the Crucifixion of Jesus Christ; with another wherein Pilate
+is showing Him to the people, saying, "Ecce Homo!" These sheets, which
+are large, and contain a great number of figures, are held to be
+excellent; as are, likewise, one with a Conversion of S. Paul, and
+another showing him being led, blind, into Damascus. And let these works
+suffice to prove that Lucas may be numbered among those who have handled
+the burin with ability.
+
+The scenes of Lucas are very happy in composition, being executed with
+such clearness and so free from confusion, that it seems certain that
+the action represented could not have taken place in any other way; and
+they are arranged more in accordance with the rules of art than those of
+Albrecht. Besides this, it is evident that he used a wise discretion in
+the engraving of his works, for the reason that all those parts which
+recede little by little into the distance are less strongly defined in
+proportion as they are lost to view, even as natural objects become less
+clear to the eye when seen from afar. Indeed, he executed them with such
+thoughtful care, and made them so soft and well blended, that they would
+not be better in colour; and his judicious methods have opened the eyes
+of many painters. The same master engraved many little plates: various
+figures of Our Lady, the twelve Apostles with Christ, many Saints, both
+male and female; arms and helmet-crests, and other suchlike things. Very
+beautiful is a peasant who is having a tooth drawn, and is feeling such
+pain, that he does not notice that meanwhile a woman is robbing his
+purse. All these works of Albrecht and Lucas have brought it about that
+many other Flemings and Germans after them have printed similar sheets
+of great beauty.
+
+But returning to Marc' Antonio: having arrived in Rome, he engraved on
+copper a most lovely drawing by Raffaello da Urbino, wherein was the
+Roman Lucretia killing herself, which he executed with such diligence
+and in so beautiful a manner, that Raffaello, to whom it was straightway
+carried by some friends, began to think of publishing in engravings some
+designs of works by his hand, and then a drawing that he had formerly
+made of the Judgment of Paris, wherein, to please himself, he had drawn
+the Chariot of the Sun, the nymphs of the woods, those of the fountains,
+and those of the rivers, with vases, the helms of ships, and other
+beautiful things of fancy all around; and when he had made up his mind,
+these were engraved by Marc' Antonio in such a manner as amazed all
+Rome. After them was engraved the drawing of the Massacre of the
+Innocents, with most beautiful nudes, women and children, which was a
+rare work; and then the Neptune, with little stories of �neas around it,
+the beautiful Rape of Helen, also after a drawing by Raffaello, and
+another design in which may be seen the death of S. Felicita, who is
+being boiled in oil, while her sons are beheaded. These works acquired
+such fame for Marc' Antonio, that his engravings were held in much
+higher estimation, on account of their good design, than those of the
+Flemings; and the merchants made very large profits out of them.
+
+Raffaello had kept an assistant called Baviera for many years to grind
+his colours; and since this Baviera had a certain ability, Raffaello
+ordained that he should attend to the printing of the engravings
+executed by Marc' Antonio, to the end that all his compositions might
+thus be finished, and then sold in gross and in detail to all who
+desired them. And so, having set to work, they printed a vast number,
+which brought very great profit to Raffaello; and all the plates were
+signed by Marc' Antonio with the following signatures, "R.S." for the
+name of Raffaello Sanzio of Urbino, and "M.F." for that of Marc'
+Antonio. Among these works were a Venus embraced by Love, after a
+drawing by Raffaello, and a scene in which God the Father is blessing
+the seed of Abraham, with the handmaiden and two children. Next were
+engraved all the round pictures that Raffaello had painted in the
+apartments of the Papal Palace, such as the Universal Knowledge,
+Calliope with the musical instrument in her hand, Foresight, and
+Justice; and then, after a small drawing, the scene which Raffaello had
+painted in the same apartment, of Mount Parnassus, with Apollo, the
+Muses, and the Poets; and also that of �neas carrying Anchises on his
+back while Troy is burning, of which Raffaello had made the drawing in
+order to paint a little picture. After this they engraved and printed
+another work of Raffaello, Galatea in a car drawn over the sea by
+Dolphins, with some Tritons who are carrying off a Nymph.
+
+These works finished, Marc' Antonio engraved many separate figures,
+likewise on copper, and after drawings by Raffaello; an Apollo with a
+lyre in his hand; a figure of Peace, to whom Love is offering an
+olive-branch; the three Theological and the four Moral Virtues, and a
+Jesus Christ with the twelve Apostles, of the same size; a half-folio
+plate of the Madonna that Raffaello had painted in the altar-piece of
+the Araceli, and likewise one of that which went to S. Domenico in
+Naples, with Our Lady, S. Jerome, the Angel Raphael, and Tobias; and a
+little plate of Our Lady seated on a chair and embracing the Infant
+Christ, who is half clothed, with many other figures of the Madonna
+copied from the pictures which Raffaello had painted for various
+persons. After these he engraved a young S. John the Baptist, seated in
+the desert, and then the picture which Raffaello executed for S.
+Giovanni in Monte, of S. Cecilia with other Saints, which was held to be
+a most beautiful sheet. When Raffaello had finished all the cartoons of
+the tapestries for the Papal Chapel, which were afterwards woven in silk
+and gold, with stories of S. Paul, S. Peter, and S. Stephen, Marc'
+Antonio engraved the Preaching of S. Paul, the Stoning of S. Stephen,
+and the Blind Man receiving his Sight; which plates, what with the
+invention of Raffaello, the grace of the design, and the diligent
+engraving of Marc' Antonio, were so beautiful, that there was nothing
+better to be seen. He then engraved, after the invention of the same
+Raffaello, a most beautiful Deposition from the Cross, with a Madonna in
+a swoon, who is marvellous; and not long afterwards a plate, which is
+very beautiful, of that picture by Raffaello which went to Palermo, of a
+Christ who is bearing the Cross, and also one of a drawing that
+Raffaello had executed of a Christ in the air, with Our Lady, S. John
+the Baptist, and S. Catharine kneeling on the ground, and S. Paul the
+Apostle standing, which was a large and very lovely engraving. This and
+the others, after becoming spoiled and almost worn out through being too
+much used, were carried away by Germans and others in the sack of Rome.
+
+The same Marc' Antonio engraved the portrait of Pope Clement VII in
+profile, with the face shaved, in the form of a medallion; one of the
+Emperor Charles V at the time when he was a young man, and another of
+him at a riper age; and also one of Ferdinand, King of the Romans, who
+afterwards succeeded Charles V as Emperor. He also made in Rome a
+portrait from life of Messer Pietro Aretino, a very famous poet, which
+was the most beautiful that Marc' Antonio ever executed; and, not long
+afterwards, portraits of the twelve ancient Emperors in medallions. Of
+these sheets Raffaello sent some into Flanders to Albrecht D�rer, who
+praised Marc' Antonio highly, and sent in return to Raffaello, in
+addition to many other sheets, his own portrait, which was held to be a
+miracle of beauty.
+
+Now, the fame of Marc' Antonio having grown very great, and the art of
+engraving having come into credit and repute, many disciples had placed
+themselves under him in order to learn it. And of their number, two who
+made great proficience were Marco da Ravenna, who signed his plates with
+the signature of Raffaello, "R.S.," and Agostino Viniziano, who signed
+his works in the following manner: "A.V." These two engraved and printed
+many designs by Raffaello, such as one of Our Lady with Christ lying
+dead at full length, and at His feet S. John, the Magdalene, Nicodemus,
+and the other Maries; and they engraved another plate of greater size,
+in which is a Madonna, with the arms outstretched and the eyes raised
+towards Heaven, in an attitude of supreme pity and sorrow, with Christ,
+in like manner, lying dead at full length.
+
+Agostino afterwards engraved a large plate of the Nativity, with the
+Shepherds and Angels about the hut, and God the Father above; and he
+executed many vases, both ancient and modern, and also a censer, or
+rather, two women with a vase perforated at the top. He engraved a plate
+with a man transformed into a wolf, who is stealing towards a bed in
+order to kill one who is sleeping in it. And he also executed one of
+Alexander with Roxana, to whom that Prince is presenting a royal crown,
+while some Loves are hovering about her and adorning her head, and
+others are playing with the arms of Alexander.
+
+[Illustration: THE DEATH OF LUCRETIA
+
+(_After the engraving by =Marcantonio Bolognese=. London: British
+Museum, B. 192_)
+
+_M.S._]
+
+The same masters together engraved the Last Supper of Christ with the
+twelve Apostles, on a plate of some size, and an Annunciation, all after
+the designs of Raffaello; and then two stories of the Marriage of
+Psyche, which had been painted by Raffaello not long before. In the end,
+Agostino and the above-mentioned Marco between them engraved almost all
+the works that Raffaello ever drew or painted, and made prints of them;
+and also many of the pictures painted by Giulio Romano, after copies
+drawn for that purpose. And to the end that there might remain scarcely
+a single work of Raffaello that had not been engraved by them, they
+finally made engravings of the scenes that Giulio had painted in the
+Loggie after the designs of Raffaello.
+
+There may still be seen some of the first plates, with the signature
+"M.R." for Marco Ravignano, and others with the signature "A.V." for
+Agostino Viniziano, re-engraved by others after them, such as the
+Creation of the World, and God forming the Animals; the Sacrifices of
+Cain and Abel, and the Death of Abel; Abraham sacrificing Isaac; Noah's
+Ark, the Deluge, and the Animals afterwards issuing from the Ark; the
+Passage of the Red Sea; the Delivery of the Laws from Mount Sinai
+through Moses, and the Manna; David slaying Goliath, already engraved by
+Marc' Antonio; Solomon building the Temple; the Judgment of the same
+Solomon between the two women, and the Visit of the Queen of Sheba; and,
+from the New Testament, the Nativity and the Resurrection of Christ, and
+the Descent of the Holy Spirit. All these were engraved and printed
+during the lifetime of Raffaello.
+
+After the death of Raffaello, Marco and Agostino separated, and Agostino
+was retained by Baccio Bandinelli, the Florentine sculptor, who caused
+him to engrave after his design an anatomical figure that he had formed
+out of lean bodies and dead men's bones; and then a Cleopatra. Both
+these were held to be very good plates. Whereupon, growing in courage,
+Baccio drew, and caused Agostino to engrave, a large plate--one of the
+largest, indeed, that had ever been engraved up to that time--full of
+women clothed, and of naked men who are slaughtering the little
+innocents by command of King Herod.
+
+Marc' Antonio, meanwhile, continuing to work at engraving, executed some
+plates with small figures of the twelve Apostles, in various manners,
+and many Saints, both male and female, to the end that the poor painters
+who were weak in design might be able to avail themselves of these in
+their need. He also engraved a nude young man, who has a lion at his
+feet, and is seeking to furl a large banner, which is swollen out by the
+wind in a direction contrary to his purpose; another who is carrying a
+pedestal on his back; and a little S. Jerome who is meditating on death,
+placing a finger in the hollow of a skull that he has in his hand, the
+invention and design of which were by Raffaello. Then he executed a
+figure of Justice, which he copied from the tapestries of the Chapel;
+and afterwards an Aurora, drawn by two horses, on which the Hours are
+placing bridles. He also copied the Three Graces from the antique; and
+he engraved a scene of Our Lady ascending the steps of the Temple.
+
+After these things, Giulio Romano, who in his modesty would never have
+any of his works engraved during the lifetime of his master Raffaello,
+lest he should seem to wish to compete with him, caused Marc' Antonio,
+after the death of Raffaello, to engrave two most beautiful battles of
+horsemen on plates of some size, and all the stories of Venus, Apollo,
+and Hyacinthus, which he had painted in the bathroom that is at the
+villa of Messer Baldassarre Turini da Pescia. And he did the same with
+the four stories of the Magdalene and the four Evangelists that are in
+the vaulting of the chapel of the Trinit�, which were executed for a
+courtezan, although the chapel now belongs to Messer Agnolo Massimi. By
+the same master was drawn and reproduced in engraving a very beautiful
+ancient sarcophagus containing a lion-hunt, which was formerly at
+Maiano, and is now in the court of S. Pietro; as well as one of the
+ancient scenes in marble that are under the Arch of Constantine; and,
+finally, many scenes that Raffaello had designed for the corridor and
+Loggie of the Palace, which have since been engraved once more by
+Tommaso Barlacchi, together with those of the tapestries that Raffaello
+executed for the public Consistory.
+
+[Illustration: THE MARTYRDOM OF S. LAWRENCE
+
+(_Engraved after Bandinelli by =Marcantonio Bolognese=. London: British
+Museum_)
+
+_M.S._]
+
+After this, Giulio Romano caused Marc' Antonio to engrave twenty plates
+showing all the various ways, attitudes, and positions in which
+licentious men have intercourse with women; and, what was worse, for
+each plate Messer Pietro Aretino wrote a most indecent sonnet, insomuch
+that I know not which was the greater, the offence to the eye from
+the drawings of Giulio, or the outrage to the ear from the words of
+Aretino. This work was much censured by Pope Clement; and if, when it
+was published, Giulio had not already left for Mantua, he would have
+been sharply punished for it by the anger of the Pope. And since some of
+these sheets were found in places where they were least expected, not
+only were they prohibited, but Marc' Antonio was taken and thrown into
+prison; and he would have fared very badly if Cardinal de' Medici and
+Baccio Bandinelli, who was then at Rome in the service of the Pope, had
+not obtained his release. Of a truth, the gifts of God should not be
+employed, as they very often are, in things wholly abominable, which are
+an outrage to the world.
+
+Released from prison, Marc' Antonio finished engraving for Baccio
+Bandinelli a large plate that he had previously begun, with a great
+number of nude figures engaged in roasting S. Laurence on the gridiron,
+which was held to be truly beautiful, and was indeed engraved with
+incredible diligence, although Bandinelli, complaining unjustly of Marc'
+Antonio to the Pope while that master was executing it, said that he was
+committing many errors. But for this sort of gratitude Bandinelli
+received the reward that his lack of courtesy deserved, for Marc'
+Antonio, having heard the whole story, and having finished the plate,
+went, without Baccio being aware of it, to the Pope, who took infinite
+delight in the arts of design; and he showed him first the original
+drawing by Bandinelli, and then the printed engraving, from which the
+Pope recognized that Marc' Antonio not only had committed no errors, but
+had even corrected with great judgment many committed by Bandinelli,
+which were of no small importance, and had shown more knowledge and
+craftsmanship in his engraving than had Baccio in his drawing. Wherefore
+the Pope commended him greatly and ever afterwards received him with
+favour; and it is believed that he might have done much for him, but the
+sack of Rome supervening, Marc' Antonio became little less than a
+beggar, seeing that, besides losing all his property, he was forced to
+disburse a good ransom in order to escape from the hands of the
+Spaniards. Which done, he departed from Rome, never to return; and
+there are few works to be seen which were executed by him after that
+time. Our arts are much indebted to Marc' Antonio, in that he made a
+beginning with engraving in Italy, to the advantage and profit of art
+and to the convenience of her followers, in consequence of which others
+have since executed the works that will be described hereafter.
+
+Now Agostino Viniziano, of whom we have already spoken, came to
+Florence, after the circumstances described above, with the intention of
+attaching himself to Andrea del Sarto, who was held to be about the best
+painter in Italy after Raffaello. And so Andrea, persuaded by this
+Agostino to have his works engraved, made a drawing of a Dead Christ
+supported by three Angels; but since the attempt did not succeed exactly
+according to his fancy, he would never again allow any work of his to be
+engraved. After his death, however, certain persons published engravings
+of the Visitation of S. Elizabeth and of the Baptism of the people by S.
+John, taken from the work in chiaroscuro that Andrea painted in the
+Scalzo at Florence. Marco da Ravenna, likewise, in addition to the works
+already mentioned, which he executed in company with Agostino, also
+engraved many others by himself, which are all good and worthy of
+praise, and are known by his signature, which has been described above.
+Many others, also, have there been after these, who have worked very
+well at engraving, and have brought it about that every country has been
+able to see and enjoy the honoured labours of the most excellent
+masters.
+
+Nor has there been wanting one who has had the enterprise to execute
+with wood-blocks prints that possess the appearance of having been made
+with the brush after the manner of chiaroscuro, which is an ingenious
+and difficult thing. This was Ugo da Carpi, who, although he was a
+mediocre painter, was nevertheless a man of most subtle wit in strange
+and fanciful inventions. He it was, as has been related in the thirtieth
+chapter of the Treatise on Technique, who first attempted, and that with
+the happiest result, to work with two blocks, one of which he used for
+hatching the shadows, in the manner of a copper-plate, and with the
+other he made the tint of colour, cutting deeply with the strokes of the
+engraving, and leaving the lights so bright, that when the impression
+was pulled off they appeared to have been heightened with lead-white.
+Ugo executed in this manner, after a design drawn by Raffaello in
+chiaroscuro, a woodcut in which is a Sibyl seated who is reading, with a
+clothed child giving her light with a torch. Having succeeded in this,
+Ugo took heart and attempted to make prints with wood-blocks of three
+tints. The first gave the shadow; the second, which was lighter in tone,
+made the middle tint, and the third, cut deeply, gave the higher lights
+of the ground and left the white of the paper. And the result of this,
+also, was so good, that he executed a woodcut of �neas carrying Anchises
+on his back, while Troy is burning. He then made a Deposition from the
+Cross, and the story of Simon Magus, which had been used by Raffaello
+for the tapestries of the above-mentioned Chapel; and likewise David
+slaying Goliath, and the Flight of the Philistines, of which Raffaello
+had prepared the design in order to paint it in the Papal Loggie. And
+after many other works in chiaroscuro, he executed in the same manner a
+Venus, with many Loves playing about her.
+
+Now since, as I have said, he was a painter, I must not omit to tell
+that he painted in oils, without using a brush, but with his fingers,
+and partly, also, with other bizarre instruments of his own, an
+altar-piece which is on the altar of the Volto Santo in Rome. Upon this
+altar-piece, being one morning with Michelagnolo at that altar to hear
+Mass, I saw an inscription saying that Ugo da Carpi had painted it
+without a brush; and I laughed and showed the inscription to
+Michelagnolo, who answered, also with a laugh, that it would have been
+better if he had used a brush, for then he might have done it in a
+better manner.
+
+The method of executing these two kinds of woodcuts, in imitation of
+chiaroscuro, thus invented by Ugo da Carpi, was the reason that, many
+following in his steps, a great number of most beautiful prints were
+produced by others. For after him Baldassarre Peruzzi, the painter of
+Siena, made a similar woodcut in chiaroscuro, which was very beautiful,
+of Hercules driving Avarice, a figure laden with vases of gold and
+silver, from Mount Parnassus, on which are the Muses in various lovely
+attitudes. And Francesco Parmigiano engraved a Diogenes for a sheet of
+royal folio laid open, which was a finer print than any that Ugo ever
+produced. The same Parmigiano, having shown the method of making prints
+from three blocks to Antonio da Trento, caused him to execute a large
+sheet in chiaroscuro of the Beheading of S. Peter and S. Paul. And
+afterwards he executed another, but with two blocks only, of the
+Tiburtine Sibyl showing the Infant Christ in the lap of the Virgin to
+the Emperor Octavian; a nude man seated, who has his back turned in a
+beautiful attitude; and likewise an oval print of the Madonna lying
+down, with many others by his hand that may be seen in various places,
+printed after his death by Joannicolo Vicentino. But the most beautiful
+were executed later by Domenico Beccafumi of Siena, after the death of
+Parmigiano, as will be related at greater length in the Life of
+Domenico.
+
+Not otherwise than worthy of praise, also, is the method that has been
+invented of making engravings more easily than with the burin, although
+they do not come out so clear--that is, with aquafortis, first laying on
+the copper a coat of wax, varnish, or oil-colour, and then drawing the
+design with an iron instrument that has a sharp point to cut through the
+wax, varnish, or colour, whichever it may be, after which one pours over
+it the aquafortis, which eats into the copper in such a manner that it
+leaves the lines of the design hollow, and impressions can be taken from
+it. With this method Francesco Parmigiano executed many little things,
+which are full of grace, such as the Nativity of Christ, a Dead Christ
+with the Maries weeping over Him, and one of the tapestries executed for
+the Chapel after the designs of Raffaello, with many other works.
+
+After these masters, fifty sheets with varied and beautiful landscapes
+were produced by Battista, a painter of Vicenza, and Battista del Moro
+of Verona. In Flanders, Hieronymus Cock has executed engravings of the
+liberal arts; and in Rome, engravings have been done of the Visitation
+in the Pace, painted by Fra Sebastiano Viniziano, of that by Francesco
+Salviati in the Misericordia, and of the Feast of Testaccio; besides
+many works that have been engraved in Venice by the painter Battista
+Franco, and by many other masters.
+
+But to return to the simple copper-plate engravings; after Marc' Antonio
+had executed the many works that have been mentioned above, Rosso
+arrived in Rome, and Baviera persuaded him that he should have some of
+his works engraved; wherefore he commissioned Gian Jacopo Caraglio of
+Verona, who was one of the most skilful craftsmen of that day, and who
+sought with all diligence to imitate Marc' Antonio, to engrave a lean
+anatomical figure of his own, which holds a death's head in the hand,
+and is seated on a serpent, while a swan is singing. This plate
+succeeded so well, that the same Rosso afterwards caused engravings to
+be made, on plates of considerable size, of some of the Labours of
+Hercules: the Slaying of the Hydra, the Combat with Cerberus, the
+Killing of Cacus, the Breaking of the Bull's Horns, the Battle with the
+Centaurs, and the Centaur Nessus carrying off Deianira. And these plates
+proved to be so beautiful and so well engraved, that the same Jacopo
+executed, likewise after the design of Rosso, the story of the daughters
+of Pierus, who, for seeking to contend with the Muses and to sing in
+competition with them, were transformed into crows.
+
+Baviera having then caused Rosso to draw twenty Gods in niches, with
+their attributes, for a book, these were engraved by Gian Jacopo
+Caraglio in a very beautiful and graceful manner; and also, not long
+afterwards, their Transformations; but of these Rosso did not make the
+drawings, save only of two, for he had a difference with Baviera, and
+Baviera had ten of them executed by Perino del Vaga. The two by Rosso
+were the Rape of Proserpine and the Transformation of Philyra into a
+horse; and all were engraved with such diligence by Caraglio, that they
+have always been prized. Caraglio afterwards began for Rosso the Rape of
+the Sabines, which would have been a very rare work, but, the sack of
+Rome supervening, it could not be finished, for Rosso went away, and the
+plates were all lost. And although this work has since come into the
+hands of the printers, it has proved a miserable failure, for the
+engraving has been done by one who had no knowledge of the art, and
+thought only of making money.
+
+After this, Caraglio engraved for Francesco Parmigiano a plate of the
+Marriage of Our Lady, and other works by the same master; and then
+another plate for Tiziano Vecelli, which was very beautiful, of a
+Nativity that Tiziano had formerly painted. This Gian Jacopo Caraglio,
+after having executed many copper-plates, being an ingenious spirit,
+gave his attention to engraving cameos and crystals, in which he became
+no less excellent than he had been in the engraving of copper-plates.
+And since then, having entered the service of the King of Poland, he has
+occupied himself no longer with engraving on copper, now in his opinion
+a mean art, but with the cutting of gems, with working in incavo, and
+with architecture; for which having been richly rewarded by the
+liberality of that King, he has spent large sums in investments in the
+territory of Parma, in order to be able to retire in his old age to the
+enjoyment of his native country among his friends and disciples, after
+the labours of so many years.
+
+After these masters came another excellent copper-plate engraver,
+Lamberto Suave,[15] by whose hand are thirteen plates of Christ and the
+twelve Apostles, in which the execution of the engraving is perfect in
+its delicacy. If Lamberto had possessed a more thorough mastery of
+design in addition to the industry, patience, and diligence that he
+showed in all other points, he would have been marvellous in every
+respect; as may be perceived clearly from a little sheet of S. Paul
+writing, and from a larger sheet with the story of the Raising of
+Lazarus, in which there are most beautiful things to be seen. Worthy of
+note, in particular, are the hollow rock in the cavern which he
+represented as the burial-place of Lazarus, and the light that falls
+upon some figures, all of which is executed with beautiful and fanciful
+invention.
+
+No little ability, likewise, has been shown in this profession by Giovan
+Battista Mantovano, a disciple of Giulio Romano; among other works, in a
+Madonna who has the Child in her arms and the moon under her feet, and
+in some very beautiful heads with helmet-crests after the antique; in
+two sheets, in which are a captain of mercenaries on foot and one on
+horseback, and also in a sheet wherein is a Mars in armour, who is
+seated upon a bed, while Venus gazes on a Cupid whom she is suckling,
+which has in it much that is good. Very fanciful, also, are two large
+sheets by the hand of the same master, in which is the Burning of Troy,
+executed with extraordinary invention, design, and grace. These and
+many other sheets by the same hand are signed with the letters "J.B.M."
+
+And no less excellent than any of those mentioned above has been Enea
+Vico of Parma, who engraved the well-known copper-plate of the Rape of
+Helen by Rosso, and also another plate after the design of the same
+painter, of Vulcan with some Loves, who are fashioning arrows at his
+forge, while the Cyclopes are also at work, which was truly a most
+beautiful engraving. He executed the Leda of Michelagnolo on another,
+and also an Annunciation after the design of Tiziano, the story of
+Judith that Michelagnolo painted in the Chapel, the portrait of Duke
+Cosimo de' Medici as a young man, in full armour, after the drawing by
+Bandinelli, and likewise the portrait of Bandinelli himself; and then
+the Contest of Cupid and Apollo in the presence of all the Gods. And if
+Enea had been maintained and rewarded for his labours by Bandinelli, he
+would have engraved many other beautiful plates for him. Afterwards,
+Francesco, a prot�g� of the Salviati, and an excellent painter, being in
+Florence, and assisted by the liberality of Duke Cosimo, commissioned
+Enea to engrave the large plate of the Conversion of S. Paul, full of
+horses and soldiers, which was held to be very beautiful, and gave Enea
+a great name. The same Enea then executed the portrait of Signor
+Giovanni de' Medici, father of Duke Cosimo, with an ornament full of
+figures. He engraved, also, the portrait of the Emperor Charles V, with
+an ornament covered with appropriate Victories and trophies, for which
+he was rewarded by His Majesty and praised by all; and on another plate,
+very well engraved, he represented the victory that the Emperor gained
+on the Elbe. For Doni he executed some heads from nature in the manner
+of medallions, with beautiful ornaments: King Henry of France, Cardinal
+Bembo, Messer Lodovico Ariosto, the Florentine Gello, Messer Lodovico
+Domenichi, Signora Laura Terracina, Messer Cipriano Morosino, and Doni
+himself. He also engraved for Don Giulio Clovio, a most excellent
+illuminator, a plate of a S. George on horseback who is slaying the
+Dragon, in which, although it was, one might say, one of the first works
+that he engraved, he acquitted himself very well.
+
+Afterwards, being a man of lofty genius, and desiring to pass on to
+greater and more honourable undertakings, Enea applied himself to the
+study of antiquities, and in particular of ancient medals, of which he
+has published several books in engraving, wherein are the true effigies
+of many Emperors and their wives, with every kind of inscription and
+reverse that could bring all who delight in them to a clear
+understanding of their stories; for which he has rightly won great
+praise, as he still does. And those who have found fault with him for
+his books of medals have been in the wrong, for whoever shall consider
+the labours that he has performed, and how useful and beautiful these
+are, must perforce excuse him, even though he may have erred in a few
+matters of little importance; and such errors, which are not committed
+save from faulty information, from a too ready credulity, or from having
+opinions differing from others with some show of reason, are worthy to
+be excused, seeing that Aristotle, Pliny, and many others have been
+guilty of the like.
+
+Enea also designed to the common satisfaction and benefit of all mankind
+fifty costumes of different nations, such as were worn by men and women,
+peasants and citizens, in Italy, in France, in Spain, in Portugal, in
+England, in Flanders, and in other parts of the world; which was an
+ingenious work, both fanciful and beautiful. He executed, also, a
+genealogical tree of all the Emperors, which was a thing of great
+beauty. And finally, after much toil and travailing, he now lives in
+repose under the shadow of Alfonso II, Duke of Ferrara, for whom he has
+made a genealogical tree of all the Marquises and Dukes of the House of
+Este. For all these works and many others that he has executed, as he
+still continues to do, I have thought it right to make this honourable
+record of him among so many other men of the arts.
+
+Many others have occupied themselves with copper-plate engraving, who,
+although they have not attained to such perfection, have none the less
+benefited the world with their labours, by bringing many scenes and
+other works of excellent masters into the light of day, and by thus
+giving the means of seeing the various inventions and manners of the
+painters to those who are not able to go to the places where the
+principal works are, and conveying to the ultramontanes a knowledge of
+many things that they did not know. And although many plates have been
+badly executed through the avarice of the printers, eager more for gain
+than for honour, yet in certain others, besides those that have been
+mentioned, there may be seen something of the good; as in the large
+design of the Last Judgment of Michelagnolo Buonarroti on the front wall
+of the Papal Chapel, engraved by Giorgio Mantovano, and in the
+engravings by Giovan Battista de' Cavalieri of the Crucifixion of S.
+Peter and the Conversion of S. Paul painted in the Pauline Chapel at
+Rome. This Giovan Battista has also executed copper-plate engravings,
+besides other designs, of the Meditation of S. John the Baptist, of the
+Deposition from the Cross that Daniello Ricciarelli of Volterra painted
+in a chapel in the Trinit� at Rome, of a Madonna with many Angels, and
+of a vast number of other works. Moreover, many things taken from
+Michelagnolo have been engraved by others at the commission of Antonio
+Lanferri, who has employed printers for the same purpose. These have
+published books of all the kinds of fishes, and also the Phaethon, the
+Tityus, the Ganymede, the Archers, the Bacchanalia, the Dream, the
+Piet�, and the Crucifix, all done by Michelagnolo for the Marchioness of
+Pescara; and, in addition, the four Prophets of the Chapel and other
+scenes and drawings have been engraved and published, but executed so
+badly, that I think it well to be silent as to the names of those
+engravers and printers.
+
+But I must not be silent about the above-mentioned Antonio Lanferri and
+Tommaso Barlacchi, for they, as well as others, have employed many young
+men to engrave plates after original drawings by the hands of a vast
+number of masters, insomuch that it is better to say nothing of these
+works, lest it should become wearisome. And in this manner have been
+published, among other plates, grotesques, ancient temples, cornices,
+bases, capitals, and many other suchlike things, with all their
+measurements.
+
+Seeing everything reduced to a miserable manner, and moved by
+compassion, Sebastiano Serlio, an architect of Bologna, has engraved on
+wood and copper two books of architecture, in which, among other things,
+are thirty doors of the Rustic Order, and twenty in a more delicate
+style; which book is dedicated to King Henry of France. Antonio
+L'Abacco, likewise, has published plates in a beautiful manner of all
+the notable antiquities of Rome, with their measurements, executed with
+great mastery and with very subtle engraving by ... Perugino. Nor has
+less been accomplished in this field by the architect Jacopo Barozzo of
+Vignola, who in a book of copper-plate engravings has shown with simple
+rules how to enlarge or to diminish in due proportion every part of the
+five Orders of Architecture, a work most useful in that art, for which
+we are much indebted to him; even as we are to Giovanni Cugini[16] of
+Paris for his engravings and writings on architecture.
+
+In Rome, besides the masters named above, Niccol� Beatricio[17] of
+Lorraine has given so much attention to engraving with the burin, that
+he has executed many plates worthy of praise; such as two pieces of
+sarcophagi with battles of horsemen, engraved on copper, and other
+plates full of various animals very well executed, and a scene showing
+the Widow's Daughter being restored to life by Jesus Christ, engraved in
+a bold manner from the design of Girolamo Mosciano, a painter of
+Brescia. The same master has engraved an Annunciation from a drawing by
+the hand of Michelagnolo, and has also executed prints of the Navicella
+of mosaic that Giotto made in the portico of S. Pietro.
+
+From Venice, likewise, have come many most beautiful engravings on wood
+and on copper; on wood, after Tiziano, many landscapes, a Nativity of
+Christ, a S. Jerome, and a S. Francis; and on copper the Tantalus, the
+Adonis, and many other plates, which have been engraved by Giulio
+Bonasone of Bologna, together with some others by Raffaello, by Giulio
+Romano, by Parmigiano, and by all the other masters whose drawings he
+has been able to obtain. And Battista Franco, a painter of Venice, has
+engraved, partly with the burin and partly with aquafortis, many works
+by the hands of various masters, such as the Nativity of Christ, the
+Adoration of the Magi, the Preaching of S. Peter, some plates from the
+Acts of the Apostles, and many stories from the Old Testament. So far,
+indeed, has this practice of making prints been carried, that those who
+make a profession of it keep draughtsmen continually employed in copying
+every beautiful work as it appears, and put it into prints. Wherefore
+there came from France, after the death of Rosso, engravings of all the
+work by his hand that could be found, such as Clelia with the Sabine
+women passing the river; some masks after the manner of the Fates,
+executed for King Francis; a bizarre Annunciation; a Dance of ten women;
+and King Francis advancing alone into the Temple of Jupiter, leaving
+behind him Ignorance and other similar figures, which were executed
+during the lifetime of Rosso by the copper-plate engraver Renato.[18]
+And many more have been drawn and engraved since Rosso's death; among
+many other works, all the stories of Ulysses, and, to say nothing of the
+rest, vases, chandeliers, candelabra, salt-cellars, and a vast number of
+other suchlike things made in silver after designs of Rosso.
+
+Luca Penni, also, has published engravings of two Satyrs giving drink to
+a Bacchus, a Leda taking the arrows from the quiver of a Cupid, Susannah
+in the Bath, and many other plates copied from the designs of the same
+Rosso and of Francesco Primaticcio of Bologna, now Abbot of S. Martin in
+France. And among these engravings are the Judgment of Paris, Abraham
+sacrificing Isaac, a Madonna, Christ marrying S. Catharine, Jove
+changing Callisto into a bear, the Council of the Gods, Penelope weaving
+with her women, and other things without number, engraved on wood, and
+executed for the most part with the burin; by reason of which the wits
+of the craftsmen have become very subtle, insomuch that little figures
+have been engraved so well, that it would not be possible to give them
+greater delicacy. And who can see without marvelling the works of
+Francesco Marcolini of Forl�? Who, besides other things, printed the
+book of the Garden of Thoughts from wood-blocks, placing at the
+beginning an astrologer's sphere and a head of himself after the design
+of Giuseppe Porta of Castelnuovo della Garfagnana; in which book are
+various fanciful figures, such as Fate, Envy, Calamity, Timidity,
+Praise, and many others of the same kind, which were held to be most
+beautiful. Not otherwise than praiseworthy, also, were the figures that
+Gabriele Giolito, a printer of books, placed in the Orlando Furioso, for
+they were executed in a beautiful manner of engraving. And even such,
+likewise, were the eleven large anatomical plates that were done by
+Andrea Vessalio after the drawings of Johann of Calcar, a most excellent
+Flemish painter, which were afterwards copied on smaller sheets and
+engraved on copper by Valverde, who wrote on anatomy after Vessalio.
+
+Next, among the many plates that have issued from the hands of Flemings
+within the last ten years, very beautiful are some drawn by one
+Michele,[19] a painter, who worked for many years in two chapels that
+are in the Church of the Germans at Rome. These plates contain the story
+of Moses and the Serpents, and thirty-two stories of Psyche and Love,
+which are held to be most beautiful. Hieronymus Cock, also a Fleming,
+has engraved a large plate after the invention and design of Martin
+Heemskerk, of Delilah cutting off the locks of Samson; and not far away
+is the Temple of the Philistines, in which, the towers having fallen,
+one sees ruin and destruction in the dead, and terror in the living, who
+are taking to flight. The same master has executed in three smaller
+plates the Creation of Adam and Eve, the Eating of the Fruit, and the
+Angel driving them out of Paradise; and in four other plates of the same
+size, in the first the Devil imprinting avarice and ambition into the
+heart of man, and in the others all the passions that result from those
+two. There may also be seen twenty-seven plates of the same size by his
+hand, with stories from the Old Testament after the expulsion of Adam
+from Paradise, drawn by Martin in a bold, well-practised, and most
+resolute manner, which is very similar to the Italian. Hieronymus
+afterwards engraved six round plates with the history of Susannah, and
+twenty-three other stories from the Old Testament, similar to those of
+Abraham already mentioned--namely, six plates with the story of David,
+eight plates with that of Solomon, four with that of Balaam, and five
+with those of Judith and Susannah. And from the New Testament he
+engraved twenty-nine plates, beginning with the Annunciation of the
+Virgin, and continuing down to the whole Passion and Death of Jesus
+Christ. He also engraved, after the drawings of the same Martin, the
+seven Works of Mercy, and the story of the rich Lazarus and the poor
+Lazarus, and four plates with the Parable of the Samaritan wounded by
+thieves, with four other plates of the Parable of the Talents, written
+by S. Matthew in his eighteenth chapter.
+
+At the time when Hans Liefrinck executed in competition with him ten
+plates of the Life and Death of S. John the Baptist, he engraved the
+Twelve Tribes on an equal number of plates; Reuben upon a hog,
+representing Sensuality; Simeon with a sword as a symbol of Homicide;
+and in like manner the other heads of Tribes with attributes appropriate
+to the nature of each. He then executed ten plates, engraved with
+greater delicacy, with the stories and acts of David, from the time of
+his being anointed by Samuel to his going before Saul; and he engraved
+six other plates with the story of how Amnon became enamoured of his
+sister Tamar and ravished her, and the death of that same Amnon. And not
+long afterwards he executed ten plates of similar size with the history
+of Job; and from thirteen chapters of the Proverbs of Solomon he drew
+subjects for five plates of the same kind. He also engraved the story of
+the Magi; and then, on six plates, the Parable that is in the twelfth
+chapter of S. Matthew, of those who for various reasons refused to go to
+the King's Feast, and of him who went without having a wedding-garment;
+and six plates of equal size with some of the acts of the Apostles. And
+in eight similar plates he engraved figures of women of perfect
+excellence, in various costumes: six from the Old Testament--Jael, Ruth,
+Abigail, Judith, Esther, and Susannah; and two from the New--Mary the
+Virgin, Mother of Jesus Christ, and Mary Magdalene.
+
+After these works he carried out the engraving of the Triumphs of
+Patience in six plates, with various things of fancy. In the first, in a
+chariot, is Patience, who has in her hand a standard, on which is a rose
+among thorns. In the second may be seen a burning heart, beaten by three
+hammers, upon an anvil; and the chariot of this second plate is drawn by
+two figures--namely, by Desire, who has wings upon the shoulders, and by
+Hope, who has an anchor in the hand, and behind them Fortune, with her
+wheel broken, is led as a prisoner. In the next plate is Christ on a
+chariot, with the standard of the Cross and of His Passion, with the
+Evangelists at the corners in the form of animals; and this chariot is
+drawn by two lambs, and has behind it four prisoners--the Devil, the
+World, or rather, the Flesh, Sin, and Death. In another Triumph is
+Isaac, nude, upon a camel; on the banner that he holds in his hand are a
+pair of prisoner's irons; and behind him is drawn the altar with the
+ram, the knife, and the fire. In the next plate he made Joseph riding in
+triumph on an ox crowned with ears of corn and fruits, with a standard
+on which is a bee-hive; and the prisoners that are led behind him are
+Anger and Envy, who are devouring a heart. He engraved in another
+Triumph David on a lion, with the harp, and with a standard in his hand,
+on which is a bit; and behind him is Saul as a prisoner, and Shimei,
+with his tongue protruding. In another plate is Tobias riding in triumph
+on an ass, and holding in his hand a banner, on which is a fountain; and
+behind him Poverty and Blindness, bound, are led as prisoners. And in
+the last of the six Triumphs is S. Stephen the Proto-martyr, who is
+riding in triumph on an elephant, and has a standard with a figure of
+Charity; and the prisoners behind him are his persecutors. All these
+were inventions full of fancy, and very ingenious; and they were all
+engraved by Hieronymus Cock, whose hand is very bold, sure, and
+resolute.
+
+The same master engraved a plate of Fraud and Avarice, fantastic and
+beautiful, and another very lovely plate of a Feast of Bacchanals, with
+children dancing. On another he represented Moses passing across the Red
+Sea, according as it had been painted by Agnolo Bronzino, a painter of
+Florence, in the upper chapel in the Palace of the Duke of Florence; and
+in competition with him, also after the design of Bronzino, Giorgio
+Mantovano engraved a Nativity of Jesus Christ, which was very beautiful.
+After these works, Hieronymus engraved twelve plates of the victories,
+battles, and deeds of arms of Charles V, for him who was the inventor of
+the subjects; and for Verese, a painter and a great master of
+perspective in those parts, twenty plates with various buildings. For
+Hieronymus Bosch he executed a plate of S. Martin, with a barque full of
+Devils in the most bizarre forms. And he made another of an alchemist
+who loses all his possessions, distilling away his brains and consuming
+all that he has in various ways, insomuch that in the end he takes
+refuge in the hospital with his wife and children; which plate was
+designed for him by a painter, who caused him to engrave the Seven
+Mortal Sins, with Demons of various forms, which was a fantastic and
+laughable work. He also engraved a Last Judgment; an old man who is
+seeking with a lantern for peace among the wares of the world, and finds
+it not; likewise a great fish that is devouring some little fishes; a
+figure of Carnival enjoying the pleasures of the table with many others,
+and driving Lent away, and another of Lent driving away Carnival; and so
+many other whimsical and fantastic inventions, that it would be
+wearisome to attempt to speak of them all.
+
+Many other Flemings have imitated the manner of Albrecht D�rer with the
+greatest care and subtlety, as may be seen from their engravings, and in
+particular from those of ...[20] who has engraved in little figures four
+stories of the Creation of Adam, four of the lives of Abraham and of
+Lot, and four others of Susannah, which are very beautiful. In like
+manner, G... P...[21] has engraved the Seven Works of Mercy in seven
+small round plates, eight stories taken from the Books of Kings, Regulus
+placed in the barrel filled with nails, and an Artemisia, which is a
+plate of great beauty. J... B...[22] has executed figures of the four
+Evangelists, which are so small that it seems scarcely possible that he
+could have done them; and also five other very fine plates, in the first
+of which is a Virgin drawn into the grave by Death in all the freshness
+of her youth, and in the second is Adam, in the third a peasant, in the
+fourth a Bishop, and in the fifth a Cardinal, each, like the Virgin,
+called by Death to his last account. And in some others are many Germans
+going on parties of pleasure with their wives, and some beautiful and
+fantastic Satyrs. By ... are plates of the four Evangelists, engraved
+with great care, and no less beautiful than are twelve stories of the
+Prodigal Son executed with much diligence by the hand of M.... And,
+finally, Franz Floris, a painter famous in those parts, has produced a
+great number of works and drawings which have since been engraved, for
+the most part by Hieronymus Cock, such as ten plates of the Labours of
+Hercules, a large plate with all the activities of the life of man,
+another with the Horatii and Curiatii engaged in combat in the lists,
+the Judgment of Solomon, and the Battle between Hercules and the
+Pygmies. The same master, also, has engraved a Cain who has killed Abel,
+over whose body Adam and Eve are weeping; an Abraham who is about to
+sacrifice Isaac on the altar, and a vast number of other plates, so full
+of variety and invention, that it is indeed marvellous to think of all
+that has been done in engravings on copper and wood. Lastly, it is
+enough to draw attention to the engravings of the portraits of the
+Painters, Sculptors, and Architects in this our book, which were drawn
+by Giorgio Vasari and his pupils, and engraved by Maestro Cristofano
+...,[23] who has executed in Venice, as he still continues to do, a vast
+number of works worthy of record.
+
+In conclusion, for all the assistance that the ultramontanes have
+received from seeing the various Italian manners by means of engravings,
+and that the Italians have received from having seen those of the
+ultramontanes and foreigners, thanks should be rendered, for the most
+part, to Marc' Antonio Bolognese, in that, besides the circumstance that
+he played a great part in the beginning of this profession, as has been
+related, there has not as yet been one who has much surpassed him,
+although some few have equalled him in certain points. This Marc'
+Antonio died at Bologna, not long after his departure from Rome. In our
+book are some drawings of Angels by his hand, done with the pen, and
+some other very beautiful sheets drawn from the apartments that
+Raffaello da Urbino painted. In one of these apartments Marc' Antonio,
+as a young man, was portrayed by Raffaello in one of those grooms who
+are carrying Pope Julius II, in that part where the High-Priest Onias is
+praying.
+
+And let this be the end of the Lives of Marc' Antonio Bolognese and of
+all the other engravers of prints mentioned above, of whom I have
+thought it right to give this long but necessary account, in order to
+satisfy not only the students of our arts, but also all those who
+delight in works of that kind.
+
+FOOTNOTE:
+
+[14] Luca di Leyden.
+
+[15] Lambert Zutmann.
+
+[16] Jean Cousin.
+
+[17] Nicolas Beautrizet.
+
+[18] Ren� Boyvin.
+
+[19] Michael Coxie.
+
+[20] Albrecht Aldegrever.
+
+[21] Georg Pencz.
+
+[22] Hans Beham.
+
+[23] Cristofano Coriolano.
+
+
+
+
+ANTONIO DA SAN GALLO (THE YOUNGER)
+
+
+
+
+LIFE OF ANTONIO DA SAN GALLO (THE YOUNGER)
+
+ARCHITECT OF FLORENCE
+
+
+How many great and illustrious Princes, abounding with infinite wealth,
+would leave behind them a name renowned and glorious, if they possessed,
+together with their store of the goods of Fortune, a mind filled with
+grandeur and inclined to those things that not only embellish the world,
+but also confer vast benefit and advantage on the whole race of men! And
+what works can or should Princes and great persons undertake more
+readily than noble and magnificent buildings and edifices, both on
+account of the many kinds of men that are employed upon them in the
+making, and because, when made, they endure almost to eternity? For of
+all the costly enterprises that the ancient Romans executed at the time
+when they were at the supreme height of their greatness, what else is
+there left to us save those remains of buildings, the everlasting glory
+of the Roman name, which we revere as sacred things and strive to
+imitate as the sole patterns of the highest beauty? And how much these
+considerations occupied the minds of certain Princes who lived in the
+time of the Florentine architect, Antonio da San Gallo, will now be seen
+clearly in the Life of him that we are about to write.
+
+Antonio, then, was the son of Bartolommeo Picconi of Mugello, a maker of
+casks; and after having learned the joiner's craft in his boyhood,
+hearing that his uncle, Giuliano da San Gallo, was working at Rome in
+company with his brother Antonio, he set out from Florence for that
+city. And there, having devoted himself to the matters of the art of
+architecture with the greatest possible zeal, and pursuing that art, he
+gave promise of those achievements that we see in such abundance
+throughout all Italy, in the vast number of works executed by him at a
+more mature age. Now it happened that Giuliano was forced by the torment
+that he suffered from the stone to return to Florence; and Antonio,
+having become known to the architect Bramante of Castel Durante, began
+to give assistance to that master, who, being old and crippled in the
+hands by palsy, was not able to work as before in the preparation of his
+designs. And these Antonio executed with such accuracy and precision
+that Bramante, finding that they were correct and true in all their
+measurements, was constrained to leave to him the charge of a great
+number of works that he had on his hands, only giving him the order that
+he desired and all the inventions and compositions that were to be used
+in each work. In these he found himself served by Antonio with so much
+judgment, diligence, and expedition, that in the year 1512 he gave him
+the charge of the corridor that was to lead to the ditches of the
+Castello di S. Angelo; for which he began to receive a salary of ten
+crowns a month; but the death of Julius II then took place, and the work
+was left unfinished. However, the circumstance that Antonio had already
+acquired a name as a person of ability in architecture, and one who had
+a very good manner in matters of building, was the reason that
+Alessandro, who was first Cardinal Farnese, and afterwards Pope Paul
+III, conceived the idea of commissioning him to restore the old palace
+in the Campo di Fiore, in which he lived with his family; and for that
+work Antonio, desiring to grow in reputation, made several designs in
+different manners. Among which, one that was arranged with two
+apartments was that which pleased his very reverend Highness, who,
+having two sons, Signor Pier Luigi and Signor Ranuccio, thought that he
+would leave them well accommodated by such a building. And, a beginning
+having been made with that work, a certain portion was constructed
+regularly every year.
+
+At this time a church dedicated to S. Maria di Loreto was being built at
+the Macello de' Corbi, near the Column of Trajan, in Rome, and it was
+brought to perfection by Antonio, with decorations of great beauty.
+After this, Messer Marchionne Baldassini caused a palace to be erected
+from the model and under the direction of Antonio, near S. Agostino,
+which is arranged in such a manner that, small though it may be, it is
+held to be, as indeed it is, the finest and most convenient dwelling in
+Rome; and in it the staircases, the court, the loggie, the doors, and
+the chimney-pieces, are all executed with consummate grace. With which
+Messer Marchionne being very well satisfied, he determined that Perino
+del Vaga, the Florentine painter, should decorate one of the halls in
+colour, with scenes and other figures, as will be related in his Life;
+which decorations have given it infinite grace and beauty. And near the
+Torre di Nona Antonio directed and finished the building of the house of
+the Centelli, which is small, but very convenient.
+
+No long time passed before he went to Gradoli, a place in the dominions
+of the very reverend Cardinal Farnese, where he caused a most beautiful
+and commodious palace to be erected for that Cardinal. On that journey
+he did a work of great utility in restoring the fortress of Capo di
+Monte, which he surrounded with low and well-shaped walls; and at the
+same time he made the design of the fortress of Caprarola. And the very
+reverend Monsignor Farnese, finding himself served by Antonio in all
+these works in a manner so satisfactory, was constrained to wish him
+well, and, coming to love him more and more, he showed him favour in his
+every enterprise whenever he was able. After this, Cardinal Alborense,
+wishing to leave a memorial of himself in the church of his nation,
+caused a chapel of marble, with a tomb for himself, to be erected and
+brought to completion by Antonio in S. Jacopo degli Spagnuoli; which
+chapel, as has been related, was all painted in the spaces between the
+pilasters by Pellegrino da Modena, and on the altar stood a most
+beautiful S. James of marble executed by Jacopo Sansovino. This is a
+work of architecture that is held to be truly worthy of the highest
+praise, since the marble ceiling is divided very beautifully into
+octagonal compartments. Nor was it long before M. Bartolommeo Ferratino,
+for his own convenience and for the benefit of his friends, and also in
+order to leave an honourable and enduring memorial of himself,
+commissioned Antonio to build a palace on the Piazza d' Amelia, which is
+a beautiful and most imposing work; whereby Antonio acquired no little
+fame and profit. During this time Antonio di Monte, Cardinal of Santa
+Prassedia, was in Rome, and he desired that the same architect should
+build for him the palace that he afterwards occupied, looking out upon
+the Agone, where there is the statue of Maestro Pasquino; and in the
+centre, which looks over the Piazza, he wished to erect a tower. This
+was planned and brought to completion for him by Antonio with a most
+beautiful composition of pilasters and windows from the first floor to
+the third--a good and graceful design; and it was adorned both within
+and without by Francesco dell' Indaco with figures and scenes in
+terretta. And Antonio having meanwhile become the devoted servant of the
+Cardinal of Arimini, that lord caused him to erect a palace at Tolentino
+in the March, for which, in addition to the rewards that Antonio
+received, the Cardinal ever afterwards held himself indebted to him.
+
+While these matters were in progress, and the fame of Antonio was
+growing and spreading abroad, it happened that old age and various
+infirmities made Bramante a citizen of the other world; at which three
+architects were appointed straightway by Pope Leo for the building of S.
+Pietro--Raffaello da Urbino, Giuliano da San Gallo, the uncle of
+Antonio, and Fra Giocondo of Verona. But no long time passed before Fra
+Giocondo departed from Rome, and Giuliano, being old, received leave to
+return to Florence. Whereupon Antonio, who was in the service of the
+very reverend Cardinal Farnese, besought him very straitly that he
+should make supplication to Pope Leo, to the end that he might grant the
+place of his uncle Giuliano to him, which proved to be a thing very easy
+to obtain, first because of the abilities of Antonio, which were worthy
+of that place, and then by reason of the cordial relations between the
+Pope and the very reverend Cardinal Farnese. And thus, in company with
+Raffaello da Urbino, he continued that building, but coldly enough.
+
+The Pope then went to Civit� Vecchia, in order to fortify it, and in his
+company were many lords; among others, Giovan Paolo Baglioni and Signor
+Vitello, and such persons of ability as Pietro Navarra and Antonio
+Marchissi, the architect for fortifications at that time, who had come
+from Naples at the command of the Pope. Discussions arising as to the
+fortification of that place, many and various were the opinions about
+this, one man making one design, and another a different one; but among
+so many, Antonio displayed before them a plan which was approved by the
+Pope and by those lords and architects as superior to all the others in
+strength and beauty and in the handsome and useful character of its
+arrangements; wherefore Antonio came into very great credit with the
+Court. After this, the genius of Antonio repaired a great mischief
+brought about in the following manner: Raffaello da Urbino, in executing
+the Papal Loggie and the apartments that are over the foundations, had
+left many empty spaces in the masonry in order to oblige some friends,
+to the serious damage of the whole building, by reason of the great
+weight that had to be supported above them; and the edifice was already
+beginning to show signs of falling, on account of the weight being too
+great for the walls. And it would certainly have fallen down but for the
+genius of Antonio, who filled up those little chambers with the aid of
+props and beams, and refounded the whole fabric, thus making it as firm
+and solid as it had ever been in the beginning.
+
+Meanwhile the Florentine colony had begun their church in the Strada
+Giulia, behind the Banchi, from the design of Jacopo Sansovino. But they
+had chosen a site that extended too far into the river, so that,
+compelled by necessity, they spent twelve thousand crowns on foundations
+in the water, which were executed in a very secure and beautiful manner
+by Antonio, who found the way after Jacopo had failed to discover it;
+and several braccia of the edifice were built over the water. Antonio
+made a model so excellent, that, if the work had been carried to
+completion, it would have been something stupendous. Nevertheless, it
+was a great error, giving proof of little judgment, on the part of those
+who were at that time the heads of that colony in Rome, for they should
+never have allowed the architects to found so large a church in so
+terrible a river, for the sake of gaining twenty braccia of length, and
+to throw away so many thousands of crowns on foundations, only to be
+compelled to contend with that river for ever; particularly because, by
+bringing that church forward and giving it another form, they might have
+built it on solid ground, and, what is more, might have carried the
+whole to completion with almost the same expense. And if they trusted
+in the riches of the merchants of that colony, it was seen afterwards
+how fallacious such a hope was, for in all the years that the
+pontificate was held by Leo and Clement of the Medici family, by Julius
+III, and by Marcellus, who all came from Florentine territory, although
+the last-named lived but a short time, and for all the greatness of so
+many Cardinals and the riches of so many merchants, it remained, as it
+still does, in the same condition in which it was left by our San Gallo.
+It is clear, therefore, that architects and those who cause buildings to
+be erected should look well to the end and to every matter, before
+setting their hands to works of importance.
+
+But to return to Antonio: the fortress of Monte Fiascone had been
+formerly built by Pope Urban, and he restored it at the commission of
+the Pope, who took him to those parts one summer in his train. And at
+the request of Cardinal Farnese he built two little temples on the
+island of Visentina in the Lake of Bolsena, one of which was constructed
+as an octagon without and round within, and the other was square on the
+outer side and octagonal on the inner, with four niches in the walls at
+the corners, one to each; which two little temples, executed in so
+beautiful a manner, bore testimony to the skill with which Antonio was
+able to give variety to the details of architecture. While these temples
+were building, Antonio returned to Rome, where he made a beginning with
+the Palace of the Bishop of Cervia, which was afterwards left
+unfinished, on the Canto di S. Lucia, where the new Mint stands. He
+built the Church of S. Maria di Monferrato, which is held to be very
+beautiful, near the Corte Savella, and likewise the house of one
+Marrano, which is behind the Cibo Palace, near the houses of the
+Massimi.
+
+Meanwhile Leo died, and with him all the fine and noble arts, which had
+been restored to life by him and by his predecessor, Julius II; and his
+successor was Adrian VI, in whose pontificate all arts and talents were
+so crushed down, that, if the government of the Apostolic Seat had
+remained long in his hands, that fate would have come upon Rome under
+his rule which fell upon her on another occasion, when all the statues
+saved from the destruction of the Goths, both the good and the bad, were
+condemned to be burned. Adrian, perhaps in imitation of the Pontiffs of
+those former times, had already begun to speak of intending to throw to
+the ground the Chapel of the divine Michelagnolo, saying that it was a
+bagnio of nudes; and he despised all good pictures and statues, calling
+them vanities of the world, and shameful and abominable things, which
+circumstance was the reason that not only Antonio, but all the other
+beautiful intellects were kept idle, insomuch that, not to mention other
+works, scarcely anything was done in the time of that Pontiff on the
+building of S. Pietro, to which at least he should have been friendly,
+since he wished to prove himself so much the enemy of worldly things.
+
+For that reason, therefore, attending under that Pontiff to works of no
+great importance, Antonio restored the aisles of the Church of S. Jacopo
+degli Spagnuoli, and furnished the fa�ade with most beautiful windows.
+He also caused a tabernacle of travertine to be constructed for the
+Imagine di Ponte, which, although small, is yet very graceful; and in it
+Perino del Vaga afterwards executed a beautiful little work in fresco.
+
+The poor arts had already come to an evil pass through the life of
+Adrian, when Heaven, moved to pity for them, resolved by the death of
+one to give new life to thousands; wherefore it removed him from the
+world and caused him to surrender his place to one who would fill that
+position more worthily and would govern the affairs of the world in a
+different spirit. And thus a new Pope was elected in Clement VII, who,
+being a man of generous mind, and desiring to follow in the steps of Leo
+and of the other members of his illustrious family who had preceded him,
+bethought himself that, even as he had created beautiful memorials of
+himself as Cardinal, so as Pope he should surpass all others in
+restoring and adorning buildings. That election, then, brought
+consolation to many men of talent, and infused a potent and heaven-sent
+breath of life in those ingenious but timid spirits who had sunk into
+abasement; and they, thus revived, afterwards executed the beautiful
+works that we see at the present day. And first, having been set to work
+at the commission of His Holiness, Antonio straightway reconstructed a
+court in front of the Loggie, which had been painted previously under
+the direction of Raffaello, in the Palace; which court was a vast
+improvement in beauty and convenience, for it was formerly necessary to
+pass through certain narrow and tortuous ways, and Antonio, widening
+these and giving them better form, made them spacious and beautiful. But
+this part is not now in the condition in which Antonio left it, for Pope
+Julius III took away the columns of granite that were there, in order to
+adorn his villa with them, and altered everything. Antonio also executed
+the fa�ade of the old Mint of Rome, a work of great beauty and grace, in
+the Banchi, making a rounded corner, which is held to be a difficult and
+even miraculous thing; and in that work he placed the arms of the Pope.
+And he refounded the unfinished part of the Papal Loggie, which had
+remained incomplete at the death of Pope Leo, and had not been
+continued, or even touched, through the negligence of Adrian. And thus,
+at the desire of Clement, they were carried to their final completion.
+
+His Holiness then resolving to fortify Parma and Piacenza, after many
+designs and models had been made by various craftsmen, Antonio was sent
+to those places, and with him Giuliano Leno, the supervisor of those
+fortifications. When they had arrived there, Antonio having with him his
+pupil L'Abacco, Pier Francesco da Viterbo, a very able engineer, and the
+architect Michele San Michele of Verona, all of them together carried
+the designs of those fortifications into execution. Which done, the
+others remaining, Antonio returned to Rome, where Pope Clement, since
+the Palace was poorly supplied in the matter of apartments, ordained
+that Antonio should begin those in which the public consistories are
+held, above the Ferraria, which were executed in such a manner, that the
+Pontiff was well satisfied with them, and caused other apartments to be
+constructed above them for the Chamberlains of His Holiness. Over the
+ceilings of those apartments, likewise, Antonio made others which were
+very commodious--a work which was most dangerous, because it
+necessitated so much refounding. In this kind of work Antonio was in
+truth very able, seeing that his buildings never showed a crack; nor was
+there ever among the moderns any architect more cautious or more skilful
+in joining walls.
+
+In the time of Pope Paul II, the Church of the Madonna of Loreto, which
+was small, and had its roof immediately over brick piers of rustic work,
+had been refounded and brought to that size in which it may be seen at
+the present day, by means of the skill and genius of Giuliano da Maiano;
+and it had been continued from the outer string-course upwards by Sixtus
+IV and by others, as has been related; but finally, in the time of
+Clement, in the year 1526, without having previously shown the slightest
+sign of falling, it cracked in such a manner, that not only the arches
+of the tribune were in danger, but the whole church in many places, for
+the reason that the foundations were weak and wanting in depth.
+Wherefore Antonio was sent by the said Pope Clement to put right so
+great a mischief; and when he had arrived at Loreto, propping up the
+arches and fortifying the whole, like the resolute and judicious
+architect that he was, he refounded all the building, and, making the
+walls and pilasters thicker both within and without, he gave it a
+beautiful form, both as a whole and in its well-proportioned parts, and
+made it strong enough to be able to support any weight, however great.
+He adhered to one and the same order in the transepts and in the aisles
+of the church, making superb mouldings on the architraves, friezes, and
+cornices above the arches, and he rendered beautiful and well
+constructed in no common way the socles of the four great piers around
+the eight sides of the tribune which support the four arches--namely,
+three in the transepts, where the chapels are, and the larger one in the
+central nave. This work certainly deserves to be celebrated as the best
+that Antonio ever executed, and that not without sufficient reason,
+seeing that those who erect some new building, or raise one from the
+foundations, have the power to make it high or low, and to carry it to
+such perfection as they desire or are able to achieve, without being
+hindered by anything; which does not fall to the lot of him who has to
+rectify or restore works begun by others and brought to a sorry state
+either by the craftsman or by the circumstances of Fortune; whence it
+may be said that Antonio restored a dead thing to life, and did that
+which was scarcely possible. Having finished all this, he arranged that
+the church should be covered with lead, and gave directions for the
+execution of all that still remained to do; and thus, by his means,
+that famous temple received a better form and more grace than it had
+possessed before, and the hope of a long-enduring life.
+
+He then returned to Rome, just after that city had been given over to
+sack; and the Pope was at Orvieto, where the Court was suffering very
+greatly from want of water. Thereupon, at the wish of the Pontiff,
+Antonio built in that city a well all of stone, twenty-five braccia
+wide, with two spiral staircases cut in the tufa, one above the other,
+following the curve of the well. By these two spiral staircases it is
+possible to descend to the bottom of the well, insomuch that the animals
+that go there for water, entering by one door, go down by one of the two
+staircases, and when they have come to the platform where they receive
+their load of water, they pass, without turning round, into the other
+branch of the spiral staircase, which winds above that of the descent,
+and emerge from the well by a different door, opposite to the other.
+This work, which was an ingenious, useful, and marvellously beautiful
+thing, was carried almost to completion before the death of Clement; and
+the mouth of the well, which alone remained to be executed, was finished
+by order of Pope Paul III, but not according to the directions drawn up
+by Clement with the advice of Antonio, who was much commended for so
+beautiful a work. Certain it is that the ancients never built a
+structure equal to this in workmanship or ingenuity, seeing, above all,
+that the central shaft is made in such a way that even down to the
+bottom it gives light by means of certain windows to the two staircases
+mentioned above.
+
+While this work was in progress, the same Antonio directed the
+construction of the fortress of Ancona, which in time was carried to
+completion. Afterwards, Pope Clement resolving, at the time when his
+nephew Alessandro de' Medici was Duke of Florence, to erect an
+impregnable fortress in that city, Signor Alessandro Vitelli, Pier
+Francesco da Viterbo, and Antonio laid out that castle, or rather,
+fortress, which is between the Porta al Prato and the Porta a S. Gallo,
+and caused it to be built with such rapidity, that no similar structure,
+whether ancient or modern, was ever completed so quickly. In a great
+tower, which was the first to be founded, and was called the Toso, were
+placed many inscriptions and medals, with the most solemn pomp and
+ceremony; and this work is now celebrated over all the world, and is
+held to be impregnable.
+
+By order of Antonio were summoned to Loreto the sculptor Tribolo,
+Raffaello da Montelupo, Francesco da San Gallo, then a young man, and
+Simone Cioli, who finished the scenes of marble begun by Andrea
+Sansovino. To the same place Antonio summoned the Florentine Mosca, a
+most excellent carver of marble, who was then occupied, as will be
+related in his Life, with a chimney-piece of stone for the heirs of
+Pellegrino da Fossombrone, which proved to be a divine work of carving.
+This master, I say, at the entreaty of Antonio, made his way to Loreto,
+where he executed festoons that are absolutely divine. Thus, with
+rapidity and diligence, the ornamentation of that Chamber of Our Lady
+was completely finished, although Antonio had five works of importance
+on his hands at one and the same time, to all of which, notwithstanding
+that they were in different places, distant one from another, he gave
+his attention in such a manner that he never neglected any of them; for
+when at any time he could not conveniently be there in person, he
+availed himself of the assistance of his brother Battista. These five
+works were the above-mentioned Fortress of Florence, that of Ancona, the
+work at Loreto, the Apostolic Palace, and the well at Orvieto.
+
+After the death of Clement, when Cardinal Farnese was elected supreme
+Pontiff under the title of Paul III, Antonio, having been the friend of
+the Pope while he was a Cardinal, came into even greater credit; and His
+Holiness, having created his son, Signor Pier Luigi, Duke of Castro,
+sent Antonio to make the designs of the fortress which that Duke caused
+to be founded in that place; of the palace, called the Osteria, that is
+on the Piazza; and of the Mint, built of travertine after the manner of
+that in Rome, which is in the same place. Nor were these the only
+designs that Antonio made in that city, for he prepared many others of
+palaces and other buildings for various persons, both natives and
+strangers, who erected edifices of such cost that it would seem
+incredible to one who has not seen them, so ornate are they all, so
+commodious, and built with so little regard for expense; which was done
+by many, without a doubt, in order to please the Pope, seeing that even
+by such means do many contrive to procure favours for themselves,
+flattering the humour of Princes; and this is a thing not otherwise than
+worthy of praise, for it contributes to the convenience, advantage, and
+pleasure of the whole world.
+
+Next, in the year in which the Emperor Charles V returned victorious
+from Tunis, most magnificent triumphal arches were erected to him in
+Messina, in Apulia, and in Naples, in honour of so great a victory; and
+since he was to come to Rome, Antonio, at the commission of the Pope,
+made a triumphal arch of wood at the Palace of S. Marco, of such a shape
+that it might serve for two streets, and so beautiful that a more superb
+or better proportioned work in wood has never been seen. And if in such
+a work splendid and costly marbles had been added to the industry, art,
+and diligence bestowed on its design and execution, it might have been
+deservedly numbered, on account of its statues, painted scenes, and
+other ornaments, among the Seven Wonders of the world. This arch, which
+was placed at the end of the corner turning into the principal Piazza,
+was of the Corinthian Order, with four round columns overlaid with
+silver on each side, and capitals carved in most beautiful foliage,
+completely overlaid with gold. There were very beautiful architraves,
+friezes, and cornices placed with projections over every column; and
+between each two columns were two painted scenes, insomuch that there
+were four scenes distributed over each side, which, with the two sides,
+made eight scenes altogether, containing, as will be described elsewhere
+in speaking of those who painted them, the deeds of the Emperor. In
+order to enhance this splendour, also, and to complete the pediment
+above that arch on each side, there were two figures in relief, each
+four braccia and a half in height, representing Rome, with two Emperors
+of the House of Austria on either side, those on the front part being
+Albrecht and Maximilian, and those on the other side Frederick and
+Rudolph. And upon the corners, likewise, were four prisoners, two on
+each side, with a great number of trophies, also in relief, and the arms
+of His Holiness and of His Majesty; which were all executed under the
+direction of Antonio by excellent sculptors and by the best painters
+that there were in Rome at that time. And not only this arch was
+executed under the direction of Antonio, but also all the preparations
+for the festival that was held for the reception of so great and so
+invincible an Emperor.
+
+The same Antonio then set to work on the Fortress of Nepi for the
+aforesaid Duke of Castro, and on the fortification of the whole city,
+which is both beautiful and impregnable. He laid out many streets in the
+same city, and made for its citizens the designs of many houses and
+palaces. His Holiness then causing the bastions of Rome to be
+constructed, which are very strong, and the Porta di S. Spirito being
+included among those works, the latter was built with the direction and
+design of Antonio, with rustic decorations of travertine, in a very
+solid and beautiful manner, and so magnificent, that it equals the works
+of the ancients. After the death of Antonio, there were some who sought,
+moved more by envy than by any reasonable motive, and employing
+extraordinary means, to have this structure pulled down; but this was
+not allowed by those in power.
+
+Under the direction of the same architect was refounded almost the whole
+of the Apostolic Palace, which was in danger of ruin in many other parts
+besides those that have been mentioned; in particular, on one side, the
+Sistine Chapel, in which are the works of Michelagnolo, and likewise the
+fa�ade, which he did in such a way that not the slightest crack
+appeared--a work richer in danger than in honour. He enlarged the Great
+Hall of that same Sistine Chapel, making in two lunettes at the head of
+it those immense windows with their marvellous lights, and with
+compartments pushed up into the vaulting and wrought in stucco; all
+executed at great cost, and so well, that this hall may be considered
+the richest and the most beautiful that there had been in the world up
+to that time. And he added to it a staircase, by which it might be
+possible to go into S. Pietro, so commodious and so well built that
+nothing better, whether ancient or modern, has yet been seen; and
+likewise the Pauline Chapel, where the Sacrament has to be placed, which
+is a work of extraordinary charm, so beautiful and so well proportioned
+and distributed, that through the grace that may be seen therein it
+appears to present itself to the eye with a festive smile.
+
+Antonio built the Fortress of Perugia, at the time when there was
+discord between the people of that city and the Pope; and that work, for
+which the houses of the Baglioni were thrown to the ground, was finished
+with marvellous rapidity, and proved to be very beautiful. He also built
+the Fortress of Ascoli, bringing it in a few days to such a condition
+that it could be held by a garrison, although the people of Ascoli and
+others did not think that it could be carried so far in many years;
+wherefore it happened that, when the garrison was placed in it so
+quickly, those people were struck with astonishment, and could scarce
+believe it. He also refounded his own house in the Strada Giulia at
+Rome, in order to protect himself from the floods that rise when the
+Tiber is swollen; and he not only began, but in great part completed,
+the palace that he occupied near S. Biagio, which now belongs to
+Cardinal Riccio of Montepulciano, who has finished it, adding most
+ornate apartments, and spending upon it vast sums in addition to what
+had been spent by Antonio, which was some thousands of crowns.
+
+But all that Antonio did to the benefit and advantage of the world is as
+nothing in comparison with the model of the venerable and stupendous
+fabric of S. Pietro at Rome, which, planned in the beginning by
+Bramante, he enlarged and rearranged with a new plan and in an
+extraordinary manner, giving it dignity and a well-proportioned
+composition, both as a whole and in its separate parts, as may be seen
+from the model made of wood by the hand of his disciple, Antonio
+L'Abacco, who carried it to absolute perfection. This model, which gave
+Antonio a very great name, was published in engraving after the death of
+Antonio da San Gallo, together with the ground-plan of the whole
+edifice, by the said Antonio L'Abacco, who wished to show in this way
+how great was the genius of San Gallo, and to make known to all men the
+opinion of that architect; for new plans had been proposed in opposition
+by Michelagnolo Buonarroti, and out of this change of plans many
+contentions afterwards arose, as will be related in the proper place. It
+appeared to Michelagnolo, and also to many others who saw the model of
+San Gallo, and such parts as were carried into execution by him, that
+Antonio's composition was too much cut up by projections and by members
+which are too small, as are also the columns, the arches upon arches,
+and the cornices upon cornices. Besides this, it seems not to be
+approved that the two bell-towers in his plan, the four little tribunes,
+and the principal cupola, should have that ornament, or rather, garland
+of columns, many and small. In like manner, men did not much approve,
+nor do they now, of those innumerable pinnacles that are in it as a
+finish to the work; and it appears that in that model he imitated the
+style and manner of the Germans rather than the good manner of the
+ancients, which is now followed by the best architects. The
+above-mentioned model of S. Pietro was finished by L'Abacco a short time
+after the death of Antonio; and it was found that, in so far as
+appertained merely to the woodwork and the labour of the carpenters, it
+had cost four thousand one hundred and eighty-four crowns. In executing
+it, Antonio L'Abacco, who had charge of the work, acquitted himself very
+well, having a good knowledge of the matters of architecture, as is
+proved by the book of the buildings of Rome that he printed, which is
+very beautiful. This model, which is now to be found in the principal
+chapel of S. Pietro, is thirty-five palme[24] in length, twenty-six in
+breadth, and twenty palme and a half in height; wherefore, according to
+the model, the work would have been one thousand and forty palme in
+length, or one hundred and four canne,[25] and three hundred and sixty
+palme in breadth, or thirty-six canne, for the reason that the canna
+which is used in Rome, according to the measure of the masons, is equal
+to ten palme.
+
+For the making of this model and of many designs, there were assigned to
+Antonio by the Wardens of the building of S. Pietro fifteen hundred
+crowns, of which he received one thousand in cash; but the rest he never
+drew, for a short time after that work he passed to the other life. He
+strengthened the piers of the same Church of S. Pietro, to the end that
+the weight of the tribune might be supported securely; and he filled all
+the scattered parts of the foundations with solid material, and made
+them so strong, that there is no reason to fear that the building may
+show any more cracks or threaten to fall, as it did in the time of
+Bramante. This masterly work, if it were above the ground instead of
+being hidden below, would amaze the boldest intellect. And for these
+reasons the name and fame of this admirable craftsman should always have
+a place among the rarest masters.
+
+We find that ever since the time of the ancient Romans the men of Terni
+and those of Narni have been deadly enemies with one another, as they
+still are, for the reason that the lake of the Marmora, becoming choked
+up at times, would do injury to one of those communities; and thus, when
+the people of Narni wished to release the waters, those of Terni would
+by no means consent to it. On that account there has always been a
+difference between them, whether the Pontiffs were governing Rome, or
+whether it was subject to the Emperors; and in the time of Cicero that
+orator was sent by the Senate to compose that difference, but it
+remained unsettled. Wherefore, after envoys had been sent to Pope Paul
+III in the year 1546 for the same purpose, he despatched Antonio to them
+to settle that dispute; and so, by his good judgment, it was resolved
+that the lake should have an outlet on the side where the wall is, and
+Antonio had it cut, although with the greatest difficulty. But it came
+to pass by reason of the heat, which was great, and other hardships,
+that Antonio, being now old and feeble, fell sick of a fever at Terni,
+and rendered up his spirit not long after; at which his friends and
+relatives felt infinite sorrow, and many buildings suffered,
+particularly the Palace of the Farnese family, near the Campo di Fiore.
+
+[Illustration: PALAZZO FARNESE
+
+(_After_ Antonio di San Gallo (_with_ Michelangelo). _Rome_.)
+
+_Anderson_]
+
+Pope Paul III, when he was Cardinal Alessandro Farnese, had carried that
+palace a considerable way towards completion, and had finished part of
+the first range of windows in the fa�ade and the inner hall, and had
+begun one side of the courtyard; but the building was yet not so far
+advanced that it could be seen in its perfection, when the Cardinal was
+elected Pontiff, and Antonio altered the whole of the original design,
+considering that he had to make a palace no longer for a Cardinal, but
+for a Pope. Having therefore pulled down some houses that were round it,
+and the old staircase, he rebuilt it with a more gentle ascent, and
+increased the courtyard on every side and also the whole palace, making
+the halls greater in extent and the rooms more numerous and more
+magnificent, with very beautiful carved ceilings and many other
+ornaments. And he had already brought the fa�ade, with the second range
+of windows, to completion, and had only to add the great cornice that
+was to go right round the whole, when the Pope, who was a man of exalted
+mind and excellent judgment, desiring to have a cornice richer and more
+beautiful than any that there had ever been in any other palace
+whatsoever, resolved that, in addition to the designs that Antonio had
+made, all the best architects of Rome should each make one, after which
+he would choose the finest, but would nevertheless have it carried into
+execution by Antonio. And so one morning, while he was at table at the
+Belvedere, all those designs were brought before him in the presence of
+Antonio, the masters who had made them being Perino del Vaga, Fra
+Sebastiano del Piombo, Michelagnolo Buonarroti, and Giorgio Vasari, who
+was then a young man and in the service of Cardinal Farnese, at the
+commission of whom and of the Pope he had prepared for that cornice not
+one only, but two different designs. It is true that Buonarroti did not
+bring his own himself, but sent it by the same Giorgio Vasari, who had
+gone to show him his designs, to the end that he might express his
+opinion on them as a friend; whereupon Michelagnolo gave him his own
+design, asking that he should take it to the Pope and make his excuses
+for not going in person, on the ground that he was indisposed. And when
+all the designs had been presented to the Pope, his Holiness examined
+them for a long time, and praised them all as ingenious and very
+beautiful, but that of the divine Michelagnolo above all.
+
+Now all this did not happen without causing vexation to Antonio, who was
+not much pleased with this method of procedure on the part of the Pope,
+and who would have liked to do everything by himself. But even more was
+he displeased to see that the Pope held in great account one Jacomo
+Melighino of Ferrara, and made use of him as architect in the building
+of S. Pietro, although he showed neither power of design nor much
+judgment in his works, giving him the same salary as he paid to Antonio,
+on whom fell all the labour. And this happened because this Melighino
+had been the faithful servant of the Pope for many years without any
+reward, and it pleased His Holiness to recompense him in that way; not
+to mention that he had charge of the Belvedere and of some other
+buildings belonging to the Pope.
+
+After the Pope, therefore, had seen all the designs mentioned above, he
+said, perchance to try Antonio: "These are all beautiful, but it would
+not be amiss for us to see another that our Melighino has made." At
+which Antonio, feeling some resentment, and believing that the Pope was
+making fun of him, replied: "Holy Father, Melighino is but an architect
+in jest." Which hearing, the Pope, who was seated, turned towards
+Antonio, and, bowing his head almost to the ground, answered: "Antonio,
+it is our wish that Melighino should be an architect in earnest, as you
+may see from his salary." Having said this, he dismissed the company and
+went away; and by these words he meant to show that it is very often by
+Princes rather than by their own merits that men are brought to the
+greatness that they desire. The cornice was afterwards executed by
+Michelagnolo, who reconstructed the whole of that palace almost in
+another form, as will be related in his Life.
+
+After the death of Antonio there remained alive his brother Battista
+Gobbo, a person of ability, who spent all his time on the buildings of
+Antonio, although the latter did not behave very well towards him. This
+Battista did not live many years after Antonio, and at his death he left
+all his possessions to the Florentine Company of the Misericordia in
+Rome, on the condition that the men of that Company should cause to be
+printed a book of Observations on Vitruvius that he had written. That
+book has never come into the light of day, but it is believed to be a
+good work, for he had a very fine knowledge of the matters of his art,
+and was a man of excellent judgment, and he was also upright and true.
+
+But returning to Antonio: having died at Terni, he was taken to Rome and
+carried to the grave with the greatest pomp, followed by all the
+craftsmen of design and by many others; and then, at the instance of the
+Wardens of S. Pietro, his body was placed in a tomb near the Chapel of
+Pope Sixtus in S. Pietro, with the following epitaph:
+
+     ANTONIO SANCTI GALLI FLORENTINO, URBE MUNIENDA AC PUB. OPERIBUS,
+     PR�CIPUEQUE D. PETRI TEMPLO ORNAN. ARCHITECTORUM FACILE PRINCIPI,
+     DUM VELINI LACUS EMISSIONEM PARAT, PAULO PONT. MAX. AUCTORE,
+     INTERAMN� INTEMPESTIVE EXTINCTO, ISABELLA DETA UXOR MOESTISS.
+     POSUIT 1546, III. CALEND. OCTOBRIS.
+
+And in truth Antonio, who was a most excellent architect, deserves to be
+celebrated and extolled, as his works clearly demonstrate, no less than
+any other architect, whether ancient or modern.
+
+FOOTNOTE:
+
+[24] The "palma" as used here is equal to about nine inches.
+
+[25] The "canna" is equal to four braccia.
+
+
+
+
+GIULIO ROMANO
+
+
+
+
+LIFE OF GIULIO ROMANO
+
+PAINTER
+
+
+Among his many, or rather innumerable, disciples, the greater number of
+whom became able masters, Raffaello da Urbino had not one who imitated
+him more closely in manner, invention, design, and colouring, than did
+Giulio Romano, nor one who was better grounded, more bold, resolute,
+prolific, and versatile, or more fanciful and varied than Giulio; not to
+mention for the present that he was very pleasant in his conversation,
+gay, amiable, gracious, and supremely excellent in character. These
+qualities were the reason that he was so beloved by Raffaello, that, if
+he had been his son, he could not have loved him more; wherefore it came
+to pass that Raffaello always made use of him in his most important
+works, and, in particular, in executing the Papal Loggie for Leo X; for
+after Raffaello had made the designs for the architecture, the
+decorations, and the scenes, he caused Giulio to paint many of the
+pictures there, among which are the Creation of Adam and Eve, that of
+the animals, the Building of Noah's Ark, his Sacrifice, and many other
+works, which are known by the manner, such as the one in which the
+daughter of Pharaoh, with her ladies, finds Moses in the little ark,
+which had been cast adrift on the river by the Hebrews--a work that is
+marvellous on account of a very well executed landscape. Giulio also
+assisted Raffaello in painting many things in that apartment of the
+Borgia Tower which contains the Burning of the Borgo, more particularly
+the base, which is painted in the colour of bronze, with the Countess
+Matilda, King Pepin, Charlemagne, Godfrey de Bouillon, King of
+Jerusalem, and other benefactors of the Church--all excellent figures;
+and prints of a part of this scene, taken from a drawing by the hand of
+Giulio, were published not long since. The same Giulio also executed
+the greater part of the scenes in fresco that are in the Loggia of
+Agostino Chigi; and he worked in oils on a very beautiful picture of S.
+Elizabeth, which was painted by Raffaello and sent to King Francis of
+France, together with another picture, of S. Margaret, painted almost
+entirely by Giulio after the design of Raffaello, who sent to the same
+King the portrait of the Vice-Queen of Naples, wherein Raffaello did
+nothing but the likeness of the head from life, and the rest was
+finished by Giulio. These works, which were very dear to that King, are
+still in the King's Chapel at Fontainebleau in France.
+
+Working in this manner in the service of his master Raffaello, and
+learning the most difficult secrets of art, which were taught to him by
+Raffaello himself with extraordinary lovingness, before a long time had
+passed Giulio knew very well how to draw in perspective, take the
+measurements of buildings, and execute ground-plans; and Raffaello,
+designing and sketching at times inventions after his own fancy, would
+afterwards have them drawn on a larger scale, with the proper
+measurements, by Giulio, in order to make use of them in his works of
+architecture. And Giulio, beginning to delight in that art, gave his
+attention to it in such a manner, that he afterwards practised it and
+became a most excellent master. At his death, Raffaello left as his
+heirs Giulio and Giovan Francesco, called Il Fattore, on the condition
+that they should finish the works begun by him; and they carried the
+greater part of these to completion with honour.
+
+[Illustration: THE BATTLE OF CONSTANTINE
+
+(_Detail, after the fresco by =Giulio Romano=. Rome: The Vatican_)
+
+_Anderson_]
+
+Now Cardinal Giulio de' Medici, who afterwards became Pope Clement VII,
+took a site under Monte Mario at Rome, in which, besides a beautiful
+view, there were running waters, with some woods on the banks and a
+lovely plain which, running along the Tiber as far as the Ponte Molle,
+formed on either side a wide expanse of meadowland that extended almost
+to the Porta di S. Pietro; and on the highest point of the bank, where
+there was a level space, he proposed to build a palace with all the best
+and most beautiful conveniences and adornments that could be desired in
+the form of apartments, loggie, gardens, fountains, groves, and other
+things. Of all this he gave the charge to Giulio, who, undertaking it
+willingly, and setting his hand to the work, brought that palace, which
+was then called the Vigna de' Medici, and is now known as the Villa
+Madama, to that condition which will be described below. Accommodating
+himself, then, to the nature of the site and the wishes of the Cardinal,
+he made the fa�ade in the form of a semicircle, after the manner of a
+theatre, with a design of niches and windows of the Ionic Order; which
+was so excellent, that many believe that Raffaello made the first sketch
+for it, and that the work was afterwards pursued and carried to
+completion by Giulio. The same Giulio painted many pictures in the
+chambers and elsewhere; in particular, in a very beautiful loggia beyond
+the first entrance vestibule, which is adorned all around with niches
+large and small, wherein are great numbers of ancient statues; and among
+these was a Jupiter, a rare work, which was afterwards sent by the
+Farnese family to King Francis of France, with many other most beautiful
+statues. In addition to those niches, the said loggia is all wrought in
+stucco and has the walls and ceilings all painted with grotesques by the
+hand of Giovanni da Udine. At the head of this loggia Giulio painted in
+fresco an immense Polyphemus with a vast number of children and little
+satyrs playing about him, for which he gained much praise, even as he
+did for all the designs and works that he executed for that place, which
+he adorned with fish-ponds, pavements, rustic fountains, groves, and
+other suchlike things, all most beautiful and carried out with fine
+order and judgment.
+
+It is true that, the death of Leo supervening, for a time this work was
+carried no further, for when a new Pontiff had been elected in Adrian,
+and Cardinal de' Medici had returned to Florence, it was abandoned,
+together with all the public works begun by Adrian's predecessor. During
+this time Giulio and Giovan Francesco brought to completion many things
+that had been left unfinished by Raffaello, and they were preparing to
+carry into execution some of the cartoons that he had made for the
+pictures of the Great Hall of the Palace--in which he had begun to paint
+four stories from the life of the Emperor Constantine, and had, when he
+died, covered one wall with the proper mixture for painting in
+oils--when they saw that Adrian, being a man who took no delight in
+pictures, sculptures, or in any other good thing, had no wish that the
+Hall should be finished. Driven to despair, therefore, Giulio and Giovan
+Francesco, and with them Perino del Vaga, Giovanni da Udine, Sebastiano
+Viniziano, and all the other excellent craftsmen, were almost like to
+die of hunger during the lifetime of Adrian. But by the will of God,
+while the Court, accustomed to the magnificence of Leo, was all in
+dismay, and all the best craftsmen, perceiving that no art was prized
+any longer, were beginning to consider where they might take refuge,
+Adrian died, and Cardinal Giulio de' Medici was elected Supreme Pontiff
+under the name of Clement VII; and with him all the arts of design,
+together with the other arts, were restored to life in one day. Giulio
+and Giovan Francesco, full of joy, set themselves straightway by order
+of the Pope to finish the above-mentioned Hall of Constantine, and threw
+to the ground the preparation that had been laid on one wall for
+painting in oils; but they left untouched two figures that they had
+painted previously in oils, which serve as adornments to certain Popes;
+and these were a Justice and another similar figure.
+
+The distribution of this Hall, which is low, had been designed with much
+judgment by Raffaello, who had placed at the corners, over all the
+doors, large niches with ornaments in the form of little boys holding
+various devices of Leo, such as lilies, diamonds, plumes, and other
+emblems of the House of Medici. In the niches were seated some Popes in
+pontificals, each with a canopy in his niche; and round those Popes were
+some little boys in the form of little angels, holding books and other
+appropriate things in their hands. And each Pope had on either side of
+him a Virtue, chosen according to his merits; thus, the Apostle Peter
+had Religion on one side and Charity, or rather Piety, on the other, and
+so all the others had similar Virtues; and the said Popes were Damasus
+I, Alexander I, Leo III, Gregory, Sylvester, and some others. All these
+figures were so well placed in position and executed by Giulio, who
+painted all the best parts of this work in fresco, that it is clear that
+he endured much labour and took great pains with them; as may also be
+seen from a drawing of S. Sylvester, which was designed very well by his
+own hand, and is perhaps a much more graceful work than the painted
+figure. It may be affirmed, indeed, that Giulio always expressed his
+conceptions better in drawings than in finished work or in paintings,
+for in the former may be seen more vivacity, boldness, and feeling; and
+this may have happened because he made a drawing in an hour, in all the
+heat and glow of working, whereas on paintings he spent months, and even
+years, so that, growing weary of them, and losing that keen and ardent
+love that one has at the beginning of a work, it is no marvel that he
+did not give them that absolute perfection that is to be seen in his
+drawings.
+
+But to return to the stories: Giulio painted on one of the walls
+Constantine making an address to his soldiers; while in the air, in a
+splendour of light, appears the Sign of the Cross, with some little
+boys, and letters that run thus: "In hoc signo vinces." And there is a
+dwarf at the feet of Constantine, placing a helmet on his head, who is
+executed with great art. Next, on the largest wall, there is the battle
+of horsemen which took place at the Ponte Molle, in which Constantine
+routed Maxentius. This work is worthy of the highest praise, on account
+of the dead and wounded that may be seen in it, and the various
+extravagant attitudes of the foot-soldiers and horsemen who are fighting
+in groups, all painted with great spirit; not to mention that there are
+many portraits from life. And if this scene were not too much darkened
+and loaded with blacks, which Giulio always delighted to use in
+colouring, it would be altogether perfect; but this takes away much of
+its grace and beauty. In the same scene he painted the whole landscape
+of Monte Mario, and the River Tiber, in which Maxentius, who is on
+horseback, proud and terrible, is drowning. In short, Giulio acquitted
+himself in such a manner in this work, that it has been a great light to
+all who have painted battle-pieces of that kind since his day. He
+himself learned so much from the ancient columns of Trajan and Antoninus
+that are in Rome, that he made much use of this knowledge for the
+costumes of soldiers, armour, ensigns, bastions, palisades,
+battering-rams, and all the other instruments of war that are painted
+throughout the whole of that Hall. And beneath these scenes, right
+round, he painted many things in the colour of bronze, which are all
+beautiful and worthy of praise.
+
+On another wall he painted S. Sylvester the Pope baptizing Constantine,
+representing there the very bath made by Constantine himself, which is
+at S. Giovanni Laterano at the present day; and he made a portrait from
+life of Pope Clement in the S. Sylvester who is baptizing, with some
+assistants in their vestments, and a crowd of people. Among the many
+attendants of the Pope of whom he painted portraits there, also from
+life, was the Cavalierino, who was very influential with His Holiness at
+that time, and Messer Niccol� Vespucci, a Knight of Rhodes. And below
+this, on the base, he painted a scene with figures in imitation of
+bronze, of Constantine causing the Church of S. Pietro to be built at
+Rome, in allusion to Pope Clement. There he made portraits of the
+architect Bramante and of Giuliano Lemi,[26] holding the design of the
+ground-plan of the said church, and this scene is very beautiful.
+
+On the fourth wall, above the chimney-piece of that Hall, he depicted in
+perspective the Church of S. Pietro at Rome, with the Pope's throne
+exactly as it appears when His Holiness chants the Pontifical Mass; the
+body of Cardinals and all the other prelates of the Court; the chapel of
+singers and musicians; and the Pope seated, represented as S. Sylvester,
+with Constantine kneeling at his feet and presenting to him a figure of
+Rome made of gold in the manner of those that are on the ancient medals,
+by which Giulio intended to signify the dowry which that Constantine
+gave to the Roman Church. In this scene Giulio painted many women
+kneeling there to see that ceremony, who are very beautiful; a beggar
+asking for alms; a little boy amusing himself by riding on a dog; and
+the Lancers of the Papal Guard, who are making the people give way and
+stand back, as is the custom. And among many portraits that are in this
+work may be seen portraits from life of Giulio himself, the painter; of
+Count Baldassarre Castiglioni, the author of the "Cortigiano," and very
+much his friend; of Pontano and Marullo; and of many other men of
+letters and courtiers. Right round the Hall and between the windows
+Giulio painted many devices and poetical compositions, which were
+pleasing and fanciful; and everything was much to the satisfaction of
+the Pope, who rewarded him liberally for his labours.
+
+While this Hall was being painted, Giulio and Giovan Francesco,
+although they could not meet the demands of their friends even in part,
+executed an altar-piece with the Assumption of Our Lady, a very
+beautiful work, which was sent to Perugia and placed in the Convent of
+the Nuns of Monteluci. Then, having withdrawn to work by himself, Giulio
+painted a picture of Our Lady, with a cat that was so natural that it
+appeared to be truly alive; whence that picture was called the Picture
+of the Cat. In another picture, of great size, he painted a Christ being
+scourged at the Column, which was placed on the altar of the Church of
+S. Prassedia at Rome. And not long after this, M. Giovan Matteo Giberti,
+who was then Datary to Pope Clement, and afterwards became Bishop of
+Verona, commissioned Giulio, who was his very familiar friend, to make
+the design for some rooms that were built of brick near the gate of the
+Papal Palace, looking out upon the Piazza of S. Pietro, and serving for
+the accommodation of the trumpeters who blow their trumpets when the
+Cardinals go to the Consistory, with a most commodious flight of steps,
+which can be ascended on horseback as well as on foot. For the same M.
+Giovan Matteo he painted an altar-piece of the Stoning of S. Stephen,
+which M. Giovan Matteo sent to a benefice of his own, called S. Stefano,
+in Genoa. In this altar-piece, which is most beautiful in invention,
+grace, and composition, the young Saul may be seen seated on the
+garments of S. Stephen while the Jews are stoning him; and, in a word,
+Giulio never painted a more beautiful work than this, so fierce are the
+attitudes of the persecutors and so well expressed the patience of
+Stephen, who appears to be truly seeing Jesus Christ on the right hand
+of the Father in the Heaven, which is painted divinely well. This work,
+together with the benefice, M. Giovan Matteo gave to the Monks of Monte
+Oliveto, who have turned the place into a monastery.
+
+The same Giulio executed at the commission of the German Jacob Fugger,
+for a chapel that is in S. Maria de Anima at Rome, a most lovely
+altar-piece in oils, in which are the Madonna, S. Anne, S. Joseph, S.
+James, S. John as a little boy kneeling, and S. Mark the Evangelist with
+a lion at his feet, which is lying down with a book, its hair curving in
+accordance with its position, which was a beautiful consideration, and
+difficult to execute; not to mention that the same lion has short wings
+on its shoulders, with feathers so soft and plumy, that it seems almost
+incredible that the hand of a craftsman could have been able to imitate
+nature so closely. Besides this, he painted there a building that curves
+in a circular form after the manner of a theatre, with some statues so
+beautiful and so well placed that there is nothing better to be seen.
+Among other figures there is a woman who is spinning and gazing at a hen
+with some chickens, than which nothing could be more natural; and above
+Our Lady are some little boys, very graceful and well painted, who are
+upholding a canopy. And if this picture, also, had not been so heavily
+loaded with black, by reason of which it has become very dark, it would
+certainly have been much better; but this blackness has brought it about
+that the greater part of the work that is in it is lost or destroyed,
+and that because black, even when fortified with varnish, is the ruin of
+all that is good, always having in it a certain desiccative quality,
+whether it be made from charcoal, burnt ivory, smoke-black, or burnt
+paper.
+
+Among the many disciples that Giulio had while he was executing these
+works, such as Bartolommeo da Castiglione, Tommaso Papacello of Cortona,
+and Benedetto Pagni of Pescia, those of whom he made the most particular
+use were Giovanni da Lione and Raffaello dal Colle of Borgo a San
+Sepolcro, both of whom assisted him in the execution of many things in
+the Hall of Constantine and in the other works of which we have spoken.
+Wherefore I do not think it right to refrain from mentioning that these
+two, who were very dexterous in painting, and followed the manner of
+Giulio closely in carrying into execution the works that he designed for
+them, painted in colours after his design, near the old Mint in the
+Banchi, the escutcheon of Pope Clement VII, each of them doing one-half,
+with two terminal figures, one on either side of that escutcheon. And
+the same Raffaello, not long after, painted in fresco from a cartoon
+drawn by Giulio, in a lunette within the door of the Palace of Cardinal
+della Valle, a Madonna who is covering the Child, who is sleeping, with
+a piece of drapery, with S. Andrew the Apostle on one side and S.
+Nicholas on the other, which was held, with justice, to be an excellent
+picture.
+
+Giulio, meanwhile, being very intimate with Messer Baldassarre Turini da
+Pescia, built for him on Mount Janiculum, where there are some villas
+that have a most beautiful view, after making the design and model, a
+palace so graceful and so well appointed, from its having all the
+conveniences that could be desired in such a place, that it defies
+description. Moreover, the apartments were adorned not only with stucco,
+but also with paintings, for he himself painted there some stories of
+Numa Pompilius, who was buried on that spot; and in the bathroom of this
+palace, with the help of his young men, Giulio painted some stories of
+Venus, Love, Apollo, and Hyacinthus, which are all to be seen in
+engraving.
+
+After having separated himself completely from Giovan Francesco, he
+executed various architectural works in Rome, such as the design of the
+house of the Alberini in the Banchi (although some believe that the plan
+of this work came from Raffaello), and likewise a palace that may be
+seen at the present day on the Piazza della Dogana in Rome, which, being
+beautiful in design, has been reproduced in engraving. And for himself,
+on a corner of the Macello de' Corbi, where stood his own house, in
+which he was born, he made a beginning with a beautiful range of
+windows, which is a small thing, but very graceful.
+
+By reason of all these excellent qualities, Giulio, after the death of
+Raffaello, was celebrated as the best craftsman in Italy. And Count
+Baldassarre Castiglioni, who was then in Rome as ambassador from
+Federigo Gonzaga, Marquis of Mantua, and was much the friend, as has
+been related, of Giulio, having been commanded by his master the Marquis
+to send him an architect of whom he might avail himself for the
+necessities of his palace and of the city, the Marquis adding that he
+would particularly like to have Giulio--the Count, I say, so wrought
+upon him with entreaties and promises, that Giulio said that he would
+go, provided that he could do this with the leave of Pope Clement; which
+leave having been obtained, the Count, setting out for Mantua, from
+which he was then to go on behalf of the Pope to the Emperor, took
+Giulio with him; and having arrived there, he presented him to the
+Marquis, who, after welcoming him warmly, caused an honourably
+appointed house to be given to him, together with a salary and also a
+good table for himself, for his disciple Benedetto Pagni, and for
+another young man who was in his service; and, what is more, the Marquis
+sent him several canne of velvet, satin, and other kinds of silk and
+cloth wherewith to clothe himself. Then, hearing that he had no horse to
+ride, he sent for a favourite horse of his own, called Luggieri, and
+presented it to him; and when Giulio had mounted upon it, they rode to a
+spot a bow-shot beyond the Porta di S. Bastiano, where His Excellency
+had a place with some stables, called the T�, standing in the middle of
+a meadow, in which he kept his stud of horses and mares. Arriving there,
+the Marquis said that he would like, without destroying the old walls,
+to have some sort of place arranged to which he might resort at times
+for dinner or supper, as a recreation.
+
+Giulio, having heard the will of the Marquis, and having examined the
+whole place, took a ground-plan of that site and set his hand to the
+work. Availing himself of the old walls, he made in the principal part
+the first hall that is to be seen at the present day as one enters, with
+the suite of rooms that are about it. And since the place has no living
+rock, and no quarries from which to excavate material for hewn and
+carved stone, such as are used in building by those who can obtain them,
+he made use of brick and baked stone, which he afterwards worked over
+with stucco; and with this material he made columns, bases, capitals,
+cornices, doors, windows, and other things, all with most beautiful
+proportions. And he executed the decorations of the vaults in a new and
+fantastic manner, with very handsome compartments, and with richly
+adorned recesses, which was the reason that the Marquis, after a
+beginning so humble, then resolved to have the whole of that building
+reconstructed in the form of a great palace.
+
+[Illustration: THE MARRIAGE BANQUET OF CUPID AND PSYCHE
+
+(_After the fresco by =Giulio Romano=. Mantua: Palazzo del T�_)
+
+_Alinari_]
+
+Thereupon Giulio made a very beautiful model, all of rustic work both
+without and within the courtyard, which pleased that lord so much, that
+he assigned a good sum of money for the building; and after Giulio had
+engaged many masters, the work was quickly carried to completion. The
+form of the palace is as follows: The building is quadrangular, and has
+in the centre an open courtyard after the manner of a meadow, or rather,
+of a piazza, into which open four entrances in the form of a cross.
+The first of these traverses straightway, or rather, passes, into a very
+large loggia, which opens by another into the garden, and two others
+lead into various apartments; and these are all adorned with stucco-work
+and paintings. In the hall to which the first entrance gives access the
+vaulting is wrought in various compartments and painted in fresco, and
+on the walls are portraits from life of all the favourite and most
+beautiful horses from the stud of the Marquis, together with the dogs of
+the same coat or marking as the horses, with their names; which were all
+designed by Giulio, and painted in fresco on the plaster by the painters
+Benedetto Pagni and Rinaldo Mantovano, his disciples, and so well, in
+truth, that they seem to be alive.
+
+From this hall one passes into a room which is at one corner of the
+palace, and has the vaulting most beautifully wrought with compartments
+in stucco-work and varied mouldings, touched in certain places with
+gold. These mouldings divide the surface into four octagons, which
+enclose a picture in the highest part of the vaulting, in which is Cupid
+marrying Psyche in the sight of Jove, who is on high, illumined by a
+dazzling celestial light, and in the presence of all the Gods. It would
+not be possible to find anything executed with more grace or better
+draughtsmanship than this scene, for Giulio foreshortened the figures so
+well, with a view to their being seen from below, that some of them,
+although they are scarcely one braccio in length, appear when seen from
+the ground to be three braccia high; and, in truth, they are wrought
+with marvellous art and ingenuity, Giulio having succeeded in so
+contriving them, that, besides seeming to be alive (so strong is the
+relief), they deceive the human eye with a most pleasing illusion. In
+the octagons are all the earlier stories of Psyche, showing the
+adversities that came upon her through the wrath of Venus, and all
+executed with the same beauty and perfection; in other angles are many
+Loves, as likewise in the windows, producing various effects in
+accordance with the spaces where they are; and the whole of the vaulting
+is painted in oils by the hands of the above-mentioned Benedetto and
+Rinaldo. The rest of the stories of Psyche are on the walls below, and
+these are the largest. In one in fresco is Psyche in the bath; and the
+Loves are bathing her, and then wiping her dry with most beautiful
+gestures. In another part is Mercury preparing the banquet, while Psyche
+is bathing, with the Bacchantes sounding instruments; and there are the
+Graces adorning the table with flowers in a beautiful manner. There is
+also Silenus supported by Satyrs, with his ass, and a goat lying down,
+which has two children sucking at its udder; and in that company is
+Bacchus, who has two tigers at his feet, and stands leaning with one arm
+on the credence, on one side of which is a camel, and on the other an
+elephant. This credence, which is barrel-shaped, is adorned with
+festoons of verdure and flowers, and all covered with vines laden with
+bunches of grapes and leaves, under which are three rows of bizarre
+vases, basins, drinking-cups, tazze, goblets, and other things of that
+kind in various forms and fantastic shapes, and so lustrous, that they
+seem to be of real silver and gold, being counterfeited with a simple
+yellow and other colours, and that so well, that they bear witness to
+the extraordinary genius and art of Giulio, who proved in this part of
+the work that he was rich, versatile, and abundant in invention and
+craftsmanship. Not far away may be seen Psyche, who, surrounded by many
+women who are serving and attiring her, sees Phoebus appearing in the
+distance among the hills in the chariot of the sun, which is drawn by
+four horses; while Zephyr is lying nude upon some clouds, and is blowing
+gentle breezes through a horn that he has in his mouth, which make the
+air round Psyche balmy and soft. These stories were engraved not many
+years since after the designs of Battista Franco of Venice, who copied
+them exactly as they were painted from the great cartoons of Giulio by
+Benedetto of Pescia and Rinaldo Mantovano, who carried into execution
+all the stories except the Bacchus, the Silenus, and the two children
+suckled by the goat; although it is true that the work was afterwards
+retouched almost all over by Giulio, so that it is very much as if it
+had been all painted by him. This method, which he learned from
+Raffaello, his instructor, is very useful to young men, who in this way
+obtain practice and thereby generally become excellent masters. And
+although some persuade themselves that they are greater than those who
+keep them at work, such fellows, if their guide fails them before they
+are at the end, or if they are deprived of the design and directions for
+the work, learn that through having lost or abandoned that guidance too
+early they are wandering like blind men in an infinite sea of errors.
+
+But to return to the apartments of the T�; from that room of Psyche one
+passes into another full of double friezes with figures in low-relief,
+executed in stucco after the designs of Giulio by Francesco Primaticcio
+of Bologna, then a young man, and by Giovan Battista Mantovano, in which
+friezes are all the soldiers that are on Trajan's Column at Rome,
+wrought in a beautiful manner. And on the ceiling, or rather soffit, of
+an antechamber is painted in oils the scene when Icarus, having been
+taught by his father D�dalus, seeks to rise too high in his flight, and,
+after seeing the Sign of Cancer and the chariot of the sun, which is
+drawn by four horses in foreshortening, near the Sign of Leo, is left
+without his wings, the wax being consumed by the heat of the sun; and
+near this the same Icarus may be seen hurtling through the air, and
+almost falling upon those who gaze at him, his face dark with the shadow
+of death. This invention was so well conceived and imagined by Giulio,
+that it seems to be real and true, for in it one sees the fierce heat of
+the sun burning the wretched youth's wings, the flaming fire gives out
+smoke, and one almost hears the crackling of the burning plumes, while
+death may be seen carved in the face of Icarus, and in that of D�dalus
+the most bitter sorrow and agony. In our book of drawings by various
+painters is the original design of this very beautiful scene, by the
+hand of Giulio himself, who executed in the same place the stories of
+the twelve months of the year, showing all that is done in each of them
+in the arts most practised by mankind--paintings which are notable no
+less for their fantastic and delightful character and their beauty of
+invention than for the judgment and diligence with which they were
+executed.
+
+After passing the great loggia, which is adorned with stucco-work and
+with many arms and various other bizarre ornaments, one comes to some
+rooms filled with such a variety of fantasies, that the brain reels at
+the thought of them. For Giulio, who was very fanciful and ingenious,
+wishing to demonstrate his worth, resolved to make, at an angle of the
+palace which formed a corner similar to that of the room of Psyche
+described above, an apartment the masonry of which should be in keeping
+with the painting, in order to deceive as much as possible all who might
+see it. He therefore had double foundations of great depth sunk at that
+corner, which was in a marshy place, and over that angle he constructed
+a large round room, with very thick walls, to the end that the four
+external angles of the masonry might be strong enough to be able to
+support a double vault, round after the manner of an oven. This done, he
+caused to be built at the corners right round the room, in the proper
+places, the doors, windows, and fireplace, all of rustic stones
+rough-hewn as if by chance, and, as it were, disjointed and awry,
+insomuch that they appeared to be really hanging over to one side and
+falling down. Having built this room in such strange fashion, he set
+himself to paint in it the most fantastic composition that he was able
+to invent--namely, Jove hurling his thunderbolts against the Giants. And
+so, depicting Heaven on the highest part of the vaulting, he placed
+there the throne of Jove, representing it as seen in foreshortening from
+below and from the front, within a round temple, supported by open
+columns of the Ionic Order, with his canopy over the centre of the
+throne, and with his eagle; and all was poised upon the clouds. Lower
+down he painted Jove in anger, slaying the proud Giants with his
+thunderbolts, and below him is Juno, assisting him; and around them are
+the Winds, with strange countenances, blowing towards the earth, while
+the Goddess Ops turns with her lions at the terrible noise of the
+thunder, as also do the other Gods and Goddesses, and Venus in
+particular, who is at the side of Mars; and Momus, with his arms
+outstretched, appears to fear that Heaven may be falling headlong down,
+and yet he stands motionless. The Graces, likewise, are standing filled
+with dread, and beside them, in like manner, the Hours. All the Deities,
+in short, are taking to flight with their chariots. The Moon, Saturn,
+and Janus are going towards the lightest of the clouds, in order to
+withdraw from that terrible uproar and turmoil, and the same does
+Neptune, who, with his dolphins, appears to be seeking to support
+himself on his trident. Pallas, with the nine Muses, stands wondering
+what horrible thing this may be, and Pan, embracing a Nymph who is
+trembling with fear, seems to wish to save her from the glowing fires
+and the lightning-flashes with which the heavens are filled. Apollo
+stands in the chariot of the sun, and some of the Hours seem to be
+seeking to restrain the course of his horses. Bacchus and Silenus, with
+Satyrs and Nymphs, betray the greatest terror, and Vulcan, with his
+ponderous hammer on one shoulder, gazes towards Hercules, who is
+speaking of this event with Mercury, beside whom is Pomona all in
+dismay, as are also Vertumnus and all the other Gods dispersed
+throughout that Heaven, in which all the effects of fear are so well
+expressed, both in those who are standing and in those who are flying,
+that it is not possible, I do not say to see, but even to imagine a more
+beautiful fantasy in painting than this one.
+
+In the parts below, that is, on the walls that stand upright, underneath
+the end of the curve of the vaulting, are the Giants, some of whom,
+those below Jove, have upon their backs mountains and immense rocks
+which they support with their stout shoulders, in order to pile them up
+and thus ascend to Heaven, while their ruin is preparing, for Jove is
+thundering and the whole Heaven burning with anger against them; and it
+appears not only that the Gods are dismayed by the presumptuous boldness
+of the Giants, upon whom they are hurling mountains, but that the whole
+world is upside down and, as it were, come to its last day. In this part
+Giulio painted Briareus in a dark cavern, almost covered with vast
+fragments of mountains, and the other Giants all crushed and some dead
+beneath the ruins of the mountains. Besides this, through an opening in
+the darkness of a grotto, which reveals a distant landscape painted with
+beautiful judgment, may be seen many Giants flying, all smitten by the
+thunderbolts of Jove, and, as it were, on the point of being overwhelmed
+at that moment by the fragments of the mountains, like the others. In
+another part Giulio depicted other Giants, upon whom are falling
+temples, columns, and other pieces of buildings, making a vast slaughter
+and havoc of those proud beings. And in this part, among those falling
+fragments of buildings, stands the fireplace of the room, which, when
+there is a fire in it, makes it appear as if the Giants are burning, for
+Pluto is painted there, flying towards the centre with his chariot
+drawn by lean horses, and accompanied by the Furies of Hell; and thus
+Giulio, not departing from the subject of the story with this invention
+of the fire, made a most beautiful adornment for the fireplace.
+
+In this work, moreover, in order to render it the more fearsome and
+terrible, Giulio represented the Giants, huge and fantastic in aspect,
+falling to the earth, smitten in various ways by the lightnings and
+thunderbolts; some in the foreground and others in the background, some
+dead, others wounded, and others again covered by mountains and the
+ruins of buildings. Wherefore let no one ever think to see any work of
+the brush more horrible and terrifying, or more natural than this one;
+and whoever enters that room and sees the windows, doors, and other
+suchlike things all awry and, as it were, on the point of falling, and
+the mountains and buildings hurtling down, cannot but fear that
+everything will fall upon him, and, above all, as he sees the Gods in
+the Heaven rushing, some here, some there, and all in flight. And what
+is most marvellous in the work is to see that the whole of the painting
+has neither beginning nor end, but is so well joined and connected
+together, without any divisions or ornamental partitions, that the
+things which are near the buildings appear very large, and those in the
+distance, where the landscapes are, go on receding into infinity; whence
+that room, which is not more than fifteen braccia in length, has the
+appearance of open country. Moreover, the pavement being of small round
+stones set on edge, and the lower part of the upright walls being
+painted with similar stones, there is no sharp angle to be seen, and
+that level surface has the effect of a vast expanse, which was executed
+with much judgment and beautiful art by Giulio, to whom our craftsmen
+are much indebted for such inventions.
+
+In this work the above-mentioned Rinaldo Mantovano became a perfect
+colourist, for he carried the whole of it into execution after the
+cartoons of Giulio, as well as the other rooms. And if this painter had
+not been snatched from the world so young, even as he did honour to
+Giulio during his lifetime, so he would have done honour (to himself)
+after Giulio's death.
+
+[Illustration: THE DESTRUCTION OF THE GIANTS BY THE THUNDERBOLTS OF JOVE
+
+(_After the fresco by =Giulio Romano=. Mantua: Palazzo del T�, Sala dei
+Giganti_)
+
+_Alinari_]
+
+In addition to this palace, in which Giulio executed many other works
+worthy to be praised, of which, in order to avoid prolixity, I shall say
+nothing, he reconstructed with masonry many rooms in the castle where
+the Duke lives at Mantua, and made two very large spiral staircases,
+with very rich apartments adorned all over with stucco. In one hall he
+caused the whole of the story of Troy and the Trojan War to be painted,
+and likewise twelve scenes in oils in an antechamber, below the heads of
+the twelve Emperors previously painted there by Tiziano Vecelli, which
+are all held to be excellent. In like manner, at Marmirolo, a place five
+miles distant from Mantua, a most commodious building was erected after
+the design of Giulio and under his direction, with large paintings no
+less beautiful than those of the castle and of the palace of the T�. The
+same master painted an altar-piece in oils for the Chapel of Signora
+Isabella Buschetta in S. Andrea at Mantua, of Our Lady in the act of
+adoring the Infant Jesus, who is lying on the ground, with S. Joseph,
+the ass and the ox near a manger, and on one side S. John the
+Evangelist, and S. Longinus on the other, figures of the size of life.
+Next, on the walls of the same chapel, he caused Rinaldo to paint two
+very beautiful scenes after his own designs; on one, the Crucifixion of
+Jesus Christ, with the Thieves, some Angels in the air, and on the
+ground the ministers of the Crucifixion and the Maries, with many
+horses, in which he always delighted, making them beautiful to a marvel,
+and many soldiers in various attitudes; and, on the other, the scene
+when the Blood of Christ was discovered in the time of the Countess
+Matilda, which was a most beautiful work.
+
+Giulio then painted with his own hand for Duke Federigo a picture of Our
+Lady washing the little Jesus Christ, who is standing in a basin, while
+a little S. John is pouring out the water from a vase. Both of these
+figures, which are of the size of life, are very beautiful; and in the
+distance are small figures, from the waist upwards, of some ladies who
+are coming to visit the Madonna. This picture was afterwards presented
+by the Duke to Signora Isabella Buschetta, of which lady Giulio
+subsequently made a most beautiful portrait in a little picture of the
+Nativity of Christ, one braccio in height, which is now in the
+possession of Signor Vespasiano Gonzaga, together with another picture
+presented to him by Duke Federigo, and likewise by the hand of Giulio,
+in which are a young man and a young woman embracing each other on a
+bed, in the act of caressing one another, while an old woman peeps at
+them secretly from behind a door--figures which are little less than
+life-size, and very graceful. In the house of the same person is another
+very excellent picture of a most beautiful S. Jerome, also by the hand
+of Giulio. And in the possession of Count Niccola Maffei is a picture of
+Alexander the Great, of the size of life, with a Victory in his hand,
+copied from an ancient medal, which is a work of great beauty.
+
+After these works, Giulio painted in fresco over a chimney-piece, for M.
+Girolamo, the organist of the Duomo at Mantua, who was very much his
+friend, a Vulcan who is working his bellows with one hand and holding
+with the other, with a pair of tongs, the iron head of an arrow that he
+is forging, while Venus is tempering in a vase some already made and
+placing them in Cupid's quiver. This is one of the most beautiful works
+that Giulio ever executed; and there is little else in fresco by his
+hand to be seen. For S. Domenico, at the commission of M. Lodovico da
+Fermo, he painted an altar-piece of the Dead Christ, whom Joseph and
+Nicodemus are preparing to lay in the sepulchre, and near them are His
+Mother, the other Maries, and S. John the Evangelist. And a little
+picture, in which he also painted a Dead Christ, is in the house of the
+Florentine Tommaso da Empoli at Venice.
+
+At the same time when he was executing these and other pictures, it
+happened that Signor Giovanni de' Medici, having been wounded by a
+musket-ball, was carried to Mantua, where he died. Whereupon M. Pietro
+Aretino, who was the devoted servant of that lord, and very much the
+friend of Giulio, desired that Giulio should mould a likeness of him
+with his own hand as he lay dead; and he, therefore, having taken a cast
+from the face of the dead man, executed a portrait from it, which
+remained for many years afterwards in the possession of the same
+Aretino.
+
+For the entry of the Emperor Charles V into Mantua, Giulio, by order of
+the Duke, made many most beautiful festive preparations in the form of
+arches, scenery for dramas, and a number of other things; in which
+inventions Giulio had no equal, nor was there ever any man more fanciful
+in preparing masquerades and in designing extravagant costumes for
+jousts, festivals, and tournaments, as was seen at that time with
+amazement and marvel by the Emperor Charles and by all who were present.
+Besides this, at different times he gave so many designs for chapels,
+houses, gardens, and fa�ades throughout the whole of Mantua, and he so
+delighted to embellish and adorn the city, that, whereas it was formerly
+buried in mud and at times full of stinking water and almost
+uninhabitable, he brought it to such a condition that at the present
+day, thanks to his industry, it is dry, healthy, and altogether pleasing
+and delightful.
+
+While Giulio was in the service of that Duke, one year the Po, bursting
+its banks, inundated Mantua in such a manner, that in certain low-lying
+parts of the city the water rose to the height of nearly four braccia,
+insomuch that for a long time frogs lived in them almost all the year
+round. Giulio, therefore, after pondering in what way he might put this
+right, so went to work that for the time being the city was restored to
+its former condition; and to the end that the same might not happen
+another time, he contrived to have the streets on that side raised so
+much, by command of the Duke, that they came above the level of the
+water, and the buildings stood in safety. In that part of the city the
+houses were small, slightly built, and of no great importance, and he
+gave orders that they should be pulled down, in order to raise the
+streets and bring that quarter to a better state, and that new houses,
+larger and more beautiful, should be built there, to the advantage and
+improvement of the city. To this measure many opposed themselves, saying
+to the Duke that Giulio was doing too much havoc; but he would not hear
+any of them--nay, he made Giulio superintendent of the streets at that
+very time, and decreed that no one should build in that city save under
+Giulio's direction. On which account many complaining and some even
+threatening Giulio, this came to the ears of the Duke, who used such
+words in his favour as made it known that if they did anything to the
+despite or injury of Giulio, he would count it as done to himself, and
+would make an example of them.
+
+The Duke was so enamoured of the excellence of Giulio, that he could not
+live without him; and Giulio, on his part, bore to that lord the
+greatest reverence that it is possible to imagine. Wherefore he never
+asked a favour for himself or for others without obtaining it, and when
+he died it was found that with all that he had received from the Duke he
+had an income of more than a thousand ducats.
+
+Giulio built a house for himself in Mantua, opposite to S. Barnaba, on
+the outer side of which he made a fantastic fa�ade, all wrought with
+coloured stucco, and the interior he caused to be all painted and
+wrought likewise with stucco; and he found place in it for many
+antiquities brought from Rome and others received from the Duke, to whom
+he gave many of his own. He made so many designs both for Mantua and for
+places in its neighbourhood, that it was a thing incredible; for, as has
+been told, no palaces or other buildings of importance could be erected,
+particularly in the city, save after his design. He rebuilt upon the old
+walls the Church of S. Benedetto, a rich and vast seat of Black Friars
+at Mantua, near the Po; and the whole church was embellished with most
+beautiful paintings and altar-pieces from designs by his hand. And since
+his works were very highly prized throughout Lombardy, it pleased Gian
+Matteo Giberti, Bishop of Verona, to have the tribune of the Duomo of
+that city all painted, as has been related in another place, by Il Moro
+the Veronese, after designs by Giulio. For the Duke of Ferrara, also, he
+executed many designs for tapestries, which were afterwards woven in
+silk and gold by Maestro Niccol� and Giovan Battista Rosso, both
+Flemings; and of these there are engravings to be seen, executed by
+Giovan Battista Mantovano, who engraved a vast number of things drawn by
+Giulio, and in particular, besides three drawings of battles engraved by
+others, a physician who is applying cupping-glasses to the shoulders of
+a woman, and the Flight of Our Lady into Egypt, with Joseph holding the
+ass by the halter, and some Angels bending down a date-palm in order
+that Christ may pluck the fruit. The same master engraved, also after
+the designs of Giulio, the Wolf on the Tiber suckling Romulus and Remus,
+and four stories of Pluto, Jove and Neptune, who are dividing the
+heavens, the earth, and the sea among them by lot; and likewise the
+goat Amaltheia, which, held by Melissa, is giving suck to Jove, and a
+large plate of many men in a prison, tortured in various ways. There
+were also printed, after the inventions of Giulio, Scipio and Hannibal
+holding a parley with their armies on the banks of the river; the
+Nativity of S. John the Baptist, which was engraved by Sebastiano da
+Reggio, and many other works engraved and printed in Italy. In Flanders
+and in France, likewise, have been printed innumerable sheets from
+designs by Giulio, of which, although they are very beautiful, there is
+no need to make mention, nor of all his drawings, seeing that he made
+them, so to speak, in loads. Let it be enough to say that he was so
+facile in every field of art, and particularly in drawing, that we have
+no record of any one who has produced more than he did.
+
+Giulio, who was very versatile, was able to discourse on every subject,
+but above all on medals, upon which he spent large sums of money and
+much time, in order to gain knowledge of them. And although he was
+employed almost always in great works, this did not mean that he would
+not set his hand at times to the most trifling matters in order to
+oblige his patron and his friends; and no sooner had one opened his
+mouth to explain to him his conception than he had understood it and
+drawn it. Among the many rare things that he had in his house was the
+portrait from life of Albrecht D�rer on a piece of fine Rheims cloth, by
+the hand of Albrecht himself, who sent it, as has been related in
+another place, as a present to Raffaello da Urbino. This portrait was an
+exquisite thing, for it had been coloured in gouache with much diligence
+with water-colours, and Albrecht had executed it without using
+lead-white, availing himself in its stead of the white of the cloth,
+with the delicate threads of which he had so well rendered the hairs of
+the beard, that it was a thing scarcely possible to imagine, much less
+to do; and when held up to the light it showed through on either side.
+This portrait, which was very dear to Giulio, he showed to me himself as
+a miracle, when I went during his lifetime to Mantua on some affairs of
+my own.
+
+At the death of Duke Federigo, by whom Giulio had been beloved beyond
+belief, he was so overcome with sorrow, that he would have left Mantua,
+if the Cardinal, the brother of the Duke, on whom the government of the
+State had descended because the sons of Federigo were very young, had
+not detained him in that city, where he had a wife and children, houses,
+villas, and all the other possessions that are proper to a gentleman of
+means. And this the Cardinal did (aided by those reasons) from a wish to
+avail himself of the advice and assistance of Giulio in renovating, or
+rather building almost entirely anew, the Duomo of that city; to which
+work Giulio set his hand, and carried it well on in a very beautiful
+form.
+
+At this time Giorgio Vasari, who was much the friend of Giulio, although
+they did not know one another save only by reputation and by letters, in
+going to Venice, took the road by Mantua, in order to see Giulio and his
+works. And so, having arrived in that city, and going to find his
+friend, when they met, although they had never seen each other, they
+knew one another no less surely than if they had been together in person
+a thousand times. At which Giulio was so filled with joy and
+contentment, that for four days he never left him, showing him all his
+works, and in particular all the ground-plans of the ancient edifices in
+Rome, Naples, Pozzuolo, and Campania, and of all the other fine
+antiquities of which anything is known, drawn partly by him and partly
+by others. Then, opening a very large press, he showed to Giorgio the
+ground-plans of all the buildings that had been erected after his
+designs and under his direction, not only in Mantua and in Rome, but
+throughout all Lombardy, which were so beautiful, that I, for my part,
+do not believe that there are to be seen any architectural inventions
+more original, more lovely, or better composed. After this, the Cardinal
+asking Giorgio what he thought of the works of Giulio, Giorgio answered
+in the presence of Giulio that they were such that he deserved to have a
+statue of himself placed at every corner of the city, and that, since he
+had given that city a new life, the half of the State would not be a
+sufficient reward for the labours and abilities of Giulio; to which the
+Cardinal answered that Giulio was more the master of that State than he
+was himself. And since Giulio was very loving, especially towards his
+friends, there was no mark of love and affection that Giorgio did not
+receive from him. The same Vasari, having left Mantua and gone to
+Venice, returned to Rome at the very time when Michelagnolo had just
+uncovered his Last Judgment in the Chapel; and he sent to Giulio by M.
+Nino Nini of Cortona, the secretary of the aforesaid Cardinal of Mantua,
+three sheets containing the Seven Mortal Sins, copied from that Last
+Judgment of Michelagnolo, which were welcome in no ordinary manner to
+Giulio, both as being what they were, and because he had at that time to
+paint a chapel in the palace for the Cardinal, and they served to
+inspire him to greater things than those that he had in mind. Putting
+forward all possible effort, therefore, to make a most beautiful
+cartoon, he drew in it with fine fancy the scene of Peter and Andrew
+leaving their nets at the call of Christ, in order to follow Him, and to
+be thenceforward, not fishers of fishes, but fishers of men. And this
+cartoon, which proved to be the most beautiful that Giulio had ever
+made, was afterwards carried into execution by the painter Fermo
+Ghisoni, a pupil of Giulio, and now an excellent master.
+
+Not long afterwards the superintendents of the building of S. Petronio
+at Bologna, being desirous to make a beginning with the fa�ade of that
+church, succeeded after great difficulty in inducing Giulio to go there,
+in company with a Milanese architect called Tofano Lombardino, a man in
+great repute at that time in Lombardy for the many buildings by his hand
+that were to be seen in that country. These masters, then, made many
+designs, those of Baldassarre Peruzzi of Siena having been lost; and one
+that Giulio made, among others, was so beautiful and so well ordered,
+that he rightly received very great praise for it from that people, and
+was rewarded with most liberal gifts on his return to Mantua.
+
+Meanwhile, Antonio da San Gallo having died at Rome about that time, the
+superintendents of the building of S. Pietro had been thereby left in no
+little embarrassment, not knowing to whom to turn or on whom to lay the
+charge of carrying that great fabric to completion after the plan
+already begun; but they thought that no one could be more fitted for
+this than Giulio Romano, for they all knew how great were his worth and
+excellence. And so, surmising that he would accept such a charge more
+than willingly in order to repatriate himself in an honourable manner
+and with a good salary, they caused some of his friends to approach him,
+but in vain, for the reason that, although he would have gone with the
+greatest willingness, two things prevented him--the Cardinal would in no
+way consent to his departure, and his wife, with her relatives and
+friends, used every possible means to dissuade him. Neither of these two
+reasons, perchance, would have prevailed with him, if he had not
+happened to be in somewhat feeble health at that time; for, having
+considered how much honour and profit he might secure for himself and
+his children by accepting so handsome a proposal, he was already fully
+disposed to make every effort not to be hindered in the matter by the
+Cardinal, when his malady began to grow worse. However, since it had
+been ordained on high that he should go no more to Rome, and that this
+should be the end and conclusion of his life, in a few days, what with
+his vexation and his malady, he died at Mantua, which city might well
+have allowed him, even as he had embellished her, so also to honour and
+adorn his native city of Rome.
+
+Giulio died at the age of fifty-four, leaving only one male child, to
+whom he had given the name of Raffaello out of regard for the memory of
+his master. This young Raffaello had scarcely learned the first
+rudiments of art, showing signs of being destined to become an able
+master, when he also died, not many years after, together with his
+mother, Giulio's wife; wherefore there remained no descendant of Giulio
+save a daughter called Virginia, who still lives in Mantua, married to
+Ercole Malatesta. Giulio, whose death was an infinite grief to all who
+knew him, was given burial in S. Barnaba, where it was proposed that
+some honourable memorial should be erected to him; but his wife and
+children, postponing the matter from one day to another, themselves died
+for the most part without doing anything. It is indeed a sad thing that
+there has been no one who has treasured in any way the memory of a man
+who did so much to adorn that city, save only those who availed
+themselves of his services, who have often remembered him in their
+necessities. But his own talent, which did him so much honour in his
+lifetime, has secured for him after death, in the form of his own works,
+an everlasting monument which time, with all its years, can never
+destroy.
+
+Giulio was neither tall nor short of stature, and rather stout than
+slight in build. He had black hair, beautiful features, and eyes dark
+and merry, and he was very loving, regular in all his actions, and
+frugal in eating, but fond of dressing and living in honourable fashion.
+He had disciples in plenty, but the best were Giovanni da Lione,
+Raffaello dal Colle of Borgo, Benedetto Pagni of Pescia, Figurino da
+Faenza, Rinaldo Mantovano, Giovan Battista Mantovano, and Fermo Ghisoni,
+who still lives in Mantua and does him honour, being an excellent
+painter. And the same may be said for Benedetto, who has executed many
+works in his native city of Pescia, and an altar-piece for the Duomo of
+Pisa, which is in the Office of Works, and also a picture of Our Lady in
+which, with a poetical invention full of grace and beauty, he painted a
+figure of Florence presenting to her the dignities of the House of
+Medici; which picture is now in the possession of Signor Mondragone, a
+Spaniard much in favour with that most illustrious lord the Prince of
+Florence.
+
+Giulio died on the day of All Saints in the year 1546, and over his tomb
+was placed the following epitaph:
+
+  ROMANUS MORIENS SECUM TRES JULIUS ARTES
+    ABSTULIT, HAUD MIRUM, QUATUOR UNUS ERAT.
+
+FOOTNOTE:
+
+[26] Giuliano Leno.
+
+
+
+
+FRA SEBASTIANO VINIZIANO DEL PIOMBO
+
+
+
+
+LIFE OF FRA SEBASTIANO VINIZIANO DEL PIOMBO
+
+PAINTER
+
+
+The first profession of Sebastiano, so many declare, was not painting,
+but music, since, besides being a singer, he much delighted to play
+various kinds of instruments, and particularly the lute, because on that
+instrument all the parts can be played, without any accompaniment. This
+art made him for a time very dear to the gentlemen of Venice, with whom,
+as a man of talent, he always associated on intimate terms. Then, having
+been seized while still young with a desire to give his attention to
+painting, he learned the first rudiments from Giovanni Bellini, at that
+time an old man. And afterwards, when Giorgione da Castelfranco had
+established in that city the methods of the modern manner, with its
+superior harmony and its brilliancy of colouring, Sebastiano left
+Giovanni and placed himself under Giorgione, with whom he stayed so long
+that in great measure he acquired his manner. He thus executed in Venice
+some portraits from life that were very like; among others, that of the
+Frenchman Verdelotto, a most excellent musician, who was then
+chapel-master in S. Marco, and in the same picture that of his companion
+Uberto, a singer, which picture Verdelotto took with him to Florence
+when he became chapel-master in S. Giovanni; and at the present day the
+sculptor Francesco da San Gallo has it in his house. About that time he
+also painted for S. Giovanni Grisostomo at Venice an altar-piece with
+some figures which incline so much to the manner of Giorgione, that they
+have been sometimes held by people without much knowledge of the matters
+of art to be by the hand of Giorgione himself. This altar-piece is very
+beautiful, and executed with such a manner of colouring that it has
+great relief.
+
+The fame of the abilities of Sebastiano thus spreading abroad, Agostino
+Chigi of Siena, a very rich merchant, who had many affairs in Venice,
+hearing him much praised in Rome, sought to draw him to that city, being
+attracted towards him because, besides his painting, he knew so well how
+to play on the lute, and was sweet and pleasant in his conversation. Nor
+was it very difficult to draw Sebastiano to Rome, since he knew how much
+that place had always been the benefactress and common mother-city of
+all beautiful intellects, and he went thither with no ordinary
+willingness. Having therefore gone to Rome, Agostino set him to work,
+and the first thing that he caused him to do was to paint the little
+arches that are over the loggia which looks into the garden of
+Agostino's palace in the Trastevere, where Baldassarre of Siena had
+painted all the vaulting, on which little arches Sebastiano painted some
+poetical compositions in the manner that he had brought from Venice,
+which was very different from that which was followed in Rome by the
+able painters of that day. After this work, Raffaello having executed a
+story of Galatea in the same place, Sebastiano, at the desire of
+Agostino, painted beside it a Polyphemus in fresco, in which, spurred by
+rivalry with Baldassarre of Siena and then with Raffaello, he strove his
+utmost to surpass himself, whatever may have been the result. He
+likewise painted some works in oils, for which, from his having learned
+from Giorgione a method of colouring of no little softness, he was held
+in vast account at Rome.
+
+[Illustration: FRA SEBASTIANO VINIZIANO DEL PIOMBO: PORTRAIT OF A LADY
+
+(_Florence; Uffizi, 1123. Canvas_)]
+
+While Sebastiano was executing these works in Rome, Raffaello da Urbino
+had risen into such credit as a painter, that his friends and adherents
+said that his pictures were more in accord with the rules of painting
+than those of Michelagnolo, being pleasing in colour, beautiful in
+invention, and charming in the expressions, with design in keeping with
+the rest; and that those of Buonarroti had none of those qualities, with
+the exception of the design. And for such reasons these admirers judged
+that in the whole field of painting Raffaello was, if not more excellent
+than Michelagnolo, at least his equal; but in colouring they would have
+it that he surpassed Buonarroti without a doubt. These humours, having
+spread among a number of craftsmen who preferred the grace of
+Raffaello to the profundity of Michelagnolo, had so increased that many,
+for various reasons of interest, were more favourable in their judgments
+to Raffaello than to Michelagnolo. But Sebastiano was in no way a
+follower of that faction, since, being a man of exquisite judgment, he
+knew the value of each of the two to perfection. The mind of
+Michelagnolo, therefore, drew towards Sebastiano, whose colouring and
+grace pleased him much, and he took him under his protection, thinking
+that, if he were to assist Sebastiano in design, he would be able by
+this means, without working himself, to confound those who held such an
+opinion, remaining under cover of a third person as judge to decide
+which of them was the best.
+
+While the matter stood thus, and some works that Sebastiano had executed
+were being much extolled, and even exalted to infinite heights on
+account of the praise that Michelagnolo bestowed on them, besides the
+fact that they were in themselves beautiful and worthy of praise, a
+certain person from Viterbo, I know not who, much in favour with the
+Pope, commissioned Sebastiano to paint a Dead Christ, with a Madonna who
+is weeping over Him, for a chapel that he had caused to be built in S.
+Francesco at Viterbo. That work was held by all who saw it to be truly
+most beautiful, for the invention and the cartoon were by Michelagnolo,
+although it was finished with great diligence by Sebastiano, who painted
+in it a dark landscape that was much extolled, and thereby Sebastiano
+acquired very great credit, and confirmed the opinions of those who
+favoured him. Wherefore Pier Francesco Borgherini, a Florentine
+merchant, who had taken over a chapel in S. Pietro in Montorio, which is
+on the right as one enters the church, allotted it at the suggestion of
+Michelagnolo to Sebastiano, because Borgherini thought that Michelagnolo
+would execute the design of the whole work, as indeed he did.
+Sebastiano, therefore, having set to work, executed it with such zeal
+and diligence, that it was held to be, as it is, a very beautiful piece
+of painting. From the small design by Michelagnolo he made some larger
+ones for his own convenience, and one of these, a very beautiful thing,
+which he drew with his own hand, is in our book. Thinking that he had
+discovered the true method of painting in oils on walls, Sebastiano
+covered the rough-cast of that chapel with an incrustation which seemed
+to him likely to be suitable for this purpose; and the whole of that
+part in which is Christ being scourged at the Column he executed in oils
+on the wall. Nor must I omit to tell that many believe not only that
+Michelagnolo made the small design for this work, but also that the
+above-mentioned Christ who is being scourged at the Column was outlined
+by him, for there is a vast difference between the excellence of this
+figure and that of the others. Even if Sebastiano had executed no other
+work but this, for it alone he would deserve to be praised to all
+eternity, seeing that, in addition to the heads, which are very well
+painted, there are in the work some hands and feet of great beauty; and
+although his manner was a little hard, on account of the labour that he
+endured in the things that he counterfeited, nevertheless he can be
+numbered among the good and praiseworthy craftsmen. Above this scene he
+painted two Prophets in fresco, and on the vaulting the Transfiguration;
+and the two Saints, S. Peter and S. Francis, who are on either side of
+the scene below, are very bold and animated figures. It is true that he
+laboured for six years over this little work, but when works are
+executed to perfection, one should not consider whether they have been
+finished quickly or slowly, although more praise is due to him who
+carries his labours to completion both quickly and well; and he who
+pleads haste as an excuse when his works do not give satisfaction,
+unless he has been forced to it, is accusing rather than excusing
+himself. When this work was uncovered, it was seen that Sebastiano had
+done well, although he had toiled much over painting it, so that the
+evil tongues were silenced and there were few who found fault with him.
+
+[Illustration: THE FLAGELLATION
+
+(_After the oil fresco by =Fra Sebastiano Viniziano del Piombo=. Rome:
+S. Pietro in Montorio_)
+
+_Anderson_]
+
+After this, when Raffaello painted for Cardinal de' Medici, for sending
+to France, that altar-piece containing the Transfiguration of Christ
+which was placed after his death on the principal altar of S. Pietro a
+Montorio, Sebastiano also executed at the same time another altar-piece
+of the same size, as it were in competition with Raffaello, of Lazarus
+being raised from the dead four days after death, which was
+counterfeited and painted with supreme diligence under the direction of
+Michelagnolo, and in some parts from his design. These altar-pieces,
+when finished, were publicly exhibited together in the Consistory,
+and were vastly extolled, both the one and the other; and although the
+works of Raffaello had no equals in their perfect grace and beauty,
+nevertheless the labours of Sebastiano were also praised by all without
+exception. One of these pictures was sent by Cardinal Giulio de' Medici
+to his episcopal palace at Narbonne in France, and the other was placed
+in the Cancelleria, where it remained until it was taken to S. Pietro a
+Montorio, together with the ornamental frame that Giovan Barile executed
+for it. By means of this work Sebastiano became closely connected with
+the Cardinal, and was therefore honourably rewarded during his
+pontificate.
+
+Not long afterwards, Raffaello having passed away, the first place in
+the art of painting was unanimously granted by all, thanks to the favour
+of Michelagnolo, to Sebastiano, and Giulio Romano, Giovan Francesco of
+Florence, Perino del Vaga, Polidoro, Maturino, Baldassarre of Siena, and
+all the others had to give way. Wherefore Agostino Chigi, who had been
+having a chapel and tomb built for himself under the direction of
+Raffaello in S. Maria del Popolo, came to an agreement with Sebastiano
+that he should paint it all; whereupon the screen was made, but the
+chapel remained covered, without ever being seen by anyone, until the
+year 1554, at which time Luigi, the son of Agostino, resolved that,
+although his father had not been able to see it finished, he at least
+would do so. And so, the chapel and the altar-piece being entrusted to
+Francesco Salviati, he carried the work in a short time to that
+perfection which it had not received from the dilatory and irresolute
+Sebastiano, who, so far as one can see, did little work there, although
+we find that he obtained from the liberality of Agostino and his heirs
+much more than would have been due to him even if he had finished it
+completely, which he did not do, either because he was weary of the
+labours of art, or because he was too much wrapped up in comforts and
+pleasures. And he did the same to M. Filippo da Siena, Clerk of the
+Chamber, for whom he began a scene in oils on the wall above the
+high-altar of the Pace at Rome, and never finished it; wherefore the
+friars, in despair about it, were obliged to take away the staging,
+which obstructed their church, to cover the work with a cloth, and to
+have patience for as long as the life of Sebastiano lasted. After his
+death, the friars uncovered the work, and it was found that what he had
+done was most beautiful painting, for the reason that in the part where
+he represented Our Lady visiting S. Elizabeth, there are many women
+portrayed from life that are very beautiful, and painted with consummate
+grace. But it may be seen here that this man endured extraordinary
+labour in all the works that he produced, and that he was not able to
+execute them with that facility which nature and study are wont at times
+to give to him who delights in working and exercises his hand
+continually. And of the truth of this there is also a proof in the same
+Pace, in the Chapel of Agostino Chigi, where Raffaello had executed the
+Sibyls and Prophets; for Sebastiano, wishing to paint some things on the
+stone in the niche that remained to be painted below, in order to
+surpass Raffaello, caused it to be incrusted with peperino-stone, the
+joinings being filled in with fired stucco; but he spent so much time on
+cogitations that he left the wall bare, for, after it had remained thus
+for ten years, he died.
+
+It is true that a few portraits from life could be obtained with ease
+from Sebastiano, because he could finish these with more facility and
+promptitude; but it was quite otherwise with stories and other figures.
+To tell the truth, the painting of portraits from life was his proper
+vocation, as may be seen from the portrait of Marc' Antonio Colonna,
+which is so well executed that it seems to be alive, and also from those
+of Ferdinando, Marquis of Pescara, and of Signora Vittoria Colonna,
+which are very beautiful. He likewise made a portrait of Adrian VI when
+he first arrived in Rome, and one of Cardinal Hincfort. That Cardinal
+desired that Sebastiano should paint for him a chapel in S. Maria de
+Anima at Rome; but he kept putting him off from one day to another, and
+the Cardinal finally had it painted by the Fleming Michael, his
+compatriot, who painted there in fresco stories from the life of S.
+Barbara, imitating our Italian manner very well; and in the altar-piece
+he made a portrait of the same Cardinal.
+
+But returning to Sebastiano: he also took a portrait of Signor Federigo
+da Bozzolo, and one of a captain in armour, I know not who, which is in
+the possession of Giulio de' Nobili at Florence. He painted a woman in
+Roman dress, which is in the house of Luca Torrigiani; and Giovan
+Battista Cavalcanti has a head by the same master's hand, which is not
+completely finished. He executed a picture of Our Lady covering the
+Child with a piece of drapery, which was a rare work; and Cardinal
+Farnese now has it in his guardaroba. And he sketched, but did not carry
+to completion, a very beautiful altar-piece of S. Michael standing over
+a large figure of the Devil, which was to be sent to the King of France,
+who had previously received a picture by the hand of the same master.
+
+Then, after Cardinal Giulio de' Medici had been elected Supreme Pontiff
+and had taken the name of Clement VII, he gave Sebastiano to understand
+through the Bishop of Vasona that the time to show him favour had come,
+and that he would become aware of this when the occasion arose. And in
+the meantime, while living in these high hopes, Sebastiano, who had no
+equal in portrait-painting, executed many from life, and among others
+one of Pope Clement, who was not then wearing a beard, or rather, two of
+him, one of which came into the possession of the Bishop of Vasona, and
+the other, which is much larger, showing a seated figure from the knees
+upwards, is in the house of Sebastiano at Rome. He also painted a
+portrait of the Florentine Anton Francesco degli Albizzi, who happened
+to be then in Rome on some business, and he made it such that it
+appeared to be not painted but really alive; wherefore Anton Francesco
+sent it to Florence as a pearl of great price. The head and hands of
+this portrait were things truly marvellous, to say nothing of the
+beautiful execution of the velvets, the linings, the satins, and all the
+other parts of the picture; and since Sebastiano was indeed superior to
+all other men in the perfect delicacy and excellence of his
+portrait-painting, all Florence was amazed at this portrait of Anton
+Francesco.
+
+At this same time he also executed a portrait of Messer Pietro Aretino,
+and made it such that, besides being a good likeness, it is an
+astounding piece of painting, for there may be seen in it five or six
+different kinds of black in the clothes that he is wearing--velvet,
+satin, ormuzine, damask, and cloth--and, over and above those blacks, a
+beard of the deepest black, painted in such beautiful detail, that the
+real beard could not be more natural. This figure holds in the hand a
+branch of laurel and a scroll, on which is written the name of Clement
+VII; and in front are two masks, one of Virtue, which is beautiful, and
+another of Vice, which is hideous. This picture M. Pietro presented to
+his native city, and the people of Arezzo have placed it in their public
+Council Chamber, thus doing honour to the memory of their talented
+fellow-citizen, and also receiving no less from him. After this,
+Sebastiano made a portrait of Andrea Doria, which was in like manner an
+admirable work, and a head of the Florentine Baccio Valori, which was
+also beautiful beyond belief.
+
+In the meantime Fra Mariano Fetti, Friar of the Piombo, died, and
+Sebastiano, remembering the promises made to him by the above-mentioned
+Bishop of Vasona, master of the household to His Holiness, asked for the
+office of the Piombo; whereupon, although Giovanni da Udine, who had
+also done much in the service of His Holiness "in minoribus," and still
+continued to serve him, asked for the same office, the Pope, moved by
+the prayers of the Bishop, and also thinking that the talents of
+Sebastiano deserved it, ordained that Sebastiano should have the office,
+but should pay out of it to Giovanni da Udine an allowance of three
+hundred crowns. Thus Sebastiano assumed the friar's habit, and
+straightway felt his soul changed thereby, for, perceiving that he now
+had the means to satisfy his desires, he spent his time in repose
+without touching a brush, and recompensed himself with his comforts and
+his revenues for many misspent nights and laborious days; and whenever
+he happened to have something to do, he would drag himself to the work
+with such reluctance, that he might have been going to his death. From
+which one may learn how much our reason and the little wisdom of men are
+deceived, in that very often, nay, almost always, we covet the very
+opposite to that which we really need, and, as the Tuscan proverb has
+it, in thinking to cross ourselves with a finger, poke it into our own
+eyes. It is the common opinion of men that rewards and honours spur the
+minds of mortals to the studies of those arts which they see to be the
+best remunerated, and that, on the contrary, to see that those who
+labour at these arts are not recompensed by such men as have the means,
+causes the same students to grow negligent and to abandon them. And for
+this reason both ancients and moderns censure as strongly as they are
+able those Princes who do not support every kind of man of talent, and
+who do not give due honour and reward to all who labour valiantly in the
+arts. But, although this rule is for the most part a good one, it may be
+seen, nevertheless, that at times the liberality of just and magnanimous
+Princes produces the contrary effect, for the reason that many are more
+useful and helpful to the world in a low or mediocre condition than they
+are when raised to greatness and to an abundance of all good things. And
+here we have an example, for the magnificent liberality of Clement VII,
+bestowing too rich a reward on Sebastiano Viniziano, who had done
+excellent work as a painter in his service, was the reason that he
+changed from a zealous and industrious craftsman into one most idle and
+negligent, and that, whereas he laboured continually while he was living
+in poor circumstances and the rivalry between him and Raffaello da
+Urbino lasted, he did quite the opposite when he had enough for his
+contentment.
+
+Be this as it may, let us leave it to the judgment of wise Princes to
+consider how, when, towards whom, in what manner, and by what rule, they
+should exercise their liberality in the case of craftsmen and men of
+talent, and let us return to Sebastiano. After he had been made Friar of
+the Piombo, he executed for the Patriarch of Aquileia, with great
+labour, Christ bearing the Cross, a half-length figure painted on
+stone--a work which was much extolled, particularly for the head and the
+hands, parts in which Sebastiano was truly most excellent. Not long
+afterwards the niece of the Pope, who in time became Queen of France, as
+she still is, having arrived in Rome, Fra Sebastiano began a portrait of
+her; but this remained unfinished in the guardaroba of the Pope. And a
+short time after this, Cardinal Ippolito de' Medici having become
+enamoured of Signora Giulia Gonzaga, who was then living at Fondi, that
+Cardinal sent Sebastiano to that place, accompanied by four light
+horsemen, to take her portrait; and within a month he finished that
+portrait, which, being taken from the celestial beauty of that lady by
+a hand so masterly, proved to be a divine picture. Wherefore, after it
+had been carried to Rome, the labours of that craftsman were richly
+rewarded by the Cardinal, who declared that this portrait surpassed by a
+great measure all those that Sebastiano had ever executed up to that
+day, as indeed it did; and the work was afterwards sent to King Francis
+of France, who had it placed in his Palace of Fontainebleau.
+
+[Illustration: ANDREA DORIA
+
+(_After the painting by =Fra Sebastiano del Piombo=. Rome: Palazzo
+Doria_)
+
+_Anderson_]
+
+This painter then introduced a new method of painting on stone, which
+pleased people greatly, for it appeared that by this means pictures
+could be made eternal, and such that neither fire nor worms could harm
+them. Wherefore he began to paint many pictures on stone in this manner,
+surrounding them with ornaments of variegated kinds of stone, which,
+being polished, formed a very beautiful setting; although it is true
+that these pictures, with their ornaments, when finished, could not be
+transported or even moved, on account of their great weight, save with
+the greatest difficulty. Many persons, then, attracted by the novelty of
+the work and by the beauty of his art, gave him earnest-money, in order
+that he might execute some for them; but he, delighting more to talk
+about such pictures than to work at them, always kept delaying
+everything. Nevertheless he executed on stone a Dead Christ with the
+Madonna, with an ornament also of stone, for Don Ferrante Gonzaga, who
+sent it to Spain. The whole work together was held to be very beautiful,
+and Sebastiano was paid five hundred crowns for the painting by Messer
+Niccol� da Cortona, agent in Rome for the Cardinal of Mantua. In this
+kind of painting Sebastiano was truly worthy of praise, for the reason
+that whereas Domenico, his compatriot, who was the first to paint in
+oils on walls, and after him Andrea dal Castagno, Antonio Pollaiuolo, and
+Piero Pollaiuolo, failed to find the means of preventing the figures
+executed by them in this manner from becoming black and fading away very
+quickly, Sebastiano did find it; wherefore the Christ at the Column,
+which he painted in S. Pietro in Montorio, has never changed down to our
+own time, and has the same freshness of colouring as on the first day.
+For he went about the work with such diligence that he used to make the
+coarse rough-cast of lime with a mixture of mastic and colophony,
+which, after melting it all together over the fire and applying it to
+the wall, he would then cause to be smoothed over with a mason's trowel
+made red-hot, or rather white-hot, in the fire; and his works have
+therefore been able to resist the damp and to preserve their colour very
+well without suffering any change. With the same mixture he worked on
+peperino-stone, white and variegated marble, porphyry, and slabs of
+other very hard kinds of stone, materials on which paintings can last a
+very long time; not to mention that this has shown how one may paint on
+silver, copper, tin, and other metals.
+
+This man found so much pleasure in cogitating and discoursing, that he
+would spend whole days without working; and when he did force himself to
+work, it was evident that he was suffering greatly in his mind, which
+was the chief reason that he was of the opinion that no price was large
+enough to pay for his works. For Cardinal Rangoni he painted a picture
+of a nude and very beautiful S. Agatha being tortured in the breasts,
+which was an exquisite work, and this picture is now in the guardaroba
+of Signor Guidobaldo, Duke of Urbino, and is in no way inferior to the
+many other most beautiful pictures that are there, by the hands of
+Raffaello da Urbino, Tiziano, and others. He also made a portrait from
+life of Signor Piero Gonzaga, painted in oils on stone, which was a very
+fine work; but he toiled for three years over finishing it.
+
+Now, when Michelagnolo was in Florence in the time of Pope Clement,
+engaged in the work of the new Sacristy of S. Lorenzo, Giuliano
+Bugiardini wished to paint for Baccio Valori a picture with the head of
+Pope Clement and that of Baccio himself, and another for Messer
+Ottaviano de' Medici of the same Pontiff and the Archbishop of Capua.
+Michelagnolo therefore sent to Sebastiano to ask him to despatch from
+Rome a head of the Pope painted in oils with his own hand; and
+Sebastiano painted one, which proved to be very beautiful, and sent it
+to him. After Giuliano had made use of the head and had finished his
+pictures, Michelagnolo, who was a close companion of the said Messer
+Ottaviano, made him a present of it; and of a truth, among the many
+heads that Fra Sebastiano executed, this is the most beautiful of all
+and the best likeness, as may be seen in the house of the heirs of
+Messer Ottaviano. The same master also took the portrait of Pope Paul
+Farnese, as soon as he was elected Supreme Pontiff; and he began one of
+the Duke of Castro, his son, but left it unfinished, as he did with many
+other works with which he had made a beginning.
+
+Fra Sebastiano had a passing good house which he had built for himself
+near the Popolo, and there he lived in the greatest contentment, without
+troubling to paint or work any more. He used often to say that it was a
+great fatigue to have to restrain in old age those ardours which in
+youth craftsmen are wont to welcome out of emulation and a desire for
+profit and honour, and that it was no less wise for a man to live in
+peace than to spend his days in restless labour in order to leave a name
+behind him after death, for all his works and labours had also in the
+end, sooner or later, to die. And even as he said these things, so he
+carried them into practice as well as he was able, for he always sought
+to have for his table all the best wines and the rarest luxuries that
+could be found, holding life in more account than art. Being much the
+friend of all men of talent, he often had Molza and Messer Gandolfo to
+supper, making right good cheer. He was also the intimate friend of
+Messer Francesco Berni, the Florentine, who wrote a poem to him; to
+which Fra Sebastiano answered with another, passing well, for, being
+very versatile, he was even able to set his hand to writing humorous
+Tuscan verse.
+
+Having been reproached by certain persons, who said that it was shameful
+that he would no longer work now that he had the means to live, Fra
+Sebastiano replied in this manner: "Why will I not work now that I have
+the means to live? Because there are now in the world men of genius who
+do in two months what I used to do in two years; and I believe that if I
+live long enough, and not so long, either, I shall find that everything
+has been painted. And since these stalwarts can do so much, it is well
+that there should also be one who does nothing, to the end that they may
+have the more to do." With these and similar pleasantries Fra Sebastiano
+was always diverting himself, being a man who was never anything but
+humorous and amusing; and, in truth, a better companion never lived.
+
+Sebastiano, as has been related, was much beloved by Michelagnolo. But
+it is also true that when the front wall of the Papal Chapel, where
+there is now the Last Judgment by the same Buonarroti, was to be
+painted, there did arise some disdain between them, for Fra Sebastiano
+had persuaded the Pope that he should make Michelagnolo paint it in
+oils, whereas the latter would only do it in fresco. Now, Michelagnolo
+saying neither yea nor nay, the wall was prepared after the fashion of
+Fra Sebastiano, and Michelagnolo stood thus for some months without
+setting his hand to the work. But at last, after being pressed, he said
+that he would only do it in fresco, and that painting in oils was an art
+for women and for leisurely and idle people like Fra Sebastiano. And so,
+after the incrustation laid on by order of the friar had been stripped
+off, and the whole surface had been covered with rough-cast in a manner
+suitable for working in fresco, Michelagnolo set his hand to the work;
+but he never forgot the affront that he considered himself to have
+received from Fra Sebastiano, against whom he felt hatred almost to the
+day of the friar's death.
+
+Finally, after Fra Sebastiano had come to such a state that he would not
+work or do any other thing but attend to the duties of his office as
+Friar of the Piombo, and enjoy the pleasures of life, at the age of
+sixty-two he fell sick of a most acute fever, which, being a ruddy
+person and of a full habit of body, threw him into such a heat that he
+rendered up his soul to God in a few days, after making a will and
+directing that his body should be carried to the tomb without any
+ceremony of priests or friars, or expenditure on lights, and that all
+that would have been spent thus should be distributed to poor persons,
+for the love of God; and so it was done. He was buried in the Church of
+the Popolo, in the month of June of the year 1547. Art suffered no great
+loss in his death, seeing that, as soon as he assumed the habit of Friar
+of the Piombo, he might have been numbered among those lost to her;
+although it is true that he was regretted for his pleasant conversation
+by many friends as well as craftsmen.
+
+Many young men worked under Sebastiano at various times in order to
+learn art, but they made little proficience, for from his example they
+learned little but the art of good living, excepting only Tommaso
+Laureti, a Sicilian, who, besides many other works, has executed a
+picture full of grace at Bologna, of a very beautiful Venus, with Love
+embracing and kissing her, which picture is in the house of M. Francesco
+Bolognetti. He has also painted a portrait of Signor Bernardino Savelli,
+which is much extolled, and some other works of which there is no need
+to make mention.
+
+
+
+
+PERINO DEL VAGA
+
+
+
+
+LIFE OF PERINO DEL VAGA
+
+PAINTER OF FLORENCE
+
+
+A truly great gift is art, who, paying no regard to abundance of riches,
+to high estate, or to nobility of blood, embraces, protects, and uplifts
+from the ground a child of poverty much more often than one wrapped in
+the ease of wealth. And this Heaven does in order to show how much power
+the influences of its stars and constellations have over us,
+distributing more of its favours to one, and to another less; which
+influences are for the most part the reason that we mortals come to be
+born with dispositions more or less fiery or sluggish, weak or strong,
+fierce or gentle, fortunate or unfortunate, and richer or poorer in
+talent. And whoever has any doubt of this, will be enlightened in this
+present Life of Perino del Vaga, a painter of great excellence and
+genius.
+
+This Perino, the son of a poor father, having been left an orphan as a
+little child and abandoned by his relatives, was guided and governed by
+art, whom he always acknowledged as his true mother and honoured without
+ceasing. And the studies of the art of painting were pursued by him with
+such zeal and diligence, that he was enabled in due time to execute
+those noble and famous decorations which have brought so much glory to
+Genoa and to Prince Doria. Wherefore we may believe without a doubt that
+it is Heaven that raises men from those infinite depths in which they
+were born, to that summit of greatness to which they ascend, when they
+prove by labouring valiantly at their works that they are true followers
+of the sciences that they have chosen to learn; even as Perino chose and
+pursued as his vocation the art of design, in which he proved himself
+full of grace and most excellent, or rather, absolutely perfect. And he
+not only equalled the ancients in stucco-work, but also equalled the
+best modern craftsmen in the whole field of painting, displaying all the
+excellence that could possibly be desired in a human intellect that
+seeks, in solving the difficulties of that art, to achieve beauty,
+grace, charm, and delicacy with colouring and with every other kind of
+ornament.
+
+But let us speak more particularly of his origin. There lived in the
+city of Florence one Giovanni Buonaccorsi, who entered the service of
+Charles VIII, King of France, and fought in his wars, and, being a
+spirited and open-handed young man, spent all that he possessed in that
+service and in gaming, and finally lost his life therein. To him was
+born a son, who received the name of Piero; and this son, after being
+left as an infant of two months old without his mother, who died of
+plague, was reared in the greatest misery at a farm, being suckled by a
+goat, until his father, having gone to Bologna, took as his second wife
+a woman whose husband and children had died of plague; and she, with her
+plague-infected milk, finished nursing Piero, who was now called
+Pierino[27] (a pet name such as it is a general custom to give to little
+children), and retained that name ever afterwards. He was then taken to
+Florence by his father, who, on returning to France, left him with some
+relatives; and they, either because they had not the means, or because
+they would not accept the burdensome charge of maintaining him and
+having him taught some ingenious vocation, placed him with the
+apothecary of the Pinadoro, to the end that he might learn that calling.
+But, not liking that profession, he was taken as shop-boy by the painter
+Andrea de' Ceri, who was pleased with the air and the ways of Perino,
+and thought that he saw in him a certain lively spirit of intelligence
+from which it might be hoped that in time some good fruits would issue
+from him. Andrea was no great painter; quite commonplace, indeed, and
+one of those who stand openly and publicly in their workshops, executing
+any kind of work, however mean; and he was wont to paint every year for
+the festival of S. John certain wax tapers which were carried as
+offerings, as they still are, together with the other tributes of the
+city; for which reason he was called Andrea de' Ceri, and from that
+name Perino was afterwards called for some time Perino de' Ceri.
+
+Andrea, then, took care of Perino for some years, teaching him the
+rudiments of art as well as he could; but when the boy had reached the
+age of eleven, he was forced to seek for him some master better than
+himself. And so, having a straight friendship with Ridolfo, the son of
+Domenico Ghirlandajo, who, as will be related, was held to be able and
+well practised in painting, Andrea de' Ceri placed Perino with him, to
+the end that he might give his attention to design, and strive with all
+the zeal and love at his command to make in that art the proficience of
+which his great genius gave promise. Whereupon, pursuing his studies,
+among the many young men whom Ridolfo had in his workshop, all engaged
+in learning art, in a short time Perino came to surpass all the rest, so
+great were his ardour and his eagerness. Among them was one named Toto
+del Nunziata, who was to him as a spur to urge him on continually; which
+Toto, likewise attaining in time to equality with the finest intellects,
+departed from Florence and made his way with some Florentine merchants
+to England, where he executed all his works, and was very richly
+rewarded by the King of that country, whom he also served in
+architecture, erecting, in particular, his principal palace. He and
+Perino, then, working in emulation of one another, and pursuing the
+studies of art with supreme diligence, after no long time became very
+excellent. And Perino, drawing from the cartoon of Michelagnolo
+Buonarroti in company with other young men, both Florentines and
+strangers, won and held the first place among them all, insomuch that he
+was regarded with that expectation which was afterwards fulfilled in the
+beautiful works that he executed with so much excellence and art.
+
+There came to Florence at that time the Florentine painter Vaga, a
+master of no great excellence, who was executing commonplace works at
+Toscanella in the province of Rome. Having a superabundance of work, he
+was in need of assistance, and he desired to take back with him a
+companion and also a young man who might help him in design, in which he
+was wanting, and in the other matters of art. Now this painter, having
+seen Perino drawing in the workshop of Ridolfo together with the other
+young men, found him so superior to them all, that he was astonished;
+and, what is more, he was pleased with his appearance and his ways, for
+Perino was a very beautiful youth, most courteous, modest, and gentle,
+and every part of his body was in keeping with the nobility of his mind;
+wherefore Vaga was so charmed with him, that he asked him whether he
+would go with him to Rome, saying that he would not fail to assist him
+in his studies, and promising him such benefits and conditions as he
+might demand. So great was the desire that Perino had to attain to
+excellence in his profession, that, when he heard Rome mentioned,
+through his eagerness to see that city, he was deeply moved; but he told
+him that he must speak to Andrea de' Ceri, who had supported him up to
+that time, so that he was loth to abandon him. And so Vaga, having
+persuaded Ridolfo, Perino's master, and Andrea, who maintained him, so
+contrived that in the end he took Perino, with the companion, to
+Toscanella. There Perino began to work and to assist them, and they
+finished not only the work that Vaga had undertaken, but also many that
+they undertook afterwards. But Perino complained that the promise of
+seeing Rome, by which he had been brought from Florence, was not being
+fulfilled, in consequence of the profit and advantage that Vaga was
+drawing from his services, and he resolved to go thither by himself;
+which was the reason that Vaga, leaving all his works, took him to Rome.
+And there, through the love that he bore to art, Perino returned to his
+former work of drawing and continued at it many weeks, growing more
+ardent every day. But Vaga wished to return to Toscanella, and therefore
+made him known, as one belonging to himself, to many commonplace
+painters, and also recommended him to all the friends that he had there,
+to the end that they might assist and favour him in his absence; from
+which circumstance he was always called from that day onward Perino del
+Vaga.
+
+[Illustration: THE PASSAGE OF THE RED SEA
+
+(_After the fresco by =Perino del Vaga=. Rome: The Vatican, Loggia_)
+
+_Anderson_]
+
+Thus left in Rome, and seeing the ancient works of sculpture and the
+marvellous masses of buildings, reduced for the most part to ruins,
+Perino stood lost in admiration at the greatness of the many renowned
+and illustrious men who had executed those works. And so, becoming ever
+more and more aflame with love of art, he burned unceasingly to
+attain to a height not too far distant from those masters, in order
+to win fame and profit for himself with his works, even as had been done
+by those at whom he marvelled as he beheld their beautiful creations.
+And while he contemplated their greatness and the depths of his own
+lowliness and poverty, reflecting that he possessed nothing save the
+desire to rise to their height, and that, having no one who might
+maintain him and provide him with the means to live, he was forced, if
+he wished to remain alive, to labour at work for those ordinary shops,
+now with one painter and now with another, after the manner of the
+day-labourers in the fields, a mode of life which so hindered his
+studies, he felt infinite grief and pain in his heart at not being able
+to make as soon as he would have liked that proficience to which his
+mind, his will, and his necessities were urging him. He made the
+resolve, therefore, to divide his time equally, working half the week at
+day work, and during the other half devoting his attention to design;
+and to this second half he added all the feast-days, together with a
+great part of the nights, thus stealing time from time itself, in order
+to become famous and to escape from the hands of others so far as it
+might be possible.
+
+Having carried this intention into execution, he began to draw in the
+Chapel of Pope Julius, where the vaulting had been painted by
+Michelagnolo Buonarroti, following both his methods and the manner of
+Raffaello da Urbino. And then, going on to the ancient works in marble
+and also to the grotesques in the grottoes under the ground, which
+pleased him through their novelty, he learned the methods of working in
+stucco, gaining his bread meanwhile by grievous labour, and enduring
+every hardship in order to become excellent in his profession. Nor had
+any long time passed before he became the best and most finished
+draughtsman that there was among all who were drawing in Rome, for the
+reason that he had, perhaps, a better knowledge of muscles and of the
+difficult art of depicting the nude than many others who were held to be
+among the best masters at that time; which was the reason that he became
+known not only to the men of his profession, but also to many lords and
+prelates. And, in particular, Giulio Romano and Giovan Francesco, called
+Il Fattore, disciples of Raffaello da Urbino, having praised him not a
+little to their master, roused in him a desire to know Perino and to see
+his works in drawing; which having pleased him, and together with his
+work his manner, his spirit, and his ways of life, he declared that
+among all the young men that he had known, Perino would attain to the
+highest perfection in that art.
+
+Meanwhile Raffaello da Urbino had built the Papal Loggie, by the command
+of Leo X; and the same Pope ordered that Raffaello should also have them
+adorned with stucco, painted, and gilded, according as it should seem
+best to him. Thereupon Raffaello placed at the head of that enterprise,
+for the stucco-work and the grotesques, Giovanni da Udine, who was very
+excellent and without an equal in such works, but mostly in executing
+animals, fruits, and other little things. And since he had chosen in
+Rome and summoned from other parts a great number of masters, he had
+assembled together a company of men each very able at his own work, one
+in stucco, another in grotesques, a third in foliage, a fourth in
+festoons, another in scenes, and others in other things; and according
+as they improved they were brought forward and paid higher salaries, so
+that by competing in that work many young men attained to great
+perfection, who were afterwards held to be excellent in their various
+fields of art. Among that company Perino was assigned to Giovanni da
+Udine by Raffaello, to the end that he might execute grotesques and
+scenes together with the others; and he was told that according as he
+should acquit himself, so he would be employed by Giovanni. And thus,
+labouring out of emulation and in order to prove his powers and make
+proficience, before many months had passed Perino was held to be the
+first among all those who were working there, both in drawing and in
+colouring; the best, I say, the most perfect in grace and finish, and he
+who could execute both figures and grotesques in the most delicate and
+beautiful manner; to which clear testimony and witness are borne by the
+grotesques, festoons, and scenes by his hand that are in that work,
+which, besides surpassing the others, are executed in much more faithful
+accord with the designs and sketches that Raffaello made for them. This
+may be seen from a part of those scenes in the centre of the loggia, on
+the vaulting, where the Hebrews are depicted crossing over the Jordan
+with the sacred Ark, and also marching round the walls of Jericho, which
+fall into ruin; and the other scenes that follow, such as that of Joshua
+causing the sun to stand still during the combat with the Amorites.
+Among those painted in imitation of bronze on the base the best are
+likewise those by the hand of Perino--namely, Abraham sacrificing his
+son, Jacob wrestling with the Angel, Joseph receiving his twelve
+brethren, the fire descending from Heaven and consuming the sons of
+Levi, and many others which there is no need to name, for their number
+is very great, and they can be distinguished from the rest. At the
+beginning of the loggia, also, where one enters, he painted scenes from
+the New Testament, the Nativity and the Baptism of Christ, and His Last
+Supper with the Apostles, which are very beautiful; besides which, below
+the windows, as has been said, are the best scenes painted in the colour
+of bronze that there are in the whole work. These labours cause every
+man to marvel, both the paintings and the many works in stucco that he
+executed there with his own hand; and his colouring, moreover, is much
+more pleasing and more highly finished than that of any of the others.
+
+This work was the reason that he became famous beyond all belief, yet
+this great praise did not send him to sleep, but rather, since genius
+grows with praise, inspired him with even more zeal, and made him almost
+certain that by persisting he would come to win those fruits and honours
+that he saw every day in the possession of Raffaello da Urbino and
+Michelagnolo Buonarroti. And he laboured all the more willingly, because
+he saw that he was held in estimation by Giovanni da Udine and by
+Raffaello, and was employed in works of importance. He always showed
+extraordinary deference and obedience towards Raffaello, honouring him
+in such a manner that he was beloved by Raffaello as a son.
+
+There was executed at this time, by order of Pope Leo, the vaulting of
+the Hall of the Pontiffs, which is that through which one passes by way
+of the Loggie into the apartments of Pope Alexander VI, formerly painted
+by Pinturicchio; and that vaulting was painted by Giovanni da Udine and
+Perino. They executed in company the stucco-work and all those
+ornaments, grotesques, and animals that are to be seen there, in
+addition to the varied and beautiful inventions that were depicted by
+them in the compartments of the ceiling, which they had divided into
+certain circles and ovals to contain the seven Planets of Heaven drawn
+by their appropriate animals, such as Jupiter drawn by Eagles, Venus by
+Doves, the Moon by Women, Mars by Wolves, Mercury by Cocks, the Sun by
+Horses, and Saturn by Serpents; besides the twelve Signs of the Zodiac,
+and some figures from the forty-eight Constellations of Heaven, such as
+the Great Bear, the Dog Star, and many others, which, by reason of their
+number, we must pass over in silence, without recounting them all in
+their order, since anyone may see the work; which figures are almost all
+by the hand of Perino. In the centre of the vaulting is a circle with
+four figures representing Victories, seen foreshortened from below
+upwards, who are holding the Pope's Crown and the Keys; and these are
+very well conceived and wrought with masterly art, to say nothing of the
+delicacy with which he painted their vestments, veiling the nude with
+certain light draperies that partly reveal the naked legs and arms, a
+truly graceful and beautiful effect. This work was justly held, as it
+still is at the present day, to be very magnificent and rich in
+craftsmanship, and also cheerful and pleasing; worthy, in short, of that
+Pontiff, who did not fail to reward their labours, which truly deserved
+some signal remuneration.
+
+Perino decorated a fa�ade in chiaroscuro--a method brought into use at
+that time by the example of Polidoro and Maturino--which is opposite to
+the house of the Marchioness of Massa, near Maestro Pasquino, executing
+it with great boldness of design and with supreme diligence.
+
+In the third year of his pontificate Pope Leo paid a visit to Florence,
+for which many triumphal preparations were made in that city, and Perino
+went thither before the Court, partly in order to see the pomps of the
+city, and partly from a wish to revisit his native country; and on a
+triumphal arch at S. Trinit� he made a large and very beautiful figure,
+seven braccia high, while another was executed in competition with him
+by Toto del Nunziata, who had already been his rival in boyhood. But to
+Perino every hour seemed a thousand years until he could return to Rome,
+for he perceived that the rules and methods of the Florentine craftsmen
+were very different from those that were customary in Rome; wherefore he
+departed from Florence and returned to Rome, where he resumed his usual
+course of work. And in S. Eustachio dalla Dogana he painted a S. Peter
+in fresco, which is a figure that has very strong relief, executed with
+a simple flow of folds, and yet wrought with much design and judgment.
+
+There was in Rome at this time the Archbishop of Cyprus, a man who was a
+great lover of the arts, and particularly of painting; and he, having a
+house near the Chiavica, where he had laid out a little garden with some
+statues and other antiquities of truly noble beauty, and desiring to
+enhance their effect with some fine decorations, sent for Perino, who
+was very much his friend, and they came to the decision that he should
+paint round the walls of that garden many stories of Bacchantes, Satyrs,
+Fauns, and other wild things, in reference to an ancient statue of
+Bacchus, seated beside a tiger, which the Archbishop had there. And so
+Perino adorned that place with a variety of poetical fancies; and, among
+other things, he painted there a little loggia with small figures,
+various grotesques, and many landscapes, coloured with supreme grace and
+diligence. This work has been held by craftsmen, as it always will be,
+to be worthy of the highest praise; and it was the reason that he became
+known to the Fugger family, merchants of Germany, who, having built a
+house near the Banchi, on the way to the Church of the Florentines, and
+having seen Perino's work and liked it, caused him to paint there a
+courtyard and a loggia, with many figures, all worthy of the same praise
+as the other works by his hand, for in them may be seen much delicacy
+and grace and great beauty of manner.
+
+At this same time M. Marchionne Baldassini, having caused a house to be
+built for him near S. Agostino, as has been related, by Antonio da San
+Gallo, who designed it very well, desired that a hall which Antonio had
+constructed there should be painted all over; and after passing in
+review many of the young painters, to the end that it might be well and
+beautifully done, he finally resolved to give it to Perino. Having
+agreed about the price, Perino set his hand to it, nor did he turn his
+attention from that work to any other until he had brought it to a very
+happy conclusion in fresco. In that hall he made compartments by means
+of pilasters which have between them niches great and small; in the
+larger niches are various figures of philosophers, two in each niche,
+and in some one only, and in the smaller niches are little boys, partly
+naked and partly draped in veiling, while above those small niches are
+some heads of women, painted in imitation of marble. Above the cornice
+that crowns the pilasters there follows a second series of pictures,
+separated from the first series below, with scenes in figures of no
+great size from the history of the Romans, beginning with Romulus and
+ending with Numa Pompilius. There are likewise various ornaments in
+imitation of different kinds of marble, and over the beautiful
+chimney-piece of stone is a figure of Peace burning arms and trophies,
+which is very lifelike. This work was held in much estimation during the
+lifetime of M. Marchionne, as it has been ever since by all those who
+work in painting, and also by many others not of the profession, who
+give it extraordinary praise.
+
+In the Convent of the Nuns of S. Anna, Perino painted a chapel in fresco
+with many figures, which was executed by him with his usual diligence.
+And on an altar in S. Stefano del Cacco he painted in fresco, for a
+Roman lady, a Piet� with the Dead Christ in the lap of Our Lady, with a
+portrait from life of that lady, which still has the appearance of a
+living figure; and the whole work is very beautiful, and executed with
+great mastery and facility.
+
+In those days Antonio da San Gallo had built at the corner of a house in
+Rome, which is known as the Imagine di Ponte, a tabernacle finely
+adorned with travertine and very handsome, in which something beautiful
+in the way of painting was to be executed; and he received a commission
+from the owner of that house to give the work to one whom he should
+consider capable of painting some noble picture there. Wherefore
+Antonio, who knew Perino to be the best of the young men who were in
+Rome, allotted it to him. And he, setting his hand to the work, painted
+there a Christ in the act of crowning the Madonna, and in the background
+he made a Glory, with a choir of Seraphim and Angels clothed in light
+and delicate draperies, who are scattering flowers, and other children
+of great beauty and variety; and on the sides of the tabernacle he
+painted Saints, S. Sebastian on one side and S. Anthony on the other.
+This work was executed truly well, and was equal to the others by his
+hand, which were always full of grace and charm.
+
+A certain protonotary had erected a chapel of marble on four columns in
+the Minerva, and, desiring to leave an altar-piece there in memory of
+himself, even if it were but a small one, he came to an agreement with
+Perino, whose fame he had heard, and commissioned him to paint it in
+oils. And he chose that the subject should be the Deposition of Christ
+from the Cross, which Perino set himself to execute with the greatest
+possible zeal and diligence. In this picture he represented Him as
+already laid upon the ground, surrounded by the Maries weeping over Him,
+in whose gestures and attitudes he portrayed a melting pity and sorrow;
+besides which there are the Nicodemuses[28] and other figures that are
+much admired, all woeful and afflicted at seeing the sinless Christ
+lying dead. But the figures that he painted most divinely were those of
+the two Thieves, left fixed upon the crosses, which, besides appearing
+to be real dead bodies, reveal a very good mastery over muscles and
+nerves, which this occasion enabled him to display; wherefore, to the
+eyes of him who beholds them, their limbs present themselves all drawn
+in that violent death by the nerves, and the muscles by the nails and
+cords. There is, in addition, a landscape wrapped in darkness,
+counterfeited with much judgment and art. And if the inundation which
+came upon Rome after the sack had not done damage to this work, covering
+more than half of it, its excellence would be clearly seen; but the
+water so softened the gesso, and caused the wood to swell in such sort,
+that all the lower part that was soaked has peeled off too much for the
+picture to give any pleasure; nay, it is a grief and a truly
+heartrending sorrow to behold it, for it would certainly have been one
+of the most precious things in all Rome.
+
+There was being rebuilt at this time, under the direction of Jacopo
+Sansovino, the Church of S. Marcello in Rome, a convent of Servite
+Friars, which still remains unfinished; and when they had carried the
+walls of some chapels to completion, and had roofed them, those friars
+commissioned Perino to paint in one of these, as ornaments for a Madonna
+that is worshipped in that church, two figures in separate niches, S.
+Joseph and S. Filippo, a Servite friar and the founder of that Order,
+one on either side of the Madonna. These finished, he painted above them
+some little boys that are perfect, and in the centre of the wall he
+placed another standing upon a dado, who has upon his shoulders the ends
+of two festoons, which he directs towards the corners of the chapel,
+where there are two other little boys who support them, being seated
+upon them, with their legs in most beautiful attitudes. All this he
+executed with such art, such grace, and so beautiful a manner, and gave
+to the flesh a tint of colour so fresh and soft, that one might say that
+it was real flesh rather than painted. And certainly these figures may
+be held to be the most beautiful that ever any craftsman painted in
+fresco, for the reason that there is life in their eyes and movement in
+their attitudes, and with the mouth they make as if to break into speech
+and say that art has conquered Nature, and that even art declares that
+nothing more than this can be done in her. This work was so excellent in
+the sight of all good judges of art, that he acquired a great name
+thereby, although he had executed many works and what was known of his
+great genius in his profession was well known; and he was therefore held
+in much more account and greater estimation than ever before.
+
+For this reason Lorenzo Pucci, Cardinal Santiquattro, who had taken over
+a chapel on the left hand beside the principal chapel in the Trinit�, a
+convent of Calabrian and French Friars who wear the habit of S. Francis
+of Paola, allotted it to Perino, to the end that he might paint there in
+fresco the life of Our Lady. Which having begun, Perino finished all the
+vaulting and a wall under an arch; and on the outer side, also, over an
+arch of the chapel, he painted two Prophets four braccia and a half in
+height, representing Isaiah and Daniel, who in their great proportions
+reveal all the art, excellence of design, and beauty of colouring that
+can be seen in their perfection only in a picture executed by a great
+craftsman. This will be clearly evident to one who shall consider the
+Isaiah, in whom, as he reads, may be perceived the thoughtfulness that
+study infuses in him, and his eagerness in reading new things, for he
+has his gaze fixed upon a book, with one hand to his head, exactly as a
+man often is when he is studying; and Daniel, likewise, is motionless,
+with his head upraised in celestial contemplation, in order to resolve
+the doubts of his people. Between these figures are two little boys who
+are upholding the escutcheon of the Cardinal, a shield of beautiful
+shape: and these boys, besides being so painted as to seem to be of
+flesh, also have the appearance of being in relief. The vaulting is
+divided into four scenes, separated one from another by the cross--that
+is, by the ribs of the vaulting. In the first is the Conception of Our
+Lady, in the second her Nativity, in the third the scene when she
+ascends the steps of the Temple, and in the fourth S. Joseph marrying
+her. On a wall-space equal in extent to the arch of the vaulting is her
+Visitation, in which are many figures that are very beautiful, but above
+all some who have climbed on certain socles and are standing in very
+spirited and natural attitudes, the better to see the ceremonious
+meeting of those women; besides which, there is something of the good
+and of the beautiful in the buildings and in every gesture of the other
+figures. He pursued this work no further, illness coming upon him; and
+when he was well, there began the plague of the year 1523, which raged
+so violently in Rome, that, if he wished to save his life, it became
+expedient for him to make up his mind to depart.
+
+There was in the city of Rome at that time the goldsmith Piloto, who was
+much the friend and intimate companion of Perino, and he was desirous of
+departing; and so one morning, as they were breakfasting together, he
+persuaded Perino to take himself off and go to Florence, on the ground
+that it was many years since he had been there, and that it could not
+but bring him great honour to make himself known there and to leave some
+example of his excellence in that city; saying also that, although
+Andrea de' Ceri and his wife, who had brought him up, were dead,
+nevertheless, as a native of that country, if he had no possessions
+there, he had his love for it. Wherefore, after no long time, one
+morning Perino and Piloto departed and set out on the way to Florence.
+And when they had arrived there, Perino took the greatest pleasure in
+seeing once again the old works painted by the masters of the past,
+which had been as a school to him in the days of his boyhood, and
+likewise those of the masters then living who were the most celebrated
+and held to be the best in that city, in which, through the interest of
+friends, a work was allotted to him, as will be related below. It
+happened one day that many craftsmen having assembled in his presence to
+do him honour, painters, sculptors, architects, goldsmiths, and carvers
+in wood and marble, who had gathered together according to the ancient
+custom, some to see Perino, to keep him company, and to hear what he had
+to say, many to learn what difference in practice there might be between
+the craftsmen of Rome and those of Florence, but most of them to hear
+the praise and censure that craftsmen are wont often to give to one
+another; it happened, I say, that thus discoursing together of one thing
+and another, and examining the works, both ancient and modern, in the
+various churches, they came to that of the Carmine, in order to see the
+chapel of Masaccio. There everyone gazed attentively at the paintings,
+and many various opinions were uttered in praise of that master, all
+declaring that they marvelled that he should have possessed so much
+judgment as to be able in those days, without seeing anything but the
+work of Giotto, to work with so much of the modern manner in the design,
+in the colouring, and in the imitation of Nature, and that he should
+have solved the difficulties of his art in a manner so facile; not to
+mention that among all those who had worked at painting, there had not
+as yet been one who had equalled him in strength of relief, in
+resoluteness, and in mastery of execution.
+
+This kind of discourse much pleased Perino, and to all those craftsmen
+who spoke thus he answered in these words: "I do not deny that what you
+say, and even more, may be true; but that there is no one among us who
+can equal this manner, that I will deny with my last breath. Nay, I will
+declare, if I may say it with the permission of the company, not in
+contempt, but from a desire for the truth, that I know many both more
+resolute and richer in grace, whose works are no less lifelike in the
+painting than these, and even much more beautiful. And I, by your leave,
+I who am not the first in this art, am grieved that there is no space
+near these works wherein I might be able to paint a figure; for before
+departing from Florence I would make a trial beside one of these
+figures, likewise in fresco, to the end that you might see by comparison
+whether there be not among the moderns one who has equalled him." Among
+their number was a master who was held to be the first painter in
+Florence; and he, being curious to see the work of Perino, and perhaps
+wishing to lower his pride, put forward an idea of his own, which was
+this: "Although," said he, "all the space here is full, yet, since you
+have such a fancy, which is certainly a good one and worthy of praise,
+there, on the opposite side, where there is the S. Paul by his hand, a
+figure no less good and beautiful than any other in the chapel, is a
+space in which you may easily prove what you say by making another
+Apostle, either beside that S. Peter by Masolino or beside the S. Paul
+of Masaccio, whichever you may prefer." The S. Peter was nearer the
+window, and the space beside it was greater and the light better;
+besides which, it was a figure no less beautiful than the S. Paul.
+Everyone, therefore, urged Perino to do it, because they had a great
+desire to see that Roman manner; besides which, many said that he would
+be the means of taking out of their heads the fancy that they had nursed
+in their minds for so many decades, and that if his figure should prove
+to be the best all would run after modern works. Wherefore, persuaded by
+that master, who told him at last that he ought not to disappoint the
+entreaties and expectations of so many lofty intellects, particularly
+since it would not take longer than two weeks to execute a figure in
+fresco, and they would not fail to spend years in praising his labours,
+Perino resolved to do it, although he who spoke thus had an intention
+quite contrary to his words, being persuaded that Perino would by no
+means execute anything much better than the work of those craftsmen who
+were considered to be the most excellent at that time. Perino, then,
+undertook to make this attempt; and having summoned by common consent M.
+Giovanni da Pisa, the Prior of the convent, they asked him for the space
+for the execution of the work, which he granted to them with truly
+gracious courtesy; and thus they took measurements of the space, with
+the height and breadth, and went away.
+
+An Apostle was then drawn by Perino in a cartoon, in the person of S.
+Andrew, and finished with the greatest diligence; whereupon Perino,
+having first caused the staging to be erected, was prepared to begin to
+paint it. But before this, on his arrival in Florence, his many friends,
+who had seen most excellent works by his hand in Rome, had contrived to
+obtain for him the commission for that work in fresco which I mentioned,
+to the end that he might leave some example of his handiwork in
+Florence, which might demonstrate how spirited and how beautiful was his
+genius for painting, and also to the end that he might become known and
+perchance be set to work on some labour of importance by those who were
+then governing. There were at that time certain craftsmen who used to
+assemble in a company called the Company of the Martyrs, in the
+Camaldoli at Florence; and they had proposed many times to have a wall
+that was in that place painted with the story of the Martyrs being
+condemned to death before two Roman Emperors, who, after they had been
+taken in battle, caused them to be crucified in the wood and hanged on
+trees. This story was suggested to Perino, and, although the place was
+out of the way, and the price small, so much was he attracted by the
+possibilities of invention in the story and by the size of the wall,
+that he was disposed to undertake it; besides which, he was urged not a
+little by those who were his friends, on the ground that the work would
+establish him in that reputation which his talent deserved among the
+citizens, who did not know him, and among his fellow-craftsmen in
+Florence, where he was not known save by report. Having then determined
+to do the work, he accepted the undertaking and made a small design,
+which was held to be a thing divine; and having set his hand to making a
+cartoon as large as the whole work, he never left off labouring at it,
+and carried it so far that all the principal figures were completely
+finished. And so the Apostle was abandoned, without anything more being
+done.
+
+Perino drew this cartoon on white paper, well shaded and hatched,
+leaving the paper itself for the lights, and executing the whole with
+admirable diligence. In it were the two Emperors on the seat of
+judgment, condemning to the cross all the prisoners, who were turned
+towards the tribunal, some kneeling, some standing, and others bowed,
+but all naked and bound in different ways, and writhing with piteous
+gestures in various attitudes, revealing the trembling of the limbs at
+the prospect of the severing of the soul from the body in the agony and
+torment of crucifixion; besides which, there were depicted in those
+heads the constancy of faith in the old, the fear of death in the young,
+and in others the torture that they suffer from the strain of the cords
+on their bodies and arms. And there could also be seen the swelling of
+the muscles and even the cold sweat of death, all depicted in that
+design. Then in the soldiers who were leading them there was revealed a
+terrible fury, most impious and cruel, as they presented them at the
+tribunal for condemnation and led them to the cross. The Emperors and
+the soldiers were wearing cuirasses after the ancient manner and
+garments very ornate and bizarre, with buskins, shoes, helmets, shields,
+and other pieces of armour wrought with all that wealth of the most
+beautiful ornamentation to which a craftsman can attain in imitating and
+reproducing the antique, and drawn with the greatest lovingness,
+subtlety, and delicacy that the perfection of art can display. When this
+cartoon was seen by the craftsmen and by other judges of discernment,
+they declared that they had never seen such beauty and excellence in
+design since the cartoon drawn by Michelagnolo Buonarroti in Florence
+for the Council Chamber; wherefore Perino acquired the greatest fame
+that he could have gained in art. And while he was engaged in finishing
+that cartoon, he amused himself by causing oil-colours to be prepared
+and ground in order to paint for his dearest friend, the goldsmith
+Piloto, a little picture of no great size, containing a Madonna, which
+he carried something more than half-way towards completion.
+
+For many years past Perino had been intimately acquainted with a certain
+lame priest, Ser Raffaello di Sandro, a chaplain of S. Lorenzo, who
+always bore love to the craftsmen of design. This priest, then,
+persuaded Perino to take up his quarters with him, seeing that he had no
+one to cook for him or to keep house for him, and that during the time
+that he had been in Florence he had stayed now with one friend and now
+with another; wherefore Perino went to lodge with him, and stayed there
+many weeks. Meanwhile the plague began to appear in certain parts of
+Florence, and filled Perino with fear lest he should catch the
+infection; on which account he determined to go away, but wished first
+to recompense Ser Raffaello for all the days that he had eaten at his
+table. But Ser Raffaello would never consent to take anything, only
+saying: "I would be fully paid by having a scrap of paper from your
+hand." Seeing him to be determined, Perino took about four braccia of
+coarse canvas, and, after having it fixed to the wall between two doors
+in the priest's little room, painted on it in a day and a night a scene
+coloured in imitation of bronze. On this canvas, which was to serve as a
+screen for the wall, he painted the story of Moses passing the Red Sea
+and Pharaoh being submerged with his horses and his chariots; and Perino
+painted therein figures in most beautiful attitudes, some swimming in
+armour and some naked, others swimming while clasping the horses round
+the neck, with their beards and hair all soaked, crying out in the fear
+of death and struggling with all their power to escape. On the other
+side of the sea are Moses, Aaron, and all the other Hebrews, male and
+female, who are thanking God, and a number of vases that he
+counterfeited, carried off by them from Egypt, varied and beautiful in
+form and shape, and women with head-dresses of great variety. Which
+finished, he left it as a mark of lovingness to Ser Raffaello, to whom
+it was as dear as the Priorate of S. Lorenzo would have been. This
+canvas was afterwards much extolled and held in estimation, and after
+the death of Ser Raffaello it passed, together with his other
+possessions, to his brother Domenico di Sandro, the cheesemonger.
+
+Departing, then, from Florence, Perino abandoned the work of the
+Martyrs, which caused him great regret; and certainly, if it had been in
+any other place but the Camaldoli, he would have finished it; but,
+considering that the officials of health had taken that very Convent of
+Camaldoli for those infected with the plague, he thought it better to
+save himself than to leave fame behind him in Florence, being satisfied
+that he had proved how much he was worth in the design. The cartoon,
+with his other things, remained in the possession of the goldsmith
+Giovanni di Goro, his friend, who died in the plague; and after that it
+fell into the hands of Piloto, who kept it spread out in his house for
+many years, showing it readily as a very rare work to every person of
+intelligence; but I do not know what became of it after the death of
+Piloto.
+
+Perino stayed for many months in various places, seeking to avoid the
+plague, but for all this he never spent his time in vain, for he was
+continually drawing and studying the secrets of art; and when the plague
+had ceased, he returned to Rome and gave his attention to executing
+little works of which I shall say nothing more. In the year 1523 came
+the election of Pope Clement VII, which was the greatest of blessings
+for the arts of painting and sculpture, which had been so kept down by
+Adrian VI during his lifetime, that not only had nothing been executed
+for him, but, as has been related in other places, not delighting in
+them, or rather, holding them in detestation, he had brought it about
+that no other person delighted in them, or spent money upon them, or
+employed a single craftsman. Then, therefore, after the election of the
+new Pontiff, Perino executed many works.
+
+Afterwards it was proposed that Giulio Romano and Giovan Francesco,
+called Il Fattore, should be made heads of the world of art in place of
+Raffaello, who was dead, to the end that they might distribute the
+various works to the others, according to the previous custom. But
+Perino, in executing an escutcheon of the Pope in fresco over the door
+of Cardinal Cesarino, after the cartoon of Giulio Romano, acquitted
+himself so excellently well, that they doubted whether he would not be
+preferred to themselves, because, although they were known as the
+disciples of Raffaello and as the heirs to his possessions, they had not
+inherited the whole of the art and grace that he used to give to his
+figures with colours. Giulio and Giovan Francesco therefore made up
+their minds to attach Perino to themselves; and so in the holy year of
+Jubilee, 1525, they gave him Caterina, the sister of Giovan Francesco,
+for wife, to the end that the perfect friendship which had been
+maintained between them for so long might be converted into kinship.
+Thereupon, continuing the works that he had in hand, no long time had
+passed when, on account of the praises bestowed upon him for the first
+work executed by him in S. Marcello, it was resolved by the Prior of
+that convent and by certain heads of the Company of the Crocifisso,
+which has a chapel there built by its members as a place of assembly,
+that the chapel should be painted; and so they allotted this work to
+Perino, in the hope of having some excellent painting by his hand.
+Perino, having caused the staging to be erected, began the work; and in
+the centre of the barrel-shaped vaulting he painted the scene when God,
+after creating Adam, takes his wife Eve from his side. In this scene
+Adam, a most beautiful naked figure painted with perfect art, is seen
+lying overcome by sleep, while Eve, with great vivacity, rises to her
+feet with the hands clasped and receives the benediction of her Maker,
+the figure of whom is depicted grave in aspect and sublime in majesty,
+standing with many draperies about Him, which curve round His nude form
+with their borders. On one side, on the right hand, are two Evangelists,
+S. Mark and S. John, the first of whom Perino finished entirely, and
+also the second with the exception of the head and a naked arm. Between
+these two Evangelists, by way of ornament, he made two little boys
+embracing a candelabrum, which are truly of living flesh; and the
+Evangelists, likewise, in the heads, the draperies, the arms, and all
+that he painted in them with his own hand, are very beautiful.
+
+While he was executing this work, he suffered many interruptions from
+illness and from other misfortunes, such as happen every day to all who
+live in this world; besides which, it is said that the men of the
+Company also ran short of money. And so long did this business drag on,
+that in the year 1527 there came upon them the ruin of Rome, when that
+city was given over to sack, many craftsmen were killed, and many works
+destroyed or carried away. Whereupon Perino, caught in that turmoil, and
+having a wife and a baby girl, ran from place to place in Rome with the
+child in his arms, seeking to save her, and finally, poor wretch, was
+taken prisoner and reduced to paying a ransom, which hit him so hard
+that he was like to go out of his mind. When the fury of the sack had
+abated, he was so crushed down by the fear that still possessed him,
+that all thought of art was worlds away from him, but nevertheless he
+painted canvases in gouache and other fantasies for certain Spanish
+soldiers; and after regaining his composure, he lived like the rest in
+some poor fashion. Alone among so many, Baviera, who had the engravings
+of Raffaello, had not lost much; wherefore, moved by the friendship that
+he had with Perino, and wishing to employ him, he commissioned him to
+draw some of the stories of the Gods transforming themselves in order to
+achieve the consummation of their loves. These were engraved on copper
+by Jacopo Caraglio, an excellent engraver of prints, who acquitted
+himself so well in the matter of these designs, that, preserving the
+outlines and manner of Perino, and hatching the work with beautiful
+facility, he sought also to impart to the engravings that grace and that
+delicacy which Perino had given to the drawings.
+
+While the havoc of the sack had destroyed Rome and driven away the
+inhabitants and the Pope himself, who was living at Orvieto, not many
+remaining in the city, and no business of any kind being done there,
+there arrived in Rome one Niccola Viniziano, a rare and even unrivalled
+master of embroidery, the servant of Prince Doria. He, moved by his
+long-standing friendship with Perino, and being a man who always
+favoured and wished well to the men of our arts, persuaded him to leave
+that misery and set out for Genoa, promising that he would so go to work
+with that Prince, who was a lover of art and delighted in painting, that
+he would commission Perino to execute some big works, and saying,
+moreover, that His Excellency had often told him that he would like to
+have a suite of rooms adorned with handsome decorations. It did not take
+much to persuade Perino, for he was oppressed by want and burning with
+desire to leave Rome; and he determined to depart with Niccola. Having
+therefore made arrangements for leaving his wife and daughter well cared
+for by relatives in Rome, and having put all his affairs in order, he
+set off for Genoa. Arriving there, and making himself known to that
+Prince by means of Niccola, his coming was as welcome to His Excellency
+as any agreeable experience that he had ever had in all his life. He was
+received, therefore, with the greatest possible warmth and gladness, and
+after many conversations and discussions they finally arranged that he
+should begin the work; and they decided that he should execute a palace
+adorned with stucco-work and with pictures in fresco, in oils, and of
+every kind, which I will strive to describe as briefly as I am able,
+with all the rooms, pictures, and general arrangement, saying nothing as
+to where Perino first began to labour, to the end that I may not obscure
+this work, which is the best of all those by his hand, with words.
+
+I begin, then, by saying that at the entrance of the Prince's Palace
+there is a marble portal composed in the Doric Order, and built after
+designs and models by the hand of Perino, with all its appurtenances of
+pedestals, socles, shafts, capitals, architrave, frieze, cornice and
+pediment, and with some most beautiful seated figures of women, who are
+supporting an escutcheon. The masonry and carving of this work were
+executed by Maestro Giovanni da Fiesole, and the figures were finished
+to perfection by Silvio, the sculptor of Fiesole, a bold and resolute
+master. Entering within the portal, one finds over the vestibule a vault
+covered with stucco-work, varied scenes, and grotesques, and little
+arches in each of which are scenes of war and various kinds of battles,
+some fighting on foot and others on horseback, and all wrought with
+truly extraordinary diligence and art. On the left one finds the
+staircase, which has decorations of little grotesques after the antique
+that could not be richer or more beautiful, with various scenes and
+little figures, masks, children, animals, and other things of fancy,
+executed with that invention and judgment that always marked his work,
+insomuch that of their kind they may well be called divine. Having
+ascended the staircase, one comes into a most beautiful loggia, which
+has at each end a very handsome door of stone; and over each of these
+doors, in the pediment, are painted two figures, one male and the other
+female, represented in directly opposite attitudes, one showing the
+front view and the other the back. The vaulting has five arches, and is
+wrought superbly in stucco, and it is also divided by pictures in
+certain ovals, containing scenes executed with the most perfect beauty
+that could be achieved; and the walls are painted down to the floor with
+many seated figures of captains in armour, some drawn from life and some
+from imagination, and representing all the ancient and modern captains
+of the house of Doria, and above them are large letters of gold, which
+run thus--"Magni viri, maximi duces, optima fecere pro patria." In the
+first hall, which opens into the loggia and is entered by one of the two
+doors, that on the left hand, there are most beautiful ornaments of
+stucco on the corners of the vaulting, and in the centre there is a
+large scene of the Shipwreck of �neas in the sea, in which are nude
+figures, living and dead, in attitudes of infinite variety, besides a
+good number of ships and galleys, some sound and some shattered by the
+fury of the tempest; not without beautiful considerations in the figures
+of the living, who are striving to save themselves, and expressions of
+terror that are produced in their features by the struggle with the
+waves, the danger of death, and all the emotions aroused by the perils
+of the sea. This was the first scene and the first work that Perino
+began for the Prince. It is said that when he arrived in Genoa, Girolamo
+da Treviso had already appeared there in advance of him in order to
+execute certain pictures, and was painting a wall that faced towards the
+garden. And after Perino had begun to draw the cartoon for the scene of
+the Shipwreck that has been described above, while he was taking his
+time about it, amusing himself and seeing Genoa, and labouring only at
+intervals at the cartoon, although a great part was finished in various
+ways and those nudes were drawn, some in chiaroscuro, some in charcoal,
+and others in black chalk, some being drawn in imitation of
+gradine-work, others shaded, and others again only outlined; while, I
+say, Perino was going on in this way, without beginning to paint,
+Girolamo da Treviso murmured against him, saying, "Cartoons, and nothing
+but cartoons! I have my art at the tip of my brush." Decrying him very
+often in this or some other similar manner, it came to the ears of
+Perino, who, taking offence, straightway caused his cartoon to be fixed
+to the vaulting where the scene was to be painted, and the boards of his
+staging to be removed in many places, to the end that the work might be
+seen from below; and then he threw open the hall. Which hearing, all
+Genoa ran to see it, and, amazed by Perino's grand design, they praised
+him to the skies. Thither, among others, went Girolamo da Treviso, who
+saw what he had never thought to see from the hand of Perino; whereupon,
+dumbfoundered by the beauty of the work, he departed from Genoa without
+asking leave of Prince Doria, and returned to Bologna, where he lived.
+Perino was thus left alone in the service of the Prince, and finished
+that hall, painting it in oils on the surface of the walls; and it was
+held to be, as indeed it is, a thing unrivalled in its beauty, with its
+lovely work in stucco in the centre of the vaulting and all around, even
+below the lunettes, as I have described. In the other hall, into which
+one enters by the right-hand door in the loggia, he executed on the
+vaulting works in stucco almost similar in design to those of the other,
+and painted pictures in fresco of Jove slaying the Giants with his
+thunderbolts, in which are many very beautiful nudes, larger than life.
+In the Heaven, likewise, are all the Gods, who are making gestures of
+great vivacity and truly appropriate to their natures, amid the terrible
+uproar of the thunder; besides which, the stucco-work is executed with
+supreme diligence, and the fresco-colouring could not be more beautiful,
+seeing that Perino was very able--indeed, a perfect master--in that
+field. Near this he adorned four chambers, the ceilings of which are all
+wrought in stucco, and distributed among them, in fresco, are the most
+beautiful fables from Ovid, which have all the appearance of reality,
+nor could any one imagine the beauty, the abundance, the variety, and
+the great numbers of the little figures, animals, foliage, and
+grotesques that are in them, all executed with lively invention. Beside
+the other hall, likewise, he adorned four more chambers, but only
+directing the work, which was carried out by his assistants, although he
+gave them the designs both of the stucco-decorations and of the scenes,
+figures, and grotesques, upon which a vast number of them worked, some
+little and some much; such as Luzio Romano, who did much work in stucco
+there and many grotesques, and a number of Lombards. Let it suffice to
+say that there is no room there that has not something by his hand and
+is not full of ornaments, even to the space below the vaulting, with
+various compositions full of children, bizarre masks, and animals, which
+all defies description; not to mention that the little studies, the
+antechambers, the closets, and all other parts of the palace, are
+painted and made beautiful. From the palace one passes into the garden
+and into a low building, which has the most ornate decorations in all
+the rooms, even below the ceilings, and so also the halls, chambers,
+and anterooms, all adorned by the same hand. In this work Pordenone
+also took a part, as I said in his Life, and likewise Domenico Beccafumi
+of Siena, a very rare painter, who showed that he was not inferior to
+any of the others, although the works by his hand that are in Siena are
+the most excellent among the vast number that he painted.
+
+But to return to the works that Perino executed after those that he did
+in the Palace of the Prince; he executed a frieze in a room in the house
+of Giannetin Doria, containing most beautiful women, and he did many
+works for various gentlemen throughout the city, both in fresco and in
+oil-colours. He painted a most beautiful altar-piece, very finely
+designed, for S. Francesco, and another for a church called S. Maria "de
+Consolatione," at the commission of a gentleman of the house of
+Baciadonne: in which picture he painted the Nativity of Christ, a work
+that is much extolled, but it was placed in a position so dark, that, by
+reason of the light not being good enough, one is not able to recognize
+its perfection, and all the more because Perino strove to paint it in a
+dark manner, so that it has need of a strong light. He also made
+drawings of the greater part of the �neid, with the stories of Dido,
+from which tapestries were woven; and he likewise drew beautiful
+ornaments for the poops of galleys, which were carved and finished to
+perfection by Carota and Tasso, wood-carvers of Florence, who proved
+excellently well how able they were in that art. And in addition to all
+these things he also executed a vast number of works on cloth for the
+galleys of the Prince, and the largest standards that could be made for
+their adornment and embellishment. Wherefore he was so beloved by that
+Prince for his fine qualities, that, if he had continued to serve him,
+the Prince would have richly rewarded his abilities.
+
+But while he was working in Genoa, the fancy came to him to fetch his
+wife from Rome, and so he bought a house in Pisa, being pleased with
+that city and half thinking of choosing it as his place of habitation
+when old age should come upon him. Now at that time the Warden of the
+Duomo at Pisa was M. Antonio di Urbano, who had a very great desire to
+embellish that temple, and had already caused a beginning to be made
+with some very beautiful ornaments of marble for the chapels of the
+church, which had been executed by the hand of Stagio da Pietrasanta, a
+very able and well practised carver of marble: removing some old,
+clumsy, and badly proportioned chapels that were there. Having thus made
+a beginning, the Warden proposed to fill up those ornaments in the
+interior with altar-pieces in oils, and on the outer side with a series
+of scenes in fresco and decorations in stucco, by the hands of the best
+and most excellent masters that he could find, without grudging any
+expense that might be incurred. He had already set to work on the
+sacristy, which he had placed in the great recess behind the high-altar,
+and there the ornamentation of marble was already finished, and many
+pictures had been painted by the Florentine painter Giovanni Antonio
+Sogliani, the rest of which, together with the altar-pieces and the
+chapels that were wanting, were finished many years afterwards by order
+of M. Sebastiano della Seta, the Warden of the Duomo in those days.
+
+At that time Perino returned from Genoa to Pisa, and, having seen that
+beginning, at the instance of Battista del Cervelliera, a person well
+conversant with art and a most ingenious master of wood-carving,
+perspective, and inlaying, he was presented to the Warden. After they
+had discoursed together on the subject of the works of the Duomo, Perino
+was asked to paint an altar-piece for an ornament immediately within the
+ordinary door of entrance, the ornamental frame being already finished,
+and above that a scene of S. George slaying the Dragon and delivering
+the King's Daughter. Perino therefore made a most beautiful design,
+which included a row of children and other ornaments in fresco between
+one chapel and the other, and niches with Prophets and scenes of various
+kinds; and this design pleased the Warden. And so, having made the
+cartoon for one of them, the first one, that opposite to the door
+mentioned above, he began to execute it in colour, and finished six
+children, which are very well painted. He was to have continued this
+right round, which would have made a very rich and very beautiful
+decoration; and the whole work together would have proved to be
+something very handsome. But he was seized with a desire to return to
+Genoa, where he had involved himself in love affairs and other
+pleasures, to which he was inclined at certain times: and on his
+departure he gave to the Nuns of S. Maffeo a little altar-piece that he
+had painted for them in oils, which is now in their possession in the
+convent. Then, having arrived in Genoa, he stayed there many months,
+executing other works for the Prince.
+
+His departure from Pisa displeased the Warden greatly, and even more the
+circumstance that the work remained unfinished; wherefore he did not
+cease to write to him every day that he should return, or to make
+inquiries from Perino's wife, whom he had left in Pisa. But finally,
+perceiving that the matter would never end, Perino neither answering nor
+returning, he allotted the altar-piece of that chapel to Giovanni
+Antonio Sogliani, who finished it and set it into its place. Not long
+after this Perino returned to Pisa, and, seeing the work of Sogliani,
+flew into a rage, and would on no account continue what he had begun,
+saying that he did not choose that his pictures should serve as
+ornaments for those of other masters; wherefore, so far as concerned
+him, that work remained unfinished. Giovanni Antonio carried it on to
+such purpose that he painted four altar-pieces: but these, at a later
+date, appeared to Sebastiano della Seta, the new Warden, to be all in
+the same manner, and somewhat less beautiful than the first, and he
+allotted to Domenico Beccafumi of Siena--after proving his worth from
+some pictures that he painted round the sacristy, which are very
+beautiful--an altar-piece which he executed in Pisa. This not giving as
+much satisfaction as the first pictures, he caused the two last that
+were wanting to be painted by Giorgio Vasari of Arezzo; and they were
+placed at the two doors beside the corner-walls of the main fa�ade of
+the church. Of these, as well as of many other works, both large and
+small, that are dispersed throughout Italy and various places abroad, it
+does not become me to say more, and I will leave the right of free
+judgment about them to all who have seen or may see them. The loss of
+this work caused real vexation to Perino, he having already made the
+designs for it, which gave promise that it would prove to be something
+worthy of him, and likely to give that temple great fame over and above
+that of its antiquities, and also to make Perino immortal.
+
+During the many years of his sojourn in Genoa, although he drew both
+profit and pleasure from that city, Perino had grown weary of it, as he
+remembered Rome in the happy days of Leo. But although, during the
+lifetime of Cardinal Ippolito de' Medici, he had received letters
+inviting him into his service, and he had been disposed to enter it, the
+death of that lord brought it about that he hesitated to repatriate
+himself. While matters stood thus, with his many friends urging his
+return, himself desiring it infinitely more than any of them, and
+several letters being exchanged, one morning, in the end, the fancy took
+him, and without saying a word he set off from Pisa and made his way to
+Rome. There, after making himself known to the most reverend Cardinal
+Farnese, and then to Pope Paul, he stayed many months without doing
+anything; first, because he was put off from one day to another, and
+then because he was attacked by some infirmity in one of his arms, on
+account of which he spent several hundreds of crowns, to say nothing of
+the discomfort, before he could be cured of it. Wherefore, having no one
+to maintain him, and being vexed by his cold welcome from the Court, he
+was tempted many times to go away; but Molza and many other friends
+exhorted him to have patience, telling him that Rome was no longer what
+she had been, and that now she expected that a man should be exhausted
+and weary of her before she would choose and cherish him as her own, and
+particularly if he were pursuing the path of some fine art.
+
+At this time M. Pietro de' Massimi bought a chapel in the Trinit�, with
+the vaulting and the lunettes painted and adorned with stucco, and the
+altar-piece painted in oils, all by Giulio Romano and Perino's
+brother-in-law, Giovan Francesco; and that gentleman was desirous to
+have it finished. In the lunettes were four stories of S. Mary Magdalene
+in fresco, and in the altar-piece in oils was Christ appearing to Mary
+Magdalene in the form of a gardener; and M. Pietro first caused a gilt
+frame of wood to be made for the altar-piece, which had a miserable one
+of stucco, and then allotted the walls to Perino, who, having caused the
+staging and the screen to be erected, set his hand to the work, and
+after many months brought it to completion. He made a design of bizarre
+and beautiful grotesques, partly in low-relief and partly painted; and
+he executed two little scenes of no great size, one on each wall,
+surrounding them with an ornament in stucco of great variety. In one
+scene was the Pool of Bethesda, with all the cripples and sick persons,
+and the Angel who comes to move the waters, the porticoes seen most
+beautifully foreshortened in perspective, and the movements and
+vestments of the priests, all painted with great grace and vivacity,
+although the figures are not very large. In the other, he painted the
+Raising of Lazarus after he had been dead four days, wherein he is seen
+newly restored to life, and still marked by the pallor and fear of
+death: and round him are many who are unswathing him, and not a few who
+are marvelling, and others struck with awe, besides which the scene is
+adorned with some little temples that recede into the distance, executed
+with supreme lovingness, as are also the works in stucco all around.
+There are likewise four very small scenes, two to each wall, and one on
+either side of the larger scene; in one of which is the Centurion
+beseeching Christ that He should heal with a word his son who is dying,
+in another Christ driving the traders from the Temple, in a third the
+Transfiguration, and in the last a similar scene. And on the projections
+of the pilasters within the chapel he painted four figures in the guise
+of Prophets, which, in their proportions, their excellence, and their
+beauty, are as well executed and finished as they could well be. In a
+word, the whole work was carried out with such diligence, and is so
+delicate, that it resembles miniature rather than painting. In it may be
+seen much charm and vivacity of colouring, and signs of great patience
+in its execution, revealing that true love which should be felt for art;
+and he painted this whole work with his own hand, although he had a
+great part of the stucco-work executed after his designs by Guglielmo
+Milanese, whom he had formerly had with him at Genoa, loving him much,
+and once even offering to give him his daughter in marriage. This
+Guglielmo, in reward for restoring the antiquities of the house of
+Farnese, has now been made Friar of the Piombo, in the place of Fra
+Sebastiano Viniziano.
+
+I must not omit to tell that against one wall of this chapel was a most
+beautiful tomb of marble, with a dead woman of marble, beautifully
+carved by the sculptor Bologna, on the sarcophagus, and two little naked
+boys at the sides. The countenance of that woman was a lifelike
+portrait of a very famous courtezan of Rome, who left that memorial of
+herself, which was removed by the friars because they felt scruples that
+such a woman should have been laid to rest there with so much honour.
+
+This work, with many designs that he made, was the reason that the very
+reverend Cardinal Farnese began to give him an allowance and to make use
+of him in many works. By order of Pope Paul, a chimney-piece that was in
+the Chamber of the Burning of the Borgo was placed in that of the
+Segnatura, where there were the panellings with perspective views in
+wood executed by the hand of the carver Fra Giovanni for Pope Julius.
+Raffaello had painted both of those chambers; but it became necessary to
+repaint all the base to the scenes in the Chamber of the Segnatura,
+which is that in which is the picture of Mount Parnassus. On which
+account a decorative design in imitation of marble was painted by
+Perino, with various terminal figures, festoons, masks, and other
+ornaments; and, in certain spaces, scenes painted to look like bronze,
+which are very beautiful for works in fresco. In these scenes, even as
+above them were Philosophers discoursing on Philosophy, Theologians on
+Theology, and Poets on Poetry, were all the actions of those who have
+been eminent in those professions. And although he did not execute them
+all with his own hand, he retouched them so much "a secco," besides
+making perfectly finished cartoons, that they may almost be said to be
+entirely by his hand; which method he employed because, being troubled
+by a catarrh, he was not fit for so much labour. Whereupon the Pope,
+recognizing that he deserved something both on account of his age and
+for all his work, and hearing him much recommended, gave him an
+allowance of twenty-five ducats a month, which lasted up to his death,
+on the condition that he should have charge of the Palace and of the
+house of the Farnese family.
+
+By this time Michelagnolo Buonarroti had uncovered the wall with the
+Last Judgment in the Papal Chapel, and there remained still unpainted
+the base below, where there was to be fixed a screen of arras woven in
+silk and gold, like the tapestries that adorn the Chapel. Wherefore, the
+Pope having ordained that the weaving should be done in Flanders, it
+was arranged with the consent of Michelagnolo that Perino should begin
+to paint a canvas of the same size, which he did, executing in it women,
+children and terminal figures, holding festoons, and all very lifelike,
+with the most bizarre things of fancy; but this work, which was truly
+worthy of him and of the divine picture that it was to adorn, remained
+unfinished after his death in some apartments of the Belvedere.
+
+After this, Antonio da San Gallo having finished the building of the
+Great Hall of Kings in front of the Chapel of Sixtus IV in the Papal
+Palace, Perino divided the ceiling into a large pattern of octagonal
+compartments, crosses, and ovals, both sunk and in relief; which done,
+Perino was also commissioned to adorn it with stucco-work, with the
+richest and most beautiful ornaments that could be produced by all the
+resources of that art. He thus began it, and in the octagons, in place
+of rosettes, he made four little boys in full relief, who, with their
+feet pointing to the centre and their arms forming a circle, make a most
+beautiful rosette, and in the rest of the compartments are all the
+devices of the house of Farnese, with the arms of the Pope in the centre
+of the vaulting. And this work in stucco may be said with truth to have
+surpassed in mastery of execution, in beauty, and in delicacy, all those
+that have ever been done by ancients or moderns, and to be truly worthy
+of the head of the Christian religion. After the designs of the same
+man, likewise, the glass windows were executed by Pastorino da Siena, an
+able master of that craft; and Perino caused the walls below to be
+prepared with very beautiful ornaments in stucco, intending to paint
+scenes there with his own hand, which were afterwards continued by the
+painter Daniello Ricciarelli of Volterra, who, if death had not cut
+short the noble aspirations that he had, would have proved how the
+moderns have the courage not only to equal the ancients with their
+works, but perhaps even to surpass them by a great measure.
+
+While the stucco-work of this vaulting was in progress, and Perino was
+considering the designs for his scenes, the old walls of the Church of
+S. Pietro at Rome were being pulled down to make way for those of the
+new building, and the masons came to a wall where there was a Madonna,
+with other pictures, by the hand of Giotto; which being seen by Perino,
+who was in the company of Messer Niccol� Acciaiuoli, a Florentine doctor
+and much his friend, both of them were moved to pity for that picture
+and would not allow it to be destroyed; nay, having caused the wall to
+be cut away around it, they had it well braced with beams and bars of
+iron and deposited below the organ of S. Pietro, in a place where there
+was neither altar nor any other consecrated object. And before the wall
+that had been round the Madonna was pulled down, Perino copied the
+figure of Orso dell' Anguillara, the Roman Senator who had crowned M.
+Francesco Petrarca on the Campidoglio, and who was at the feet of that
+Madonna. Round the picture of the Madonna were to be made some ornaments
+in stucco and painting, and together with them a memorial to a certain
+Niccol� Acciaiuoli, who had formerly been a Roman Senator; and Perino,
+having made the designs, straightway set his hand to the work, and,
+assisted by his young men and by Marcello Mantovano, his disciple,
+carried it out with great diligence.
+
+In the same S. Pietro the Sacrament did not occupy, with regard to
+masonry, a very honourable position; wherefore certain deputies were
+appointed from the Company of the Sacrament, who ordained that a chapel
+should be built in the centre of the old church by Antonio da San Gallo,
+partly with remains in the form of ancient marble columns, and partly
+with other ornaments of marble, bronze, and stucco, placing in the
+centre a tabernacle by the hand of Donatello, by way of further
+adornment; and Perino executed there a very beautiful ceiling with many
+minute scenes full of figures from the Old Testament, symbolical of the
+Sacrament. In the middle of it, also, he painted a somewhat larger
+scene, containing the Last Supper of Christ with the Apostles, and below
+it two Prophets, one on either side of the body of Christ.
+
+The same master, likewise, caused his young men to paint in the Church
+of S. Giuseppe, near the Ripetta, the chapel of that church, which was
+afterwards retouched and finished by himself; and he also had a chapel
+painted after his designs in the Church of S. Bartolommeo in Isola,
+which he retouched in like manner, and caused some scenes to be painted
+at the high-altar of S. Salvatore del Lauro, with some grotesques on the
+vaulting, and likewise an Annunciation on the fa�ade outside, which was
+executed by his pupil, Girolamo Sermoneta. Thus, then, partly because he
+was not able, and partly because the labour wearied him, liking to
+design his works rather than to execute them, he pursued the same course
+that Raffaello da Urbino had formerly followed at the end of his life.
+How harmful and how blameworthy is this practice, is proved by the Chigi
+works and by all those carried out by other hands, and is also shown by
+those that Perino caused to be executed in the same way; besides which,
+those works of Giulio Romano's that he did not paint with his own hand
+have not done him much honour. And although this method pleases Princes,
+giving them their works quickly, and perhaps benefits the craftsmen who
+labour upon them, yet, if they were the ablest men in the world, they
+could never feel that love for the works of others which a man feels for
+his own. Nor, however well drawn the cartoons may be, can they be
+imitated as exactly and as thoroughly as by the hand of their author,
+who, seeing the work going to ruin, in despair leaves it to fall into
+complete destruction. He, then, who thirsts for honour, should do his
+own painting. This I can say from experience, for after I had laboured
+with the greatest possible pains on the cartoons for the Hall of the
+Cancelleria in the Palace of S. Giorgio in Rome, the work having to be
+executed with great haste in a hundred days, a vast number of painters
+were employed to paint it, who departed so far from their outlines and
+their true form, that I made a resolution, to which I have adhered, that
+from that time onward no one should lay a hand on any works of mine.
+Whoever, therefore, wishes to ensure long life for his name and his
+works, should undertake fewer and do them all with his own hand, if he
+desires to obtain that full meed of honour that a man of exalted genius
+seeks to acquire.
+
+I say, then, that Perino, by reason of the number of the labours
+committed to his care, was forced to employ many persons; and he
+thirsted rather for gain than for glory, considering that he had thrown
+away his life and had saved nothing in his youth. And it vexed him so
+much to see young men coming forward to undertake work, that he sought
+to enroll them all under his own command, to the end that they might not
+encroach on his position. Now in the year 1546 there came to Rome the
+Venetian Tiziano da Cadore, a painter highly celebrated for his
+portraits, who, having formerly taken a portrait of Pope Paul at the
+time when His Holiness went to Busseto, without exacting any
+remuneration either for that or for some others that he had executed for
+Cardinal Farnese and Santa Fiore, was received by those prelates with
+the greatest honour in the Belvedere; at which a rumour arose in the
+Court, and then spread throughout Rome, to the effect that he had come
+in order to paint scenes with his own hand in the Hall of Kings in the
+Palace, where Perino was to paint them and the stucco-work was already
+in progress. This arrival caused much vexation to Perino, and he
+complained of it to many of his friends, not because he believed that
+Tiziano was likely to surpass him at painting historical scenes in
+fresco, but because he desired to occupy himself with that work
+peacefully and honourably until his death, and, if he was to do it, he
+wished to do it without competition, the wall and the vaulting by
+Michelagnolo in the Chapel close by being more than enough for him by
+way of comparison. That suspicion was the reason that while Tiziano
+stayed in Rome, Perino always avoided him, and remained in an ill-humour
+until his departure.
+
+The Castellan of the Castello di S. Angelo, Tiberio Crispo, who was
+afterwards made a Cardinal, being a person who delighted in our arts,
+made up his mind to beautify the Castle, and rebuilt loggie, chambers,
+halls, and apartments in a very handsome manner, in order to be able to
+receive His Holiness more worthily when he went there. Many rooms and
+other ornaments were executed from the designs and under the direction
+of Raffaello da Montelupo, and then in the end by Antonio da San Gallo,
+and a loggia was wrought in stucco under the supervision of Raffaello,
+who also made the Angel of marble, a figure six braccia high, which was
+placed on the summit of the highest tower in the Castle. Tiberio then
+caused the said loggia, which is the one facing the meadows, to be
+painted by Girolamo Sermoneta; which finished, the rest of the rooms
+were entrusted in part to Luzio Romano, and finally the halls and other
+important apartments were finished partly by Perino with his own hand,
+and partly by others after his cartoons. The principal hall is very
+pleasing and beautiful, being wrought in stucco and all filled with
+scenes from Roman history, executed for the most part by Perino's young
+men, and not a few by the hand of Marco da Siena, the disciple of
+Domenico Beccafumi; and in certain rooms there are most beautiful
+friezes.
+
+Perino, when he could find young men of ability, was wont to make use of
+them willingly in his works; but for all that he never ceased to execute
+any commonplace commission. He very often painted pennons for trumpets,
+banners for the Castle, and those of the fleet of the Militant Order;
+and he executed hangings, tabards, door-curtains, and the most
+insignificant works of art. He began some canvases from which tapestries
+were to be woven for Prince Doria, and he painted a chapel for the very
+reverend Cardinal Farnese, and a writing-study for the most illustrious
+Madama Margherita of Austria. He caused an ornamental frame to be made
+round the Madonna in S. Maria del Pianto, and also another ornamental
+frame round the Madonna in Piazza Giudea; and he executed many other
+works, of which, by reason of their number, I will not now make any
+further mention, particularly because he was accustomed to accept any
+sort of work that came to his hand. This disposition of Perino's, which
+was well known to the officials of the Palace, was the reason that he
+always had something to do for one or another of them, and he did it
+willingly, in order to bind them to himself, so that they might be
+obliged to serve him in the payment of his allowances and in his other
+requirements. In addition to this, Perino had acquired such authority
+that all the work in Rome was allotted to him, for the reason that,
+besides the circumstance that it appeared to be in a certain sense his
+due, he would sometimes execute commissions for the most paltry prices;
+whereby he did little good, nay rather, much harm, to himself and to
+art. That these words are true is proved by this, that if he had
+undertaken to paint the Hall of Kings in the Palace on his own account,
+and had worked at it together with his own assistants, he would have
+saved several hundreds of crowns, which all went to the overseers who
+had charge of the work and paid the daily wages to those who worked
+there.
+
+Thus, having undertaken a burden so heavy and so laborious, and being
+infirm and enfeebled by catarrh, he was not able to endure such
+discomforts, having to draw day and night and to meet the demands of the
+Palace, and, among other things, to make the designs of embroideries, of
+engravings for banner-makers, and of innumerable ornaments required by
+the caprice of Farnese and other Cardinals and noblemen. In short,
+having his mind incessantly occupied, and being always surrounded by
+sculptors, masters in stucco, wood-carvers, seamsters, embroiderers,
+painters, gilders, and other suchlike craftsmen, he had never an hour of
+repose; and the only happiness and contentment that he knew in this life
+was to find himself at times with some of his friends at a tavern, which
+was his favourite haunt in all the places where it fell to his lot to
+live, considering that this was the true blessedness and peace of this
+world, and the only repose from his labours. And thus, having ruined his
+constitution by the fatigues of his art and by his excesses in eating
+and in love, he was attacked by asthma, which, sapping his strength
+little by little, finally caused him to sink into consumption; and one
+evening, while talking with a friend near his house, he fell dead of an
+apoplectic seizure in his forty-seventh year. At this many craftsmen
+felt infinite sorrow, it being a truly great loss that art suffered; and
+he received honourable burial from his son-in-law, M. Gioseffo Cincio,
+the physician of Madama, and from his wife, in the Chapel of S. Giuseppe
+in the Ritonda at Rome, with the following epitaph:
+
+     PERINO BONACCURSIO VAG� FLORENTINO, QUI INGENIO ET ARTE
+     SINGULARI EGREGIOS CUM PICTORES PERMULTOS, TUM PLASTAS OMNES
+     FACILE SUPERAVIT, CATHERINA PERINI CONJUGI, LAVINIA BONACCURSIA
+     PARENTI, JOSEPHUS CINCIUS SOCERO CARISSIMO ET OPTIMO FECERE.
+     VIXIT ANN. 46, MEN. 3, DIES 21. MORTUUS EST 14 CALEND. NOVEMB.
+     ANN. CHRIST. 1547.
+
+The place of Perino was filled by Daniello of Volterra, who had worked
+much with him, and who finished the two other Prophets that are in the
+Chapel of the Crocifisso in S. Marcello. Daniello has also adorned a
+chapel in S. Trinit� most beautifully with stucco-work and painting, for
+Signora Elena Orsina; with many other works, of which mention will be
+made in the proper place.
+
+Perino, then, as may be seen from the works described and from many
+others that might be mentioned, was one of the most versatile painters
+of our times, in that he assisted the craftsmen to work excellently in
+stucco, and executed grotesques, landscapes, animals, and all the other
+things of which a painter can have knowledge, using colours in fresco,
+in oils, and in distemper. Whence it may be said that he was the father
+of these most noble arts, seeing that his talents live in those who are
+continually imitating him in every honourable field of art. After
+Perino's death were published many prints taken from his drawings, such
+as the Slaying of the Giants that he executed in Genoa, eight stories of
+S. Peter taken from the Acts of the Apostles, of which he made designs
+for the embroidering of a cope for Pope Paul III, and many other things,
+which are known by the manner.
+
+Perino made use of many young men, and taught the secrets of art to many
+disciples; but the best of them all, and the one of whom he availed
+himself more than of any other, was Girolamo Siciolante of Sermoneta, of
+whom there will be an account in the proper place. His disciple,
+likewise, was Marcello Mantovano, who executed on a wall at the entrance
+of the Castello di S. Angelo, after the design and under the direction
+of Perino, a Madonna with many Saints in fresco, which was a very
+beautiful thing; but of his works as well there will be an account
+elsewhere.
+
+Perino left many designs at his death, some by his hand and some by
+others; among the latter, one of the whole Chapel of Michelagnolo
+Buonarroti, drawn by the hand of Leonardo Cungi of Borgo a San Sepolcro,
+which was an excellent work. All these designs, with other things, were
+sold by his heirs; and in our book are many drawings done by him with
+the pen, which are very beautiful.
+
+FOOTNOTE:
+
+[27] Or Perino.
+
+[28] Vasari sometimes groups under this name all the male
+figures that appear in a picture of the Deposition from the Cross.
+
+
+
+
+GIORGIO VASARI TO THE CRAFTSMEN IN DESIGN
+
+
+
+
+TO THE CRAFTSMEN IN DESIGN
+
+GIORGIO VASARI
+
+
+EXCELLENT AND WELL-BELOVED BROTHER-CRAFTSMEN--
+
+So great has always been the delight, to say nothing of the profit and
+honour, that I have derived from practising my hand to the best of my
+ability in this most noble art of ours, that I have not only had a
+burning desire to exalt and to celebrate her, and to honour her in every
+manner open to me, but have also been full of affection for all those
+who have taken the same pleasure in her and have succeeded in practising
+her more happily than I, perhaps, have been able to do. And from this my
+good will, so full of the most sincere affection, it appears to me that
+I have gathered hitherto fruits that are an ample reward, for I have
+been always loved and honoured by you all, and we have been united in
+the most perfect intimacy or brotherhood, I know not which to call it;
+mutually showing our works to one another, I to you and you to me, and
+helping one another with counsel and assistance whenever the occasion
+has presented itself. Wherefore I have always felt myself deeply bound
+by this loving fellowship, and much more by your excellent abilities,
+and no less, also, by this my inclination, by nature, and by a most
+powerful attraction, to assist and serve you in every way and every
+matter wherein I have considered myself able to bring you pleasure or
+advantage. To this end I published in the year 1550 the Lives of our
+best and most famous Craftsmen, moved by a cause that has been mentioned
+in another place, and also, to tell the truth, by a generous indignation
+that so much talent should have been for so long a time, and should
+still remain, buried in oblivion. And this my labour appears not to have
+been in any way unwelcome; on the contrary, so acceptable, that, not to
+mention what has been said and written to me from many quarters, out of
+the vast number that were printed at that time, there is not one single
+volume to be found at the booksellers.
+
+Thus, therefore, receiving every day requests from many friends, and
+understanding no less clearly the unexpressed desires of many others,
+once more, although in the midst of most important undertakings, I have
+applied myself to the same labour, with the intention not only of adding
+those masters who have passed to a better world between that time and
+the present, thus giving me the opportunity of writing their Lives in
+full, but also of supplying that which may have been wanting to the
+perfection of my first work. For since then I have had leisure to come
+to a better knowledge of many matters, and to re-examine others, not
+only by the favour of these my most illustrious Lords, whom I serve, the
+true refuge and protection of all the arts, but also through the
+facilities that they have given me to search the whole of Italy once
+again and to see and understand many things which had not before come
+under my notice. I have been able, therefore, not merely to make
+corrections, but also to add so many things, that many of the Lives may
+be said to have been almost written anew; while some, indeed, even of
+the old masters, which were not there before, have been added. Nor, the
+better to revive the memory of those whom I so greatly honour, have I
+grudged the great labour, pains and expense of seeking out their
+portraits, which I have placed at the head of their Lives. And for the
+greater satisfaction of many friends not of our profession, who are yet
+devoted lovers of art, I have included in a compendium the greater part
+of the works of those who are still living and are worthy to be for ever
+renowned on account of their abilities; for that scruple which formerly
+restrained me can have no place here in the opinion of any thoughtful
+reader, since I deal with no works save those that are excellent and
+worthy of praise. And this may perchance serve as a spur to make every
+craftsman continue to labour worthily and advance unceasingly from good
+to better; insomuch that he who shall write the rest of this history,
+may be able to give it more grandeur and majesty, having occasion to
+describe those rarer and more perfect works which, begun from time to
+time through the desire of immortality, and finished by the loving care
+of intellects so divine, the world in days to come shall see issuing
+from your hands. And the young men who follow with their studies,
+incited by hope of glory (if hope of gain has not enough force), may
+perchance be inspired by such an example to attain to excellence.
+
+And to the end that this work may prove to be in every way complete, and
+that there may be no need to seek anything outside its pages, I have
+added a great part of the works of the most celebrated craftsmen of
+antiquity, both Greek and of other nations, whose memory has been
+preserved down to our own day by Pliny and other writers, without whose
+pens they would have been buried, like many others, in eternal oblivion.
+And this consideration, also, may perchance increase the willingness of
+men in general to labour valiantly, and may impel and inspire us all, as
+we behold the nobility and greatness of our art, and how she has always
+been prized and rewarded by all nations, and particularly by the most
+lofty minds and the most powerful Princes, to leave the world adorned by
+works infinite in number and unsurpassed in excellence; whence, rendered
+beautiful by us, it may give to us that rank which it has given to those
+ever marvellous and celebrated spirits.
+
+Accept, then, with a friendly mind, these my labours, which, whatever
+they may be, have been lovingly carried to conclusion by me for the
+glory of art and for the honour of her craftsmen, and take them as a
+sure token and pledge of my heart, which is desirous of nothing more
+ardently than of your greatness and glory, in which, seeing that I also
+have been received by you into your company (for which I render my
+thanks to you, and congratulate myself not a little on my own account),
+I shall always consider myself in a certain sense a participator.
+
+
+
+
+DOMENICO BECCAFUMI
+
+
+
+
+LIFE OF DOMENICO BECCAFUMI OF SIENA
+
+PAINTER AND MASTER OF CASTING
+
+
+That same quality, the pure gift of nature, which has been seen in
+Giotto and in some others among those painters of whom we have spoken
+hitherto, has been revealed most recently in Domenico Beccafumi, the
+painter of Siena, in that he, while guarding some sheep for his father
+Pacio, the labourer of the Sienese citizen Lorenzo Beccafumi, was
+observed to practise his hand by himself, child as he was, in drawing
+sometimes on stones and sometimes in other ways. It happened that the
+said Lorenzo saw him one day drawing various things with a pointed stick
+on the sand of a small stream, where he was watching his little charges,
+and he asked for the child from his father, meaning to employ him as his
+servant, and at the same time to have him taught. The boy, therefore,
+who was then called Mecherino, having been given up by his father Pacio
+to Lorenzo, was taken to Siena, where Lorenzo caused him for a while to
+spend all the spare time that he had after his household duties in the
+workshop of a painter who was his neighbour. This painter, who was no
+great craftsman, caused Mecherino to learn all that he could not himself
+teach him from designs by eminent painters that he had in his
+possession, of which he availed himself for his own purposes, as those
+masters are wont to do who are not very able in design. Exercising his
+hand, therefore, in this manner, Mecherino gave promise of being
+destined to become an excellent painter.
+
+During this time Pietro Perugino, then a famous painter, came to Siena,
+where, as has been related, he painted two altar-pieces; and his manner
+pleased Domenico greatly, so that he set himself to study it and to copy
+those altar-pieces, and no long time passed before he had caught that
+manner. Then, after the Chapel of Michelagnolo and the works of
+Raffaello da Urbino had been thrown open in Rome, Domenico, who desired
+nothing so much as to learn, and knew that he was losing his time in
+Siena, took leave of Lorenzo Beccafumi, from whom he acquired the family
+name of Beccafumi, and made his way to Rome. There he placed himself
+under a painter, who gave him board and lodging, and executed many works
+in company with him, giving his attention at the same time to studying
+the works of Michelagnolo, Raffaello, and other eminent masters, and the
+marvellous statues and sarcophagi of antiquity. No long time passed,
+therefore, before he became a bold draughtsman, fertile in invention,
+and a very pleasing colourist; but during this period, which did not
+exceed two years, he did nothing worthy of record save a fa�ade in the
+Borgo with an escutcheon of Pope Julius II in colour.
+
+Meanwhile, there had been brought to Siena by a merchant of the
+Spannocchi family, as will be related in the proper place, the painter
+Giovanni Antonio of Vercelli, a young man of passing good ability, who
+was much employed, particularly in making portraits from life, by the
+gentlemen of that city, which has always been the friend and patron of
+all men of talent. Domenico, who was very desirous of returning to his
+own country, having heard this news, made his way back to Siena; and
+when he saw that Giovanni Antonio was very well grounded in drawing,
+which he knew to be the essence of the excellence of a craftsman, not
+resting content with what he had done in Rome, he set himself with the
+utmost zeal to follow him, devoting himself much to anatomy and to
+drawing nudes; which helped him so much, that in a short time he began
+to be greatly esteemed in that most noble city. Nor was he beloved less
+for his goodness and his character than for his art, for the reason
+that, whereas Giovanni Antonio was coarse, licentious, and eccentric,
+being called Il Sodoma because he always mixed and lived with beardless
+boys, and answering willingly enough to that name, Domenico, on the
+other hand, was a pattern of good conduct and uprightness, living like a
+Christian and keeping very much to himself. But such persons as are
+called merry fellows and good companions are very often more esteemed by
+men than the virtuous and orderly, and most of the young men of Siena
+followed Sodoma, extolling him as a man of originality. And this
+Sodoma, being an eccentric, and wishing to please the common herd,
+always kept at his house parrots, apes, dwarf donkeys, little Elba
+horses, a talking raven, barbs for running races, and other suchlike
+creatures; from which he had won such a name among the vulgar, that they
+spoke of nothing but his follies.
+
+Sodoma, then, had painted with colours in fresco the fa�ade of the house
+of M. Agostino Bardi, and Domenico at the same time, in competition with
+him, painted the fa�ade of a house of the Borghese, close to the
+Postierla column, near the Duomo, with which he took very great pains.
+Below the roof, in a frieze in chiaroscuro, he executed some little
+figures that were much extolled; and in the spaces between the three
+ranges of windows of travertine that adorn that palace, he painted many
+ancient gods and other figures in imitation of bronze, in chiaroscuro
+and in colour, which were more than passing good, although the work of
+Sodoma was more extolled. Both these fa�ades were executed in the year
+1512.
+
+Domenico afterwards painted for S. Benedetto, a seat of Monks of Monte
+Oliveto, without the Porta a Tufi, an altar-piece of S. Catharine of
+Siena in a building receiving the Stigmata, with a S. Benedict standing
+on her right hand, and on her left a S. Jerome in the habit of a
+Cardinal; which altar-piece, being very soft in colouring and strong in
+relief, was much praised, as it still is. In the predella of this
+picture, likewise, he painted some little scenes in distemper with
+incredible boldness and vivacity, and with such facility of design, that
+they could not be more graceful, and yet they have the appearance of
+having been executed without the slightest effort in the world. In one
+of these little scenes is the Angel placing in the mouth of that same S.
+Catharine part of the Host consecrated by the priest; in another is
+Jesus Christ marrying her, in a third she is receiving the habit from S.
+Dominic, and there are other stories.
+
+For the Church of S. Martino the same master painted a large altar-piece
+with Christ born and being adored by the Virgin, by Joseph, and by the
+Shepherds; and above the hut is a most beautiful choir of Angels
+dancing. In this work, which is much extolled by craftsmen, Domenico
+began to show to those who had some understanding that his works were
+painted with a different foundation from those of Sodoma. He then
+painted in fresco, in the Great Hospital, the Madonna visiting S.
+Elizabeth, in a manner very pleasing and very natural. And for the
+Church of S. Spirito he executed an altar-piece of the Madonna holding
+in her arms the Child, who is marrying the above-mentioned S. Catharine
+of Siena, and at the sides S. Bernardino, S. Francis, S. Jerome, and S.
+Catharine the Virgin-Martyr, with S. Peter and S. Paul upon some marble
+steps in front, on the polished surface of which he counterfeited with
+great art some reflections of the colour of their draperies. This work,
+which was executed with fine judgment and design, brought him much
+honour, as did also some little figures painted on the predella of the
+picture, in which is S. John baptizing Christ, a King causing the wife
+and children of S. Gismondo to be thrown into a well, S. Dominic burning
+the books of the heretics, Christ presenting to S. Catharine of Siena
+two crowns, one of roses and the other of thorns, and S. Bernardino of
+Siena preaching on the Piazza of Siena to a vast multitude.
+
+[Illustration: DOMENICO BECCAFUMI: S. CATHARINE BEFORE THE CRUCIFIX
+
+(_Siena_: _Pinacoteca_, 420. _Canvas_)]
+
+Next, by reason of the fame of these works, there was allotted to
+Domenico an altar-piece that was to be placed in the Carmine, in which
+he had to paint a S. Michael doing vengeance on Lucifer; and he, being
+full of fancy, set himself to think out a new invention, in order to
+display his talent and the beautiful conceptions of his brain. And so,
+seeking to represent Lucifer and his followers driven for their pride
+from Heaven to the lowest depths of Hell, he began a shower of nude
+figures raining down, which is very beautiful, although, from his having
+taken too great pains with it, it appears if anything rather confused.
+This altar-piece, which remained unfinished, was taken after the death
+of Domenico to the Great Hospital and placed at the top of some steps
+near the high-altar, where it is still regarded with marvel on account
+of some very beautiful foreshortenings in the nudes. In the Carmine,
+where this picture was to have been set up, was placed another, in the
+upper part of which is counterfeited a God the Father above the clouds
+with many Angels round Him, painted with marvellous grace; and in the
+centre of the picture is the Angel Michael in armour, flying, and
+pointing to Lucifer, whom he has driven to the centre of the earth,
+where there are burning buildings, rugged caverns, and a lake of fire,
+with Angels in various attitudes, and nude figures of lost souls, who
+are swimming with different gestures of agony in that fire. All this is
+painted with such beauty and grace of manner, that it appears that this
+marvellous work, in its thick darkness, is illuminated by the fire;
+wherefore it is held to be a rare picture. Baldassarre Peruzzi of Siena,
+an excellent painter, could never have his fill of praising it, and I
+myself, one day that I saw it uncovered in his company, while passing
+through Siena, was struck with astonishment by it, as I also was by the
+five little scenes that are in the predella, painted with distemper in a
+judicious and beautiful manner. For the Nuns of Ognissanti in the same
+city Domenico painted another altar-piece, in which is Christ on high in
+the heavens, crowning the Glorified Virgin, and below them are S.
+Gregory, S. Anthony, S. Mary Magdalene, and S. Catharine the
+Virgin-Martyr; and in the predella, likewise, are some very beautiful
+little figures executed in distemper.
+
+In the house of Signor Marcello Agostini Domenico painted some very
+lovely works in fresco on the ceiling of an apartment, which has three
+lunettes on each main side and two at each end, with a series of friezes
+that go right round. The centre of the ceiling is divided into two
+quadrangular compartments; in the first, where a silken arras is
+counterfeited as upheld by the ornament, there may be seen, as if woven
+upon it, Scipio Africanus restoring the young woman untouched to her
+husband, and in the other the celebrated painter Zeuxis, who is copying
+several nude women in order to paint his picture, which was to be placed
+in the Temple of Juno. In one of the lunettes, painted with little
+figures only about half a braccio high, but very beautiful, are the two
+Roman Brothers who, having been enemies, became friends for the public
+good and for the sake of their country. In that which follows is
+Torquatus,[29] who, in order to observe the laws, when his son has been
+condemned to lose his eyes, causes one of his son's and one of his own
+to be put out. In the next is the Petition of ...,[30] who, after
+hearing the recital of his crimes against his country and the Roman
+people, is put to death. In the lunette beside that one is the Roman
+people deliberating on the expedition of Scipio to Africa; and next to
+this, in another lunette, is an ancient sacrifice crowded with a variety
+of most beautiful figures, with a temple drawn in perspective, which has
+no little relief, for in that field Domenico was a truly excellent
+master. In the last is Cato killing himself after being overtaken by
+some horsemen that are most beautifully painted there. And in the
+recesses of the lunettes, also, are some little scenes very well
+finished.
+
+The excellence of this work was the reason that Domenico was recognized
+as a rare painter by those who were then governing, and was commissioned
+to paint the vaulting of a hall in the Palace of the Signori, to which
+he devoted all the diligence, study, and effort of which any man is
+capable, in order to prove his worth and to adorn that celebrated
+building of his native city, which was honouring him so much. This hall,
+which is two squares long and one square wide, has the ceiling made not
+with lunettes, but after the manner of a groined vaulting; wherefore
+Domenico executed the compartments in painting, thinking that this would
+give the best result, with friezes and cornices overlaid with gold, and
+all so beautifully, that, without any stucco-work or other ornaments,
+they are so well painted and so graceful that they appear to be really
+in relief. On each of the two ends of this hall there is a large picture
+with an historical scene, and on each main wall there are two, one on
+either side of an octagon; and thus the pictures are six and the
+octagons two, and in each of the latter is a scene. At each corner of
+the vaulting, where the rib is, there is drawn a round compartment,
+which extends half on one wall and half on the other, so that these
+compartments, being divided by the ribs of the vaulting, form eight
+spaces, in each of which are large seated figures, representing
+distinguished men who have defended their Republic and have observed her
+laws. The highest part of the surface of the vaulting is divided into
+three parts, in such a manner as to form a circular compartment in the
+centre, immediately above the octagons, and two square compartments over
+those on the walls.
+
+In one of the octagons, then, is a woman with some children round her,
+who holds a heart in her hand, representing the love that men owe to
+their country. In the other octagon is another woman, with an equal
+number of children, as a symbol of civic concord. And these are one on
+either side of a Justice that is in the circle, with the sword and
+scales in her hands, and seen from below in such bold foreshortening
+that it is a marvel, for at the feet she is dark both in drawing and in
+colour, and about the knees she becomes lighter, and so continues little
+by little towards the torso, the shoulders, and the arms, until she
+rises into a celestial splendour at the head, which makes it appear as
+if that figure dissolves gradually in a mist: wherefore it is not
+possible to imagine, much less to see, a more beautiful figure than this
+one, or one executed with greater judgment and art, among all that were
+ever painted to be seen in foreshortening from below.
+
+As for the stories, in the first, at the end of the hall and on the left
+hand as one enters, are M. Lepidus and Fulvius Flaccus the Censors, who,
+after being at enmity with one another, as soon as they became
+colleagues in the office of the Censorship, laid aside their private
+hatred for the good of their country, and acted in that office like the
+closest friends. And Domenico painted them on their knees, embracing
+each other, with many figures round them, and with a most beautiful
+prospect of buildings and temples drawn in perspective so ingeniously
+and so well, that one may see in them what a master of perspective was
+Domenico. On the next wall there follows a picture with the story of the
+Dictator Postumius Tiburtius, who, having left his only son at the head
+of his army in place of himself, commanding him that he should do
+nothing else but guard the camp, put him to death for having been
+disobedient and having with a fair occasion attacked the enemy and
+gained a victory. In this scene Domenico painted Postumius as an old man
+with shaven face, with the right hand on his axe, and with the left
+showing to the army his son lying dead upon the ground, and depicted
+very well in foreshortening; and below this picture, which is most
+beautiful, is an inscription very well composed. In the octagon that
+follows, in the centre of the wall, is the story of Spurius Cassius,
+whom the Roman Senate, suspecting that he was plotting to become King,
+caused to be beheaded, and his house to be pulled down; and in this
+scene the head, which is beside the executioner, and the body, which is
+on the ground in foreshortening, are very beautiful. In the next picture
+is the Tribune Publius Mucius, who caused all his fellow-tribunes, who
+were conspiring with Spurius to become tyrants of their country, to be
+burned; and here the fire that is consuming their bodies is painted very
+well and with great art.
+
+At the other end of the hall, in another picture, is the Athenian
+Codrus, who, having heard from the oracle that the victory would fall to
+that side whose King should be killed by the enemy, laid aside his
+robes, entered unknown among the enemy, and let himself be slain, thus
+giving the victory to his people by his own death. Domenico painted him
+seated, with his nobles round him as he puts off his robes, near a most
+beautiful round temple; and in the distant background of the picture he
+is seen dead, with his name in an epitaph below. Then, as one turns to
+the other long wall, opposite to the two pictures with the octagon in
+the centre between them, in the first scene one finds Prince Zaleucus,
+who, in order not to break the law, caused one of his own eyes to be put
+out, and one of his son's; and here many are standing round him, praying
+him that he should not do that cruelty to himself and his son, and in
+the distance is his son offering violence to a maiden, and below is his
+name in an inscription. In the octagon that is beside that picture is
+the story of Marcus Manilius being hurled down from the Capitol; and the
+figure of the young Marcus, who is being thrown down from a kind of
+balcony, is painted so well in foreshortening, with the head downwards,
+that it seems to be alive, as also seem some figures that are below. In
+the next picture is Spurius Melius, who belonged to the Equestrian
+Order, and was killed by the Tribune Servilius because the people
+suspected that he was conspiring to become tyrant of his country; which
+Servilius is seated with many round him, and one who is in the centre
+points to Spurius lying dead upon the ground, a figure painted with
+great art.
+
+Then, in the circles at the corners, where there are the eight figures
+mentioned above, are many men who have been distinguished for their
+defence of their country. In the first part is the famous Fabius
+Maximus, seated and in armour; and on the other side is Speusippus,
+Prince of the Tegeat�, who, being exhorted by a friend that he should
+rid himself of his rival and adversary, answered that he did not wish,
+at the bidding of his own private interest, to deprive his country of
+such a citizen. In the circle that is at the next corner, in one part,
+there is the Pr�tor Celius, who, for having fought against the advice
+and wish of the soothsayers, although he had won and had gained a
+victory, was punished by the Senate; and beside him sits Thrasybulus,
+who with the aid of some friends valorously slew thirty tyrants, in
+order to free his country. Thrasybulus is an old man, shaven, with white
+locks, and has his name written beneath him, as have also all the
+others. In a circle at one corner of the lower end of the hall is the
+Pr�tor Genutius Cippus, who having had a bird with wings in the form of
+horns miraculously alight on his head, was told by the oracle that he
+would become King of his country, whereupon, although already an old
+man, he chose to go into exile, in order not to take away her liberty;
+and Domenico therefore painted a bird upon his head. Beside him sits
+Charondas, who, having returned from the country, and having gone
+straightway into the Senate without disarming himself, in violation of a
+law which ordained that one who entered the Senate with arms should be
+put to death, killed himself on perceiving his error. In the second
+circle on the other side are Damon and Phintias, whose unexampled
+friendship is so well known, and with them is Dionysius, Tyrant of
+Sicily; and beside these figures sits Brutus, who from love of his
+country condemned his two sons to death, because they were conspiring to
+bring the Tarquins back to their country.
+
+This work, then, so truly extraordinary, made known to the people of
+Siena the ability and worth of Domenico, who showed most beautiful art,
+judgment, and genius in all that he did.
+
+The first time that the Emperor Charles V came to Italy, it was expected
+that he would go to Siena, for he had declared such an intention to the
+Ambassadors of that Republic; and among other vast and magnificent
+preparations that were made for the reception of so great an Emperor,
+Domenico fashioned a horse eight braccia high and in full relief, all of
+paste-board and hollow within. The weight of that horse was supported by
+an armature of iron, and upon it was the statue of the Emperor, armed in
+the ancient fashion, with a sword in his hand. And below it were three
+large figures--vanquished by him, as it were--which also supported part
+of the weight, the horse being in the act of leaping with the front legs
+high in the air; which three figures represented three provinces
+conquered and subdued by the Emperor. In that work Domenico showed that
+he was a master no less of sculpture than of painting; to which it must
+be added that he had placed the whole work upon a wooden structure four
+braccia high, with a number of wheels below it, which, being set in
+motion by men concealed within, caused the whole to move forward; and
+the design of Domenico was that at the entry of His Majesty this horse,
+having been set in motion as has been described, should accompany him
+from the gate as far as the Palace of the Signori, and should then come
+to rest in the middle of the Piazza. This horse, after being carried by
+Domenico so near completion that there only remained to gild it, was
+left in that condition, because His Majesty after all did not at that
+time go to Siena, but left Italy after being crowned at Bologna; and the
+work remained unfinished. But none the less the art and ingenuity of
+Domenico were recognized, and all men greatly praised the grandeur and
+excellence of that great structure, which stood in the Office of Works
+of the Duomo from that time until His Majesty, returning from his
+victorious enterprise in Africa, passed through Messina and then Naples,
+Rome, and finally Siena; at which time Domenico's work was placed on the
+Piazza del Duomo, to his great honour.
+
+The fame of the ability of Domenico being thus spread abroad, Prince
+Doria, who was with the Court, after seeing all the works by his hand
+that were in Siena, besought him that he should go to Genoa to work in
+his palace, where Perino del Vaga, Giovanni Antonio of Pordenone, and
+Girolamo da Treviso had worked. But Domenico could not promise that lord
+that he would go to serve him at that time, although he engaged himself
+for another time, for in those days he had set his hand to finishing a
+part of the marble pavement in the Duomo, which Duccio, the painter of
+Siena, had formerly begun in a new manner of work. The figures and
+scenes were already in great part designed on the marble, the outlines
+being hollowed out with the chisel and filled with a black mixture, with
+ornaments of coloured marble all around, and likewise the grounds for
+the figures. But Domenico, with fine judgment, saw that this work could
+be much improved, and he therefore took grey marbles, to the end that
+these, profiled with the chisel and placed beside the brilliancy of the
+white marble, might give the middle shades; and he found that in this
+way, with white and grey marble, pictures of stone could be made with
+great perfection after the manner of chiaroscuro. Having then made a
+trial, the work succeeded so well in invention, in solidity of design,
+and in abundance of figures, that he made a beginning after this fashion
+with the grandest, the most beautiful, and the most magnificent pavement
+that had ever been made; and in the course of his life, little by
+little, he executed a great part of it. Round the high-altar he made a
+border of pictures, in which, in order to follow the order of the
+stories begun by Duccio, he executed scenes from Genesis; namely, Adam
+and Eve expelled from Paradise and tilling the earth, the Sacrifice of
+Abel, and that of Melchizedek. In front of the altar is a large scene
+with Abraham about to sacrifice Isaac, and this has round it a border of
+half-length figures, carrying various animals which they seem to be
+going to sacrifice. Descending the steps, one finds another large
+picture, which serves to accompany that above, and in it Domenico
+represented Moses receiving the Laws from God on Mount Sinai; and below
+this is the scene when, having found the people worshipping the Golden
+Calf, he is seized with anger and breaks the Tables on which those Laws
+were written. Below this scene, opposite to the pulpit, and right across
+the church, is a frieze with a great number of figures, which is
+composed with so much grace and such design that it defies description;
+and in this is Moses, who, striking the rock in the desert, causes water
+to gush out and gives drink to his thirsty people. Here, along the whole
+length of the frieze, Domenico represented the stream of water, from
+which the people are drinking in various ways with a vivacity so
+pleasing, that it is almost impossible to imagine any effect more
+lovely, or figures in more graceful and beautiful attitudes than are
+those in this scene--some stooping to the ground to drink, some kneeling
+before the rock that is spouting with water, some drawing it in vases
+and others in cups, and others, finally, drinking with their hands.
+There are, moreover, some who are leading animals to drink, amid the
+great rejoicing of that people; and, among other things, most marvellous
+is a little boy who has taken a little dog by the head and neck and
+plunges its muzzle into the water, in order to make it drink, after
+which the dog, having drunk, and not wishing to drink any more, shakes
+its head so naturally that it seems to be alive. In short, this frieze
+is so beautiful, that for a work of that kind it could not be executed
+with greater art, seeing that the various kinds of shadows that may be
+seen in these figures are not merely beautiful, but miraculous; and
+although the whole work, on account of the fantastic nature of its
+craftsmanship, is one of great beauty, this part is held to be the most
+beautiful and the best. Below the cupola, moreover, there is a hexagonal
+compartment, which is divided into seven hexagons and six rhombs, of
+which hexagons Domenico finished four before he died, representing in
+them the stories and sacrifices of Elijah, and doing all this much at
+his leisure, because this work was as a school and a pastime to
+Domenico, nor did he ever abandon it altogether for his other works.
+
+While he was thus labouring now at this work and now elsewhere, he
+painted a large altar-piece in oils which is in S. Francesco on the
+right hand as one enters into the church, containing Christ descending
+in Glory to the Limbo of Hell in order to deliver the Holy Fathers;
+wherein, among many nudes, is a very beautiful Eve, and a Thief who is
+behind Christ with the cross is a very well-executed figure, while the
+cavern of Limbo and the demons and fires of that place are fantastic to
+a marvel. And since Domenico was of the opinion that pictures painted in
+distemper preserved their freshness better than those painted in oils,
+saying that it seemed to him that the works of Luca da Cortona, of the
+Pollaiuoli, and of the other masters who painted in oils in those days,
+had suffered from age more than those of Fra Giovanni, Fra Filippo,
+Benozzo, and the others before their time who painted in distemper--for
+this reason, I say, having to paint an altar-piece for the Company of S.
+Bernardino on the Piazza di S. Francesco, he resolved to do it in
+distemper; and in this way he executed it excellently well, painting in
+it Our Lady with many Saints. In the predella, which is very beautiful,
+and painted by him likewise in distemper, he depicted S. Francis
+receiving the Stigmata; S. Anthony of Padua, who, in order to convert
+some heretics, performs the miracle of the Ass, which makes obeisance
+before the sacred Host; and S. Bernardino of Siena, who is preaching to
+the people of his city on the Piazza de' Signori. And on the walls of
+this Company, also, he painted two stories of Our Lady in fresco, in
+competition with some others that Sodoma had executed in the same place.
+In one he represented the Visitation of S. Elizabeth, and in the other
+the Passing of Our Lady, with the Apostles all around; and both of these
+are much extolled.
+
+Finally, after having been long expected in Genoa by Prince Doria,
+Domenico made his way there, but with great reluctance, being a man who
+was accustomed to a life of peace and contented with that which his
+wants required, and nothing more; besides which, he was not much used to
+making journeys, for the reason that, having built himself a little
+house in Siena, and having also a vineyard a mile beyond the Porta a
+Camollia, which he cultivated with his own hand as a recreation, going
+there often, it was a long time since he had gone far from Siena. Having
+then arrived in Genoa, he painted a scene there, beside that of
+Pordenone, in which he succeeded very well, and yet not in such a manner
+that it could be counted among his best works. But, since the ways of
+the Court did not please him, being used to a life of freedom, he did
+not stay very willingly in that place, and, indeed, appeared as if he
+were stupefied. Wherefore, having come to the end of that work, he
+sought leave of the Prince and set out to return home; and passing by
+Pisa, in order to see that city, he met with Battista del Cervelliera
+and was shown all the most noteworthy things in the city, and in
+particular the altar-pieces of Sogliani and the pictures that are in the
+recess behind the high-altar of the Duomo.
+
+Meanwhile Sebastiano della Seta, the Warden of Works of the Duomo,
+having heard from Cervelliera of the qualities and abilities of
+Domenico, and being desirous to finish the work so long delayed by
+Giovanni Antonio Sogliani, allotted two of the pictures for that recess
+to Domenico, to the end that he might execute them at Siena and send
+them finished to Pisa; and so it was done. In one is Moses, who, having
+found that the people had sacrificed to the Golden Calf, is breaking the
+Tables; and in this Domenico painted some nudes that are figures of
+great beauty. In the other is the same Moses, with the earth opening and
+swallowing up a part of the people; and in this, also, are some nudes
+killed by flaming thunderbolts, which are marvellous. These pictures,
+when taken to Pisa, led to Domenico painting four pictures for the front
+of that recess--namely, two on each side--of the four Evangelists, which
+were four very beautiful figures. Whereupon Sebastiano della Seta, who
+saw that he had been served quickly and well, commissioned Domenico,
+after these pictures, to paint the altar-piece of one of the chapels in
+the Duomo, Sogliani having by that time painted four. Settling in Pisa,
+therefore, Domenico painted in that altar-piece Our Lady in the sky with
+the Child in her arms, upon some clouds supported by some little Angels,
+with many Saints both male and female below, all executed passing well,
+but yet not with that perfection which marked the pictures described
+above. But he, excusing himself for this to many of his friends, and
+particularly on one occasion to Giorgio Vasari, said that since he was
+away from the air of Siena and from certain comforts of his own, he did
+not seem to be able to do anything.
+
+Having therefore returned home, determined that he would never again go
+away to work elsewhere, he painted for the Nuns of S. Paolo, near S.
+Marco, an altar-piece in oils of the Nativity of Our Lady, with some
+nurses, and S. Anne in a bed that is foreshortened and represented as
+standing within a door; and in a dark shadow is a woman who is drying
+clothes, without any other light but that which comes from the blaze of
+the fire. In the predella, which is full of charm, are three scenes in
+distemper--the Presentation of the Virgin at the Temple, her Marriage,
+and the Adoration of the Magi. In the Mercanzia, a tribunal in that
+city, the officials have a little altar-piece which they say was painted
+by Domenico when he was young; it is very beautiful, and it contains in
+the centre a S. Paul seated, and on one side his Conversion, in little
+figures, and on the other the scene of his Beheading.
+
+Finally, Domenico was commissioned to paint the great recess of the
+Duomo, which is at the end behind the high-altar. In this he first made
+a decoration of stucco with foliage and figures, all with his own hand,
+and two Victories in the vacant spaces in the semicircle; which
+decoration was in truth a very rich and beautiful work. Then in the
+centre he painted in fresco the Ascension of Christ into Heaven; and
+from the cornice downwards he painted three pictures divided by columns
+in relief, and executed in perspective. In the middle picture, which has
+above it an arch in perspective, are Our Lady, S. Peter, and S. John;
+and in the spaces at the sides are ten Apostles, five on each side, all
+in various attitudes and gazing at Christ, who is ascending into Heaven;
+and above each of the two pictures of the Apostles is an Angel in
+foreshortening, the two together representing those two Angels who,
+after the Ascension, declared that He had risen into Heaven. This work
+is certainly admirable, but it would have been even more so if Domenico
+had given beautiful expressions to the heads; as it is, they have
+something in the expressions that is not very pleasing, and it appears
+that in his old age he adopted for his countenances an expression of
+terror by no means agreeable. This work, I say, if there had been any
+beauty in the heads, would have been so beautiful that there would have
+been nothing better to be seen. But in this matter of the expressions of
+the heads, in the opinion of the people of Siena, Sodoma was superior to
+Domenico, for the reason that Sodoma made them much more beautiful,
+although those of Domenico had more design and greater force. And, in
+truth, the manner of the heads in these our arts is of no little
+importance, and by painting them with graceful and beautiful expressions
+many masters have escaped the censure that they might have incurred for
+the rest of their work.
+
+This was the last work in painting executed by Domenico, who, having
+taken it into his head in the end to work in relief, began to give his
+attention to casting in bronze, and went so far with this that he
+executed, although with extraordinary labour, six Angels of bronze in
+the round, little less than life-size, for the six columns nearest the
+high-altar of the Duomo. These Angels, which are very beautiful, are
+holding tazze, or rather little basins, which support candelabra
+containing lights, and in the last of them he acquitted himself so well,
+that he was very highly praised for them. Whereupon, growing in courage,
+he made a beginning with figures of the twelve Apostles, which were to
+be placed on the columns lower down, where there are now some of marble,
+old and in a bad manner; but he did not continue them, for he did not
+live long after that. And since he was a man of infinite ingenuity, and
+succeeded well in everything, he engraved wood-blocks by himself in
+order to make prints in chiaroscuro, and there are to be seen prints of
+two Apostles engraved by him excellently well, of which we have one in
+our book of drawings, together with some sheets drawn divinely by his
+hand. He also engraved copper-plates with the burin, and he executed
+with aquafortis some very fanciful little stories of alchemy, in which
+Jove and the other Gods, wishing to congeal Mercury, place him bound in
+a crucible, and Vulcan and Pluto make fire around him; but when they
+think that he must be fixed, Mercury flies away and goes off in smoke.
+
+Domenico, in addition to the works described above, executed many others
+of no great importance, pictures of the Madonna and other suchlike
+chamber-pictures, such as a Madonna that is in the house of the
+Chevalier Donati, and a picture in distemper in which Jove changes
+himself into a shower of gold and rains into the lap of Dana�. Piero
+Catanei, likewise, has a round picture in oils of a very beautiful
+Virgin by the hand of the same master. He also painted a most beautiful
+bier for the Confraternity of S. Lucia, and likewise another for that of
+S. Antonio; nor should anyone be astonished that I make mention of such
+works, for the reason that they are beautiful to a marvel, as all know
+who have seen them.
+
+Finally, having come to the age of sixty-five, he hastened the end of
+his life by toiling all by himself day and night at his castings in
+metal, polishing them himself without calling in any assistance. He
+died, then, on the 18th of May, 1549, and was given burial by his
+dearest friend, the goldsmith Giuliano, in the Duomo, where he had
+executed so many rare works. And he was carried to the tomb by all the
+craftsmen of his city, which recognized even then the great loss that
+she had suffered in the death of Domenico, and now, as she admires his
+works, recognizes it more than ever.
+
+Domenico was an orderly and upright person, fearing God and studious in
+his art, although solitary beyond measure; wherefore he well deserved to
+be honourably celebrated by his fellow-citizens of Siena, who have
+always won great praise by their attention to noble studies and to
+poetry, with verses both in Latin and in the vulgar tongue.
+
+FOOTNOTE:
+
+[29] Zaleucus.
+
+[30] Here there is a blank in the text.
+
+
+
+
+GIOVANNI ANTONIO LAPPOLI
+
+
+
+
+LIFE OF GIOVANNI ANTONIO LAPPOLI
+
+PAINTER OF AREZZO
+
+
+Rarely does it happen that from an old stock there fails to sprout some
+good shoot, which, growing with time, revives and reclothes with its
+leaves that desolate stem, and reveals with its fruits to those who
+taste them the same savour that was once known in the ancient tree. And
+that this is true is proved in this present Life of Giovanni Antonio,
+who, at the death of his father Matteo, who was a painter of passing
+good repute in his day, was left with a good income under the
+guardianship of his mother, and lived thus up to the age of twelve.
+Having come to that period of his life, and not caring to choose any
+other pursuit than that of painting, to which he was drawn, besides
+other reasons, by a wish to follow the footsteps of his father in that
+art, Giovanni Antonio began to learn the first rudiments of design under
+Domenico Pecori, a painter of Arezzo, who had been, together with his
+father Matteo, a disciple of Clemente,[31] and who was his first master.
+Then, after having been some time with him, desiring to make greater
+proficience than he was making under the discipline of that master and
+in that place, where he was not able to learn by himself, although he
+had a strong natural inclination, he turned his thoughts towards the
+idea of settling in Florence. To this intention, not to mention that he
+was left alone by the death of his mother, Fortune was favourable
+enough, for a young sister that he had was married to Leonardo Ricoveri,
+one of the first and richest citizens that there were at that time in
+Arezzo; and so he went off to Florence.
+
+There, among the works of many that he saw, the manner of Andrea del
+Sarto and of Jacopo da Pontormo pleased him more than that of all the
+others who had worked at painting in that city. Wherefore he resolved to
+place himself under one of those two, and was hesitating as to which of
+them he should choose as his master, when there were uncovered the Faith
+and Charity painted by Pontormo over the portico of the Nunziata in
+Florence, and he became fully determined to go to work under Pontormo,
+thinking that his manner was so beautiful that it might be expected that
+Jacopo, who was still a young man, was destined to surpass all the young
+painters of his own age, as, indeed, was the firm belief of everyone at
+that time. Lappoli, then, although he might have gone to work under
+Andrea, for the said reasons attached himself to Pontormo, under whose
+discipline he was for ever drawing, spurred to incredible exertions, out
+of emulation, by two motives. One of these was the presence of Giovan
+Maria dal Borgo a San Sepolcro, who was studying design and painting
+under the same master, and who, always advising him for his own good,
+brought it about that he changed his manner and adopted the good manner
+of Pontormo. The other--and this spurred him more strongly--was the
+sight of Agnolo, who was called Bronzino, being much brought forward by
+Jacopo on account of his loving submissiveness and goodness and the
+untiring diligence that he showed in imitating his master's works, not
+to mention that he drew very well and acquitted himself in colouring in
+such a manner, that he aroused hopes that he was destined to attain to
+that excellence and perfection which have been seen in him, and still
+are seen, in our own day.
+
+Giovanni Antonio, then, being desirous to learn, and impelled by the
+reasons mentioned above, spent many months in making drawings and copies
+of the works of Jacopo da Pontormo, which were so well executed, so
+good, and so beautiful, that it is certain that if he had persevered,
+what with the assistance that he had from Nature, his wish to become
+eminent, the force of competition, and the good manner of his master, he
+would have become most excellent; and to this some drawings in red chalk
+by his hand, which may be seen in our book, can bear witness. But
+pleasure, as may often be seen to happen, is in young men generally the
+enemy of excellence, and brings it about that their intellects are led
+astray; wherefore he who is engaged in the studies of any faculty,
+science, or art whatsoever should have no relations save with those who
+are of the same profession, and good and orderly besides. Giovanni
+Antonio, then, in order that he might be looked after, had gone to live
+in the house of one Ser Raffaello di Sandro, a lame chaplain, in S.
+Lorenzo, to whom he paid so much a year, and he abandoned in great
+measure the study of painting, for the reason that the priest was a man
+of the world, delighting in pictures, music, and other diversions, and
+many persons of talent frequented the rooms that he had at S. Lorenzo;
+among others, M. Antonio da Lucca, a most excellent musician and
+performer on the lute, at that time a very young man, from whom Giovanni
+learned to play the lute. And although the painter Rosso and some others
+of the profession also frequented the same place, Lappoli attached
+himself rather to the others than to the men of his art, from whom he
+might have learned much, while at the same time amusing himself. Through
+these distractions, therefore, the love of painting of which Giovanni
+Antonio had given proof cooled off in great measure; but none the less,
+being the friend of Pier Francesco di Jacopo di Sandro, who was a
+disciple of Andrea del Sarto, he went sometimes with him to the Scalzo
+to draw the pictures and nudes from life. And no long time passed before
+he applied himself to colouring and executed pictures of Jacopo's, and
+then by himself some Madonnas and portraits from life, among which were
+that of the above-mentioned M. Antonio da Lucca and that of Ser
+Raffaello, which are very good.
+
+In the year 1523, the plague being in Rome, Perino del Vaga came to
+Florence, and he also settled down to lodge with Ser Raffaello del
+Zoppo; wherefore Giovanni Antonio having formed a strait friendship with
+him and having recognized the ability of Perino, there was reawakened in
+his mind the desire to attend to painting, abandoning all other
+pleasures, and he resolved when the plague had ceased to go with Perino
+to Rome. But this design was never fulfilled, for the plague having come
+to Florence, at the very moment when Perino had finished the scene of
+the Submersion of Pharaoh in the Red Sea, painted in the colour of
+bronze in chiaroscuro for Ser Raffaello, during the execution of which
+Lappoli was always present, they were forced both the one and the other
+to fly from Florence, in order not to lose their lives there.
+
+Thereupon Giovanni Antonio returned to Arezzo, and set himself, in order
+to pass the time, to paint on canvas the scene of the death of Orpheus,
+killed by the Bacchantes: he set himself, I say, to paint this scene in
+chiaroscuro of the colour of bronze, after the manner in which he had
+seen Perino paint the picture mentioned above, and when the work was
+finished it brought him no little praise. He then set to work to finish
+an altar-piece that his former master Domenico Pecori had begun for the
+Nuns of S. Margherita: in which altar-piece, now to be seen in their
+convent, he painted an Annunciation. And he made two cartoons for two
+portraits from life from the waist upwards, both very beautiful; one was
+Lorenzo d' Antonio di Giorgio, at that time a pupil and a very handsome
+youth, and the other was Ser Piero Guazzesi, who was a convivial person.
+
+The plague having finally somewhat abated, Cipriano d' Anghiari, a rich
+man of Arezzo, who in those days had caused a chapel with ornaments and
+columns of grey-stone to be built in the Abbey of S. Fiore at Arezzo,
+allotted the altar-piece to Giovanni Antonio at the price of one hundred
+crowns. Meanwhile, Rosso passed through Arezzo on his way to Rome, and
+lodged with Giovanni Antonio, who was very much his friend; and, hearing
+of the work that he had undertaken to do, he made at the request of
+Lappoli a very beautiful little sketch full of nudes. Whereupon Giovanni
+Antonio, setting his hand to the work and imitating the design of Rosso,
+painted in that altar-piece the Visitation of S. Elizabeth, and in the
+lunette above it a God the Father and some children, copying the
+draperies and all the rest from life. And when he had brought it to
+completion, he was much praised and commended for it, and above all for
+some heads copied from life, painted in a good manner and with much
+profit to himself.
+
+Then, recognizing that if he wished to make greater proficience in his
+art he must take his leave of Arezzo, he determined, after the plague
+had ceased entirely in Rome, to go to that city, where he knew that
+Perino, Rosso, and many others of his friends had already returned and
+were employed in a number of important works. While of this mind, a
+convenient occasion of going there presented itself to him, for there
+arrived in Arezzo M. Paolo Valdambrini, the Secretary of Pope Clement
+VII, who, in returning from France in great haste, passed through Arezzo
+in order to see his brothers and nephews; and when Giovanni Antonio had
+gone to visit him, M. Paolo, who was desirous that there should be in
+his native city of Arezzo men distinguished in all the arts, who might
+demonstrate the genius which that air and that sky give to those who are
+born there, exhorted him, although there was not much need for
+exhortation, that he should go in his company to Rome, where he would
+obtain for him every convenience to enable him to attend to the studies
+of his art. Having therefore gone with M. Paolo to Rome, he found there
+Perino, Rosso, and others of his friends; and besides this he was able
+by means of M. Paolo to make the acquaintance of Giulio Romano,
+Sebastiano Viniziano, and Francesco Mazzuoli of Parma, who arrived in
+Rome about that time. This Francesco, delighting to play the lute, and
+therefore conceiving a very great affection for Giovanni Antonio and
+consorting continually with him, brought it about that Lappoli set
+himself with great zeal to draw and paint and to profit by the good
+fortune that he enjoyed in being the friend of the best painters that
+there were in Rome at that time. And he had already carried almost to
+completion a picture containing a Madonna of the size of life, which M.
+Paolo wished to present to Pope Clement in order to make Lappoli known
+to him, when, as Fortune would have it, who often sets herself in
+opposition to the designs of mankind, there took place on the 6th of
+May, in the year 1527, the accursed sack of Rome. On that miserable day
+M. Paolo galloped on horseback, and Giovanni Antonio with him, to the
+Porta di S. Spirito in the Trastevere, in order to prevent the soldiers
+of Bourbon for a time from entering by that gate; and there M. Paolo was
+killed and Lappoli was taken prisoner by the Spaniards. And in a short
+time, everything being given over to sack, the picture was lost,
+together with the designs executed in the chapel and all that poor
+Giovanni Antonio possessed. He, after having been much tormented by the
+Spaniards to induce him to pay a ransom, escaped in his shirt one night
+with some other prisoners, and, after suffering desperate hardships and
+running in great danger of his life, because the roads were not safe,
+finally made his way to Arezzo, where he was received by M. Giovanni
+Pollastra, a man of great learning, who was his uncle; but he had all
+that he could do to recover himself, so broken was he by terror and
+suffering.
+
+Then in the same year there came upon Arezzo the great plague in which
+four hundred persons died every day, and Giovanni Antonio was forced
+once more to fly, all in despair and very loth to go, and to stay for
+some months out of the city. But finally, when that pestilence had
+abated to such an extent that people could begin to mix together, a
+certain Fra Guasparri, a Conventual Friar of S. Francis, who was then
+Guardian of their convent in that city, commissioned Giovanni Antonio to
+paint the altar-piece of the high-altar in that church for one hundred
+crowns, stipulating that he should represent in it the Adoration of the
+Magi. Whereupon Lappoli, hearing that Rosso, having also fled from Rome,
+was at Borgo a San Sepolcro, and was there executing an altar-piece for
+the Company of S. Croce, went to visit him; and after showing him many
+courtesies and causing some things to be brought for him from Arezzo, of
+which he knew him to stand in need, since he had lost everything in the
+sack of Rome, he obtained for himself from Rosso a very beautiful design
+of the above-mentioned altar-piece that he had to paint for Fra
+Guasparri. And when he had returned to Arezzo he set his hand to the
+work, and finished it within a year from the day of the commission,
+according to the agreement, and that so well, that he was very highly
+praised for it. That design of Rosso's passed afterwards into the hands
+of Giorgio Vasari, and from him to the very reverend Don Vincenzio
+Borghini, Director of the Hospital of the Innocenti in Florence, who has
+it in his book of drawings by various painters.
+
+Not long afterwards, having become surety for Rosso to the amount of
+three hundred crowns, in the matter of some pictures that the said Rosso
+was to paint in the Madonna delle Lagrime, Giovanni Antonio found
+himself in a very evil pass, for Rosso went away without finishing the
+work, as has been related in his Life, and Lappoli was constrained to
+restore the money; and if his friends had not helped him, and
+particularly Giorgio Vasari, who valued at three hundred crowns the part
+that Rosso had left finished, Giovanni Antonio would have been little
+less than ruined in his effort to do honour and benefit to his native
+city. These difficulties over, Lappoli painted an altar-piece in oils
+containing the Madonna, S. Bartholomew, and S. Matthew at the commission
+of Abbot Camaiani of Bibbiena, for a chapel in the lower church at S.
+Maria del Sasso, a seat of the Preaching Friars in the Casentino; and he
+acquitted himself very well, counterfeiting the manner of Rosso. And
+this was the reason that a Confraternity at Bibbiena afterwards caused
+him to paint on a banner for carrying in processions a nude Christ with
+the Cross on His shoulder, who is shedding blood into the Chalice, and
+on the other side an Annunciation, which was one of the best things that
+he ever did.
+
+In the year 1534, Duke Alessandro de' Medici being expected in Arezzo,
+the Aretines, with Luigi Guicciardini, the commissary in that city,
+wishing to honour the Duke, ordained that two comedies should be
+performed. The charge of arranging one of those festivals was in the
+hands of a Company of the most noble young men in the city, who called
+themselves the Umidi; and the preparations and scenery for this comedy,
+which had for its subject the Intronati of Siena, were made by Niccol�
+Soggi, who was much extolled for them, and the comedy was performed very
+well and with infinite satisfaction to all who saw it. The festive
+preparations for the other were executed in competition by another
+Company of young men, likewise noble, who called themselves the Company
+of the Infiammati. And they, in order to be praised no less than the
+Umidi, performed a comedy by M. Giovanni Pollastra, a poet of Arezzo,
+under his management, and entrusted the making of the scenery to
+Giovanni Antonio, who acquitted himself consummately well; and thus
+their comedy was performed with great honour to that Company and to the
+whole city. Nor must I pass over a lovely notion of that poet's, who was
+certainly a man of beautiful ingenuity. While the preparations for these
+and other festivals were in progress, on many occasions the young men of
+the two Companies, out of rivalry and for various other reasons, had
+come to blows, and several disputes had arisen; wherefore Pollastra
+arranged a surprise (keeping the matter absolutely secret), which was as
+follows. When all the people, with the gentlemen and their ladies, had
+assembled in the place where the comedy was to be performed, four of
+those young men who had come to blows with one another in the city on
+other occasions, dashing out with naked swords and cloaks wound round
+their arms, began to shout on the stage and to pretend to kill one
+another: and the first of them to be seen rushed out with one temple as
+it were smeared with blood, crying out: "Come forth, traitors!" At which
+uproar all the people rose to their feet, men began to lay hands on
+their weapons, and the kinsmen of the young men, who appeared to be
+giving each other fearful thrusts, ran towards the stage; when he who
+had come out first, turning towards the other young men, said: "Hold
+your hands, gentlemen, and sheathe your swords, for I have taken no
+harm; and although we are at daggers drawn and you believe that the play
+will not be performed, yet it will take place, and I, wounded as I am,
+will now begin the Prologue." And so after this jest, by which all the
+spectators and the actors themselves, only excepting the four mentioned
+above, were taken in, the comedy was begun and played so well, that
+afterwards, in the year 1540, when the Lord Duke Cosimo and the Lady
+Duchess Leonora were in Arezzo, Giovanni Antonio had to prepare the
+scenery anew on the Piazza del Vescovado and have it performed before
+their Excellencies. And even as the performers had given satisfaction on
+the first occasion, so at that time they gave so much satisfaction to
+the Lord Duke, that they were afterwards invited to Florence to perform
+at the next Carnival. In these two scenic preparations, then, Lappoli
+acquitted himself very well, and he was very highly praised.
+
+He then made an ornament after the manner of a triumphal arch, with
+scenes in the colour of bronze, which was placed about the altar of the
+Madonna delle Chiavi. After a time Giovanni Antonio settled in Arezzo,
+fully determined, now that he had a wife and children, to go roaming no
+more, and living on his income and on the offices that the citizens of
+that city enjoy; and so he continued without working much. Not long,
+indeed, after these events, he sought to obtain the commissions for two
+altar-pieces that were to be painted in Arezzo, one for the Church and
+Company of S. Rocco, and the other for the high-altar of S. Domenico;
+but he did not succeed, for the reason that both those pictures were
+allotted to Giorgio Vasari, whose designs, among the many that were
+made, gave more satisfaction than any of the others. For the Company of
+the Ascension in that city Giovanni Antonio painted on a banner for
+carrying in processions Christ in the act of Resurrection, with many
+soldiers round the Sepulchre, and His Ascension into Heaven, with the
+Madonna surrounded by the twelve Apostles, which was all executed very
+well and with diligence. At Castello della Pieve he painted an
+altar-piece in oils of the Visitation of Our Lady, with some Saints
+about her, and in an altar-piece that was painted for the Pieve a San
+Stefano he depicted the Madonna and other Saints; which two works
+Lappoli executed much better than the others that he had painted up to
+that time, because he had been able to see at his leisure many works in
+relief and casts taken in gesso from the statues of Michelagnolo and
+from other ancient works, and brought by Giorgio Vasari to his house at
+Arezzo. The same master painted some pictures of Our Lady, which are
+dispersed throughout Arezzo and other places, and a Judith who is
+placing the head of Holofernes in a basket held by her serving-woman,
+which now belongs to Mons. M. Bernardetto Minerbetti, Bishop of Arezzo,
+who loved Giovanni Antonio much, as he loves all other men of talent,
+and received from him, besides other things, a young S. John the Baptist
+in the desert, almost wholly naked, which is held dear by him, since it
+is an excellent figure.
+
+Finally, recognizing that perfection in this art consists in nothing
+else but seeking in good time to become rich in invention and to study
+the nude continually, and thus to render facile the difficulties of
+execution, Giovanni Antonio repented that he had not spent in the study
+of art the time that he had given to his pleasures, perceiving that what
+can be done easily in youth cannot be done well in old age. But although
+he was always conscious of his error, yet he did not recognize it fully
+until, having set himself to study when already an old man, he saw a
+picture in oils, fourteen braccia long and six braccia and a half high,
+executed in forty-two days by Giorgio Vasari, who painted it for the
+Refectory of the Monks of the Abbey of S. Fiore at Arezzo; in which work
+are painted the Nuptials of Esther and King Ahasuerus, and there are in
+it more than sixty figures larger than life. Going therefore at times to
+see Giorgio at work, and staying to discourse with him, Giovanni Antonio
+said: "Now I see that continual study and work is what lifts men out of
+laborious effort, and that our art does not come down upon us like the
+Holy Ghost."
+
+Giovanni Antonio did not work much in fresco, for the reason that the
+colours changed too much to please him; nevertheless, there may be seen
+over the Church of Murello a Piet� with two little naked Angels by his
+hand, executed passing well. Finally, after having lived like a man of
+good judgment and one not unpractised in the ways of the world, he fell
+sick of a most violent fever at the age of sixty, in the year 1552, and
+died.
+
+A disciple of Giovanni Antonio was Bartolommeo Torri, the scion of a not
+ignoble family in Arezzo, who, making his way to Rome, and placing
+himself under Don Giulio Clovio, a most excellent miniaturist, devoted
+himself in so thorough a manner to design and to the study of the nude,
+but most of all to anatomy, that he became an able master, and was held
+to be the best draughtsman in Rome. And it is not long since Don Silvano
+Razzi related to me that Don Giulio Clovio had told him in Rome, after
+having praised this young man highly, the very thing that he has often
+declared to me--namely, that he had turned him out of his house for no
+other reason but his filthy anatomy, for he kept so many limbs and
+pieces of men under his bed and all over his rooms, that they poisoned
+the whole house. Besides this, by neglecting himself and thinking that
+living like an unwashed philosopher, accepting no rule of life, and
+avoiding the society of other men, was the way to become great and
+immortal, he ruined himself completely; for nature will not tolerate the
+unreasonable outrages that some men at times do to her. Having therefore
+fallen ill at the age of twenty-five, Bartolommeo returned to Arezzo, in
+order to regain his health and to seek to build himself up again; but he
+did not succeed, for he continued his usual studies and the same
+irregularities, and in four months, a little after the death of Giovanni
+Antonio, he died and went to join him.
+
+The loss of this young man was an infinite grief to the whole city, for
+if he had lived, to judge from the great promise of his works, he was
+like to do extraordinary honour to his native place and to all Tuscany;
+and whoever sees any of the drawings that he made when still a mere lad,
+stands marvelling at them and full of compassion for his untimely
+death.
+
+FOOTNOTE:
+
+[31] Don Bartolommeo della Gatta, Abbot of S. Clemente.
+
+
+
+
+NICCOL� SOGGI
+
+
+
+
+LIFE OF NICCOL� SOGGI
+
+PAINTER
+
+
+Among the many who were disciples of Pietro Perugino, there was not one,
+after Raffaello da Urbino, who was more studious or more diligent than
+Niccol� Soggi, whose Life we are now about to write. This master was
+born in Florence, the son of Jacopo Soggi, a worthy person, but not very
+rich; and in time he entered the service of M. Antonio dal Monte in
+Rome, because Jacopo had a farm at Marciano in Valdichiana, and, passing
+most of his time there, associated not a little with that same M.
+Antonio dal Monte, their properties being near together.
+
+Jacopo, then, perceiving that this son of his was much inclined to
+painting, placed him with Pietro Perugino; and in a short time, by means
+of continual study, he learned so much that it was not long before
+Pietro began to make use of him in his works, to the great advantage of
+Niccol�, who devoted himself in such a manner to drawing in perspective
+and copying from nature, that he afterwards became very excellent in
+both the one field and the other. Niccol� also gave much attention to
+making models of clay and wax, over which he laid draperies and soaked
+parchment: which was the reason that he rendered his manner so dry, that
+he always held to the same as long as he lived, nor could he ever get
+rid of it for all the pains that he took.
+
+The first work that this Niccol� executed after the death of his master
+Pietro was an altar-piece in oils in the Hospital for Women, founded by
+Bonifazio Lupi, in the Via San Gallo at Florence--that is, the side
+behind the altar, wherein is the Angel saluting Our Lady, with a
+building drawn in perspective, in which there are arches and a groined
+vaulting rising above pilasters after the manner of Pietro. Then, in the
+year 1512, after having executed many pictures of Our Lady for the
+houses of citizens, and other little works such as are painted every
+day, hearing that great things were being done in Rome, he departed from
+Florence, thinking to make proficience in art and also to save some
+money, and went off to Rome. There, having paid a visit to the aforesaid
+M. Antonio dal Monte, who was then a Cardinal, he was not only welcomed
+warmly, but also straightway set to work to paint, in those early days
+of the pontificate of Leo, on the fa�ade of the palace where there is
+the statue of Maestro Pasquino, a great escutcheon of Pope Leo in
+fresco, between that of the Roman People and that of the Cardinal. In
+that work Niccol� did not acquit himself very well, for in painting some
+nude figures and others clothed that he placed there as ornaments for
+those escutcheons, he recognized that the study of models is bad for him
+who wishes to acquire a good manner. Thereupon, after the uncovering of
+that work, which did not prove to be of that excellence which many
+expected, Niccol� set himself to execute a picture in oils, in which he
+painted the Martyr S. Prassedia squeezing a sponge full of blood into a
+vessel; and he finished it with such diligence that he recovered in part
+the honour that he considered himself to have lost in painting the
+escutcheons described above. This picture, which was executed for the
+above-mentioned Cardinal dal Monte, who was titular of S. Prassedia, was
+placed in the centre of that church, over an altar beneath which is a
+well of the blood of Holy Martyrs--a beautiful idea, the picture
+alluding to the place where there was the blood of those Martyrs. After
+this Niccol� painted for his patron the Cardinal another picture in
+oils, three-quarters of a braccio in height, of Our Lady with the Child
+in her arms, S. John as a little boy, and some landscapes, all executed
+so well and with such diligence, that the whole work appears to be done
+in miniature, and not painted; which picture, one of the best works that
+Niccol� ever produced, was for many years in the apartment of that
+prelate. Afterwards, when the Cardinal arrived in Arezzo and lodged in
+the Abbey of S. Fiore, a seat of the Black Friars of S. Benedict, in
+return for the many courtesies that were shown to him, he presented that
+picture to the sacristy of that place, in which it has been treasured
+ever since, both as a good painting and in memory of the Cardinal.
+
+Niccol� himself went with the Cardinal to Arezzo, where he lived almost
+ever afterwards. At the time he formed a friendship with the painter
+Domenico Pecori, who was then painting an altar-piece with the
+Circumcision of Christ for the Company of the Trinit�; and such was the
+intimacy between them that Niccol� painted for Domenico in that
+altar-piece a building in perspective with columns and arches supporting
+a ceiling full of rosettes, according to the custom of those days, which
+was held at that time to be very beautiful. Niccol� also painted for the
+same Domenico a round picture of the Madonna with a multitude below, in
+oils and on cloth, for the baldachin of the Confraternity of Arezzo,
+which was burned, as has been related in the Life of Domenico
+Pecori,[32] during a festival that was held in S. Francesco. Then,
+having received the commission for a chapel in that same S. Francesco,
+the second on the right hand as one enters the church, he painted there
+in distemper Our Lady, S. John the Baptist, S. Bernard, S. Anthony, S.
+Francis, and three Angels in the air who are singing, with God the
+Father in a pediment; which were executed by Niccol� almost entirely in
+distemper, with the point of the brush. But since the work has almost
+all peeled off on account of the strength of the distemper, it was
+labour thrown away. Niccol� did this in order to try new methods; and
+when he had recognized that the true method was working in fresco, he
+seized the first opportunity, and undertook to paint in fresco a chapel
+in S. Agostino in that city, beside the door on the left hand as one
+enters the church. In this chapel, which was allotted to him by one
+Scamarra, a master of furnaces, he painted a Madonna in the sky with a
+multitude beneath, and S. Donatus and S. Francis kneeling; but the best
+thing that he did in this work was a S. Rocco at the head of the chapel.
+
+This work giving great pleasure to Domenico Ricciardi of Arezzo, who had
+a chapel in the Church of the Madonna delle Lagrime, he entrusted the
+painting of the altar-piece of that chapel to Niccol�, who, setting his
+hand to the work, painted in it with much care and diligence the
+Nativity of Jesus Christ. And although he toiled a long time over
+finishing it, he executed it so well that he deserves to be excused for
+this, or rather, merits infinite praise, for the reason that it is a
+most beautiful work; nor would anyone believe with what extraordinary
+consideration he painted every least thing in it, and a ruined building,
+near the hut wherein are the Infant Christ and the Virgin, is drawn very
+well in perspective. In the S. Joseph and some Shepherds are many heads
+portrayed from life, such as Stagio Sassoli, a painter and the friend of
+Niccol�, and Papino della Pieve, his disciple, who, if he had not died
+when still young, would have done very great honour both to himself and
+to his country; and three Angels in the air who are singing are so well
+executed that they would be enough by themselves to demonstrate the
+talent of Niccol� and the patience with which he laboured at this work
+up to the very last. And no sooner had he finished it than he was
+requested by the men of the Company of S. Maria della Neve, at Monte
+Sansovino, to paint for that Company an altar-piece wherein was to be
+the story of the Snow, which, falling on the site of S. Maria Maggiore
+at Rome on the 5th of August, was the reason of the building of that
+temple. Niccol�, then, executed that altar-piece for the above-mentioned
+Company with much diligence; and afterwards he executed at Marciano a
+work in fresco that won no little praise.
+
+Now in the year 1524, after M. Baldo Magini had caused Antonio, the
+brother of Giuliano da San Gallo, to build in the Madonna delle Carceri,
+in the town of Prato, a tabernacle of marble with two columns,
+architrave, cornice, and a quarter-round arch, Antonio resolved to bring
+it about that M. Baldo should give the commission for the picture which
+was to adorn that tabernacle to Niccol�, with whom he had formed a
+friendship when he was working in the Palace of the above-mentioned
+Cardinal dal Monte at Monte Sansovino. He presented him, therefore, to
+M. Baldo, who, although he had been minded to have it painted by Andrea
+del Sarto, as has been related in another place, resolved, at the
+entreaties and advice of Antonio, to allot it to Niccol�. And he, having
+set his hand to it, strove with all his power to make a beautiful work,
+but he did not succeed; for, apart from diligence, there is no
+excellence of design to be seen in it, nor any other quality worthy of
+much praise, because his hard manner, with his labours over his models
+of clay and wax, almost always gave a laborious and displeasing effect
+to his work. And yet, with regard to the labours of art, that man could
+not have done more than he did or shown more lovingness; and since he
+knew that none ...[33] for many years he could never bring himself to
+believe that others surpassed him in excellence. In this work, then,
+there is a God the Father who is sending down the crown of virginity and
+humility upon the Madonna by the hands of some Angels who are round her,
+some of whom are playing various instruments. Niccol� made in the
+picture a portrait from life of M. Baldo, kneeling at the feet of S.
+Ubaldo the Bishop, and on the other side he painted S. Joseph; and those
+two figures are one on either side of the image of the Madonna, which
+worked miracles in that place. Niccol� afterwards painted a picture
+three braccia in height of the same M. Baldo Magini from life, standing
+with the Church of S. Fabiano di Prato in his hand, which he presented
+to the Chapter of the Canons of the Pieve; and this Niccol� executed for
+that Chapter, which, in memory of the benefit received, caused the
+picture to be placed in the sacristy, an honour well deserved by that
+remarkable man, who with excellent judgment conferred benefits on that
+church, the principal church of his native city, and so renowned for the
+Girdle of the Madonna, which is preserved there. This portrait was one
+of the best works that Niccol� ever executed in painting. It is also the
+belief of some that a little altar-piece that is in the Company of S.
+Pier Martire on the Piazza di S. Domenico, at Prato, in which are many
+portraits from life, is by the hand of the same Niccol�; but in my
+opinion, even if this be true, it was painted by him before any of the
+other pictures mentioned above.
+
+After these works, Niccol�--under whose discipline Domenico Giuntalodi,
+a young man of excellent ability belonging to Prato, had learned the
+rudiments of the art of painting, although, in consequence of having
+acquired the manner of Niccol�, he never became a great master in
+painting, as will be related--departed from Prato and came to work in
+Florence; but, having seen that the most important works in art were
+given to better and more eminent men than himself, and that his manner
+was not up to the standard of Andrea del Sarto, Pontormo, Rosso, and the
+others, he made up his mind to return to Arezzo, in which city he had
+more friends, greater credit, and less competition. Which having done,
+no sooner had he arrived than he made known to M. Giuliano Bacci, one of
+the chief citizens of that place, a desire that he had in his heart,
+which was this, that he wished that Arezzo should become his country,
+and that therefore he would gladly undertake to execute some work which
+might maintain him for a time in the practice of his art, whereby he
+hoped to demonstrate to that city the nature of his talents. Whereupon
+Messer Giuliano, an ingenious man who desired that his native city
+should be embellished and should contain persons engaged in the arts, so
+went to work with the men then governing the Company of the Nunziata,
+who in those days had caused a great vaulting to be built in their
+church, with the intention of having it painted, that one arch of the
+wall-surface of that vaulting was allotted to Niccol�; and it was
+proposed that he should be commissioned to paint the rest, if the first
+part, which he had to do then, should please the men of the aforesaid
+Company. Having therefore set his hand to this work with great
+diligence, in two years Niccol� finished the half, but not more, of one
+arch, on which he painted in fresco the Tiburtine Sibyl showing to the
+Emperor Octavian the Virgin in Heaven with the Infant Jesus Christ in
+her arms, and Octavian in reverent adoration. In the figure of Octavian
+he portrayed the above-mentioned M. Giuliano Bacci, and his pupil
+Domenico in a tall young man draped in red, and others of his friends in
+other heads; and, in a word, he acquitted himself in this work in such a
+manner that it did not displease the men of that Company and the other
+men of that city. It is true, indeed, that everyone grew weary of seeing
+him take so long and toil so much over executing his works; but
+notwithstanding all this the rest would have been given to him to
+finish, if that had not been prevented by the arrival in Arezzo of the
+Florentine Rosso, a rare painter, to whom, after he had been put forward
+by the Aretine painter Giovanni Antonio Lappoli and M. Giovanni
+Pollastra, as has been related in another place, much favour was shown
+and the rest of that work allotted. At which Niccol� felt such disdain,
+that, if he had not taken a wife the year before and had a son by her,
+so that he was settled in Arezzo, he would have departed straightway.
+However, having finally become pacified, he executed an altar-piece for
+the Church of Sargiano, a place two miles distant from Arezzo, where
+there are Frati Zoccolanti; in which he painted the Assumption of Our
+Lady into Heaven, with many little Angels supporting her, and S. Thomas
+below receiving the Girdle, while all around are S. Francis, S. Louis,
+S. John the Baptist, and S. Elizabeth, Queen of Hungary. In some of
+these figures, and particularly in some of the little Angels, he
+acquitted himself very well; and so also in the predella he painted some
+scenes with little figures, which are passing good. He executed,
+likewise, in the Convent of the Nuns of the Murate, who belong to the
+same Order, in that city, a Dead Christ with the Maries, which is
+wrought with a high finish for a picture in fresco. In the Abbey of S.
+Fiore, a seat of Black Friars, behind the Crucifix that is placed on the
+high-altar, he painted in oils, on a canvas, Christ praying in the
+Garden and the Angel showing to Him the Chalice of the Passion and
+comforting Him, which was certainly a work of no little beauty and
+excellence. And for the Nuns of S. Benedetto, of the Order of Camaldoli,
+at Arezzo, on an arch above a door by which one enters the convent, he
+painted the Madonna, S. Benedict, and S. Catharine, a work which was
+afterwards thrown to the ground in order to enlarge the church.
+
+In the township of Marciano in Valdichiana, where he passed much of his
+time, living partly on the revenues that he had in that place and partly
+on what he could earn there, Niccol� began an altar-piece of the Dead
+Christ and many other works, with which he occupied himself for a time.
+And meanwhile, having with him the above-mentioned Domenico Giuntalodi
+of Prato, whom he loved as a son and kept in his house, he strove to
+make him excellent in the matters of art, teaching him so well how to
+draw in perspective, to copy from nature, and to make designs, that he
+was already becoming very able in all these respects, showing a good and
+beautiful genius. And this Niccol� did, besides being moved by the love
+and affection that he bore to that young man, in the hope of having one
+who might help him now that he was nearing old age, and might give him
+some return in his last years for so much labour and lovingness. Niccol�
+was in truth most loving with every man, true by nature, and much the
+friend of those who laboured in order to attain to something in the
+world of art; and what he knew he taught to them with extraordinary
+willingness.
+
+No long time after this, when Niccol� had returned from Marciano to
+Arezzo and Domenico had left him, the men of the Company of the Corpo di
+Cristo, in that city, had a commission to give for the painting of an
+altar-piece for the high-altar of the Church of S. Domenico. Now,
+Niccol� desiring to paint it, and likewise Giorgio Vasari, then a mere
+lad, the former did something which probably not many of the men of our
+art would do at the present day, which was as follows: Niccol�, who was
+one of the members of the above-mentioned Company, perceiving that many
+were disposed to have it painted by Giorgio, in order to bring him
+forward, and that the young man had a very great desire for it,
+resolved, after remarking Giorgio's zeal, to lay aside his own desire
+and need and to have the picture allotted by his companions to Giorgio,
+thinking more of the advantage that the young man might gain from the
+work than of his own profit and interest; and even as he wished, so
+exactly did the men of that Company decide.
+
+In the meantime Domenico Giuntalodi, having gone to Rome, found Fortune
+so propitious that he became known to Don Martino, the Ambassador of the
+King of Portugal, and went to live with him; and he painted for him a
+canvas with some twenty portraits from life, all of his followers and
+friends, with himself in the midst of them, engaged in conversation;
+which work so pleased Don Martino, that he looked upon Domenico as the
+first painter in the world. Afterwards Don Ferrante Gonzaga, having been
+made Viceroy of Sicily, and desiring to fortify the towns of that
+kingdom, wished to have about his person a man who might draw and put
+down on paper for him all that he thought of from day to day; and he
+wrote to Don Martino that he should find for him a young man who might
+be both able and willing to serve him in this way, and should send him
+off as soon as possible. Don Martino, therefore, first sent to Don
+Ferrante some designs by the hand of Domenico, among which was a
+Colosseum, engraved on copper by Girolamo Fagiuoli of Bologna for
+Antonio Salamanca, but drawn in perspective by Domenico; an old man in
+a child's go-cart, drawn by the same hand and published in engraving,
+with letters that ran thus, "Ancora imparo"; and a little picture with
+the portrait of Don Martino himself. And shortly afterwards he sent
+Domenico, at the wish of the aforesaid lord, Don Ferrante, who had been
+much pleased with that young man's works. Having then arrived in Sicily,
+there were assigned to Domenico an honourable salary, a horse, and a
+servant, all at the expense of Don Ferrante; and not long afterwards he
+was set to work on the walls and fortresses of Sicily. Whereupon,
+abandoning his painting little by little, he devoted himself to
+something else which for a time was more profitable to him; for, being
+an ingenious person, he made use of men who were well adapted to heavy
+labour, kept beasts of burden in the charge of others, and caused sand
+and lime to be collected and furnaces to be set up; and no long time had
+passed before he found that he had saved so much that he was able to buy
+offices in Rome to the extent of two thousand crowns, and shortly
+afterwards some others. Then, after he had been made keeper of the
+wardrobe to Don Ferrante, it happened that his master was removed from
+the government of Sicily and sent to that of Milan; whereupon Domenico
+went with him, and, working on the fortifications of that State,
+contrived, what with being industrious and with being something of a
+miser, to become very rich; and what is more, he came into such credit
+that he managed almost everything in that government.
+
+Hearing of this, Niccol�, who was at Arezzo, now an old man, needy, and
+without any work to do, went to find Domenico in Milan, thinking that
+even as he had not failed Domenico when he was a young man, so Domenico
+should not fail him now, but should avail himself of his services, since
+he had many in his employ, and should be both able and willing to assist
+him in his poverty-stricken old age. But he found to his cost that the
+judgments of men, in expecting too much from others, are often deceived,
+and that the men who change their condition also change more often than
+not their nature and their will. For after arriving in Milan, where he
+found Domenico raised to such greatness that he had no little difficulty
+in getting speech of him, Niccol� related to him all his troubles, and
+then besought him that he should help him by making use of his
+services; but Domenico, not remembering or not choosing to remember
+with what lovingness he had been brought up by Niccol� as if he had been
+his own son, gave him a miserably small sum of money and got rid of him
+as soon as he was able. And so Niccol� returned to Arezzo very sore at
+heart, having recognized that with the labour and expense with which, as
+he thought, he had reared a son, he had formed one who was little less
+than an enemy.
+
+In order to earn his bread, therefore, he went about executing all the
+work that came to his hand, as he had done many years before, and he
+painted among other things a canvas for the Commune of Monte Sansovino,
+containing the said town of Monte Sansovino and a Madonna in the sky,
+with two Saints at the sides; which picture was set up on an altar in
+the Madonna di Vertigli, a church belonging to the Monks of the Order of
+Camaldoli, not far distant from the Monte, where it has pleased and
+still pleases Our Lord daily to perform many miracles and to grant
+favours to those who recommend themselves to the Queen of Heaven.
+Afterwards, Julius III having been created Supreme Pontiff, Niccol�, who
+had been much connected with the house of Monte, made his way to Rome,
+although he was an old man of eighty, and, having kissed the foot of His
+Holiness, besought him that he should deign to make use of him in the
+buildings which were to be erected, so men said, at the Monte, a place
+which the Lord Duke of Florence had given in fief to the Pontiff. The
+Pope, then, having received him warmly, ordained that the means to live
+in Rome should be given to him without exacting any sort of exertion
+from him; and in this manner Niccol� spent several months in Rome,
+drawing many antiquities to pass the time.
+
+Meanwhile the Pope resolved to increase his native town of Monte
+Sansovino, and to make there, besides many ornamental works, an
+aqueduct, because that place suffered much from want of water; and
+Giorgio Vasari, who had orders from the Pope to cause those buildings to
+be begun, recommended Niccol� Soggi strongly to His Holiness, entreating
+him that Niccol� should be given the office of superintendent over those
+works. Whereupon Niccol� went to Arezzo filled with these hopes, but he
+had not been there many days when, worn out by the fatigues and
+hardships of this world and by the knowledge that he had been abandoned
+by him who should have been the last to forsake him, he finished the
+course of his life and was buried in S. Domenico in that city.
+
+Not long afterwards Domenico Giuntalodi, Don Ferrante Gonzaga having
+died, departed from Milan with the intention of returning to Prato and
+of passing the rest of his life there in repose. However, finding there
+neither relatives nor friends, and recognizing that Prato was no abiding
+place for him, he repented too late that he had behaved ungratefully to
+Niccol�, and returned to Lombardy to serve the sons of Don Ferrante. But
+no long time passed before he fell sick unto death; whereupon he made a
+will leaving ten thousand crowns to his fellow-citizens of Prato, to the
+end that they might buy property to that amount and form a fund
+wherewith to maintain continually at their studies a certain number of
+students from Prato, in the manner in which they maintained certain
+others, as they still do, according to the terms of another bequest. And
+this has been carried out by the men of that town of Prato, who,
+grateful for such a benefit, which in truth has been a very great one
+and worthy of eternal remembrance, have placed in their Council Chamber
+the image of Domenico, as that of one who has deserved well of his
+country.
+
+FOOTNOTE:
+
+[32] See p. 208, Vol. III.
+
+[33] These words are missing in the text.
+
+
+
+
+INDEX
+
+
+
+
+INDEX OF NAMES
+
+OF THE CRAFTSMEN MENTIONED IN VOLUME VI
+
+
+    Abacco, Antonio L', 113, 114, 130, 136, 137
+
+    Abbot of S. Clemente (Don Bartolommeo della Gatta), 255
+
+    Agnolo, Baccio d' (Baccio Baglioni), _Life_, 65-68. 69, 72
+
+    Agnolo, Battista d' (Battista del Moro), _Life_, 27-28. 108
+
+    Agnolo, Domenico di Baccio d', 68, 70, 72
+
+    Agnolo, Filippo di Baccio d', 68, 70
+
+    Agnolo, Giuliano di Baccio d', _Life_, 68-72
+
+    Agnolo, Marco di Battista d', 27, 28
+
+    Agnolo Bronzino, 118, 256
+
+    Agostino Viniziano (Agostino de' Musi), _Life_, 102-103. 106
+
+    Aimo, Domenico (Il Bologna), 217
+
+    Alberti, Leon Batista, 45
+
+    Alberto Monsignori (Bonsignori), 29
+
+    Albrecht (Heinrich) Aldegrever, 119
+
+    Albrecht D�rer, _Life_, 92-98. 99, 102, 119, 165
+
+    Aldegrever, Albrecht (Heinrich), 119
+
+    Alessandro Cesati (Il Greco), _Life_, 85
+
+    Alessandro Falconetto, 47, 48
+
+    Alessandro Filipepi (Sandro Botticelli), 91
+
+    Andrea Contucci (Andrea Sansovino), 66, 133
+
+    Andrea dal Castagno, 182
+
+    Andrea de' Ceri, 190-192, 201
+
+    Andrea del Sarto, 60, 106, 255-257, 272, 273
+
+    Andrea Mantegna, 15, 29, 30, 91
+
+    Andrea Palladio, 28, 48
+
+    Andrea Sansovino (Andrea Contucci), 66, 133
+
+    Angelico, Fra (Fra Giovanni da Fiesole), 246
+
+    Anichini, Luigi, 85
+
+    Anselmo Canneri, 22
+
+    Antoine Lafrery (Antonio Lanferri), 113
+
+    Antonio da San Gallo (the elder), 66, 123, 272
+
+    Antonio da San Gallo (the younger), _Life_, 123-141. 167, 197,
+      198, 219, 220, 222
+
+    Antonio da Trento (Antonio Fantuzzi), 108
+
+    Antonio del Pollaiuolo, 182, 246
+
+    Antonio di Giorgio Marchissi, 126
+
+    Antonio di Marco di Giano (Il Carota), 213
+
+    Antonio Fantuzzi (Antonio da Trento), 108
+
+    Antonio l'Abacco, 113, 114, 130, 136, 137
+
+    Antonio Lanferri (Antoine Lafrery), 113
+
+    Antonio (or Vittore) Pisano (or Pisanello), 35
+
+    Antonio Salamanca, 276
+
+    Antonio Scarpagni (Scarpagnino or Zanfragnino,) 10
+
+    Aretino, Leone (Leone Lioni), 87
+
+    Aretusi, Pellegrino degli (Pellegrino da Modena, or de' Munari), 125
+
+    Avanzi, Niccol�, 79, 80
+
+
+    Bacchiacca, Il (Francesco Ubertini), 60
+
+    Baccio Baglioni (Baccio d' Agnolo), _Life_, 65-68. 69, 72
+
+    Baccio Baldini, 91
+
+    Baccio Bandinelli, 69-71, 103, 105, 111
+
+    Baccio d' Agnolo (Baccio Baglioni), _Life_, 65-68. 69, 72
+
+    Baldassarre Peruzzi, 107, 167, 174, 177, 239
+
+    Baldini, Baccio, 91
+
+    Bandinelli, Baccio, 69-71, 103, 105, 111
+
+    Barile, Giovan, 177
+
+    Barlacchi, Tommaso, 104, 113
+
+    Barozzo, Jacopo, 114
+
+    Bartolommeo da Castiglione, 152
+
+    Bartolommeo della Gatta, Don (Abbot of S. Clemente), 255
+
+    Bartolommeo di San Marco, Fra, 66
+
+    Bartolommeo Ridolfi, 48
+
+    Bartolommeo Torri, 264, 265
+
+    Battista d' Agnolo (Battista del Moro), _Life_, 27-28. 108
+
+    Battista del Cervelliera, 214, 247, 248
+
+    Battista del Moro (Battista d' Agnolo), _Life_, 27-28. 108
+
+    Battista del Tasso, 213
+
+    Battista Franco, 108, 114, 156
+
+    Battista Gobbo, 133, 140
+
+    Battista of Vicenza (Battista Pittoni), 108
+
+    Baviera, 100, 101, 109, 209
+
+    Bazzi, Giovanni Antonio (Il Sodoma), 236-238, 247, 249
+
+    Beatricio, Niccol� (Nicolas Beautrizet), 114
+
+    Beccafumi, Domenico (Domenico di Pace), _Life_, 235-251. 108,
+      213, 215, 223, 235-251
+
+    Beham, Hans, 119
+
+    Belli, Valerio (Valerio Vicentino), _Life_, 82-84. 76, 79
+
+    Bellini, Giovanni, 173
+
+    Bellini, Jacopo, 11, 35
+
+    Benedetto da Maiano, 66
+
+    Benedetto Ghirlandajo, 57
+
+    Benedetto Pagni, 152, 154-156, 169
+
+    Benozzo Gozzoli, 246
+
+    Benvenuto Cellini, 86, 87
+
+    Bernardi, Giovanni (Giovanni da Castel Bolognese), _Life_, 76-79.
+      83, 84
+
+    Bernardino Pinturicchio, 195
+
+    Bologna, Il (Domenico Aimo), 217
+
+    Bolognese, Marc' Antonio (Marc' Antonio Raimondi, or de' Franci),
+      _Life_, 95-96, 99-106. 108, 109, 120
+
+    Bonasone, Giulio, 114
+
+    Bonsignori (Monsignori), Alberto, 29
+
+    Bonsignori (Monsignori), Fra Cherubino, 34
+
+    Bonsignori (Monsignori), Fra Girolamo, _Life_, 34-35
+
+    Bonsignori (Monsignori), Francesco, _Life_, 29-35
+
+    Borgo, Raffaello dal (Raffaello dal Colle), 152, 169
+
+    Borgo a San Sepolcro, Giovan Maria dal, 256
+
+    Bosch, Hieronymus, 118
+
+    Botticelli, Sandro (Alessandro Filipepi), 91
+
+    Boyvin, Ren� (Renato), 115
+
+    Bramante da Urbino, 6, 124, 126, 136, 138
+
+    Brescianino (Girolamo Muziano, or Mosciano), 114
+
+    Bronzino, Agnolo, 118, 256
+
+    Brunelleschi, Filippo, 68, 71
+
+    Brusciasorzi, Domenico (Domenico del Riccio), 82
+
+    Bugiardini, Giuliano, 183
+
+    Buonaccorsi, Perino (Perino del Vaga, or Perino de' Ceri),
+      _Life_, 189-225. 78, 109, 125, 129, 139, 148, 177, 189-225,
+      244, 257-259
+
+    Buonarroti, Michelagnolo, 57, 59, 60, 66, 68, 78, 79, 85, 92,
+      107, 111, 113, 114, 129, 135, 136, 139, 140, 167, 174-177, 183,
+      185, 191, 193, 195, 205, 218, 219, 222, 225, 236, 263
+
+
+    Cadore, Tiziano da (Tiziano Vecelli), 109, 111, 114, 161, 183, 222
+
+    Calcar, Johann of (Jan Stephanus van Calcker), 116
+
+    Caliari, Paolo (Paolo Veronese), 22, 27
+
+    Cammei, Domenico de', 76
+
+    Canneri, Anselmo, 22
+
+    Caraglio, Gian Jacopo, 109, 110, 209
+
+    Caravaggio, Polidoro da, 177, 196
+
+    Carota, Il (Antonio di Marco di Giano), 213
+
+    Caroto, Giovan Francesco, _Life_, 15-21. 37
+
+    Caroto, Giovanni, _Life_, 21-22. 15
+
+    Carpi, Ugo da, 106, 107
+
+    Carrara, Danese da (Danese Cattaneo), 26-28, 54
+
+    Carrucci, Jacopo (Jacopo da Pontormo), 60, 255-257, 273
+
+    Castagno, Andrea dal, 182
+
+    Castel Bolognese, Giovanni da (Giovanni Bernardi), _Life_, 76-79.
+      83, 84
+
+    Castelfranco, Giorgione da, 23, 173, 174
+
+    Castiglione, Bartolommeo da, 152
+
+    Catanei, Piero, 250
+
+    Cattaneo, Danese (Danese da Carrara), 26-28, 54
+
+    Cavalieri, Giovan Battista de', 113
+
+    Cavazzuola, Paolo (Paolo Morando), _Life_, 39-42. 15, 24, 25, 29,
+      39-42, 50
+
+    Cellini, Benvenuto, 86, 87
+
+    Ceri, Andrea de', 190-192, 201
+
+    Ceri, Perino de' (Perino del Vaga, or Perino Buonaccorsi),
+      _Life_, 189-225. 78, 109, 125, 129, 139, 148, 177, 189-225, 244,
+      257-259
+
+    Cervelliera, Battista del, 214, 247, 248
+
+    Cesati, Alessandro (Il Greco), _Life_, 85
+
+    Cherubino Monsignori (Bonsignori), Fra, 34
+
+    Cicogna, Girolamo, 22
+
+    Cioli, Simone, 133
+
+    Clovio, Don Giulio, 51, 54, 111, 264
+
+    Cock, Hieronymus, _Life_, 116-120. 108
+
+    Colle, Raffaello dal (Raffaello dal Borgo), 152, 169
+
+    Contucci, Andrea (Andrea Sansovino), 66, 133
+
+    Coriolano, Cristofano, 120
+
+    Corniole, Giovanni delle, 76, 84
+
+    Cortona, Luca da (Luca Signorelli), 246
+
+    Cosimo (Jacopo) da Trezzo, 86
+
+    Cosini, Silvio, 210
+
+    Cousin, Jean (Giovanni Cugini), 114
+
+    Coxie, Michael (Michele), 116, 178
+
+    Cristofano Coriolano, 120
+
+    Cristofano Lombardi (Tofano Lombardino), 167
+
+    Cronaca, Il (Simone del Pollaiuolo), 66, 70
+
+    Cugini, Giovanni (Jean Cousin), 114
+
+    Cungi, Leonardo, 225
+
+
+    Danese Cattaneo (Danese da Carrara), 26-28, 54
+
+    Daniello Ricciarelli, 113, 219, 224
+
+    David Ghirlandajo, 57
+
+    Dente, Marco (Marco da Ravenna), _Life_, 102-103. 106
+
+    Domenico Aimo (Il Bologna), 217
+
+    Domenico Beccafumi (Domenico di Pace), _Life_, 235-251. 108,
+      213, 215, 223, 235-251
+
+    Domenico Brusciasorzi (Domenico del Riccio), 82
+
+    Domenico de' Cammei, 76
+
+    Domenico del Riccio (Domenico Brusciasorzi), 82
+
+    Domenico di Baccio d' Agnolo, 68, 70, 72
+
+    Domenico di Pace (Domenico Beccafumi), _Life_, 235-251. 108,
+      213, 215, 223, 235-251
+
+    Domenico di Polo, 84
+
+    Domenico Ghirlandajo, 57, 58, 191
+
+    Domenico Giuntalodi, 273-279
+
+    Domenico Morone, _Life_, 35-36. 29, 38
+
+    Domenico Pecori, 255, 258, 271
+
+    Domenico Poggini, 87
+
+    Domenico Viniziano, 182
+
+    Don Bartolommeo della Gatta (Abbot of S. Clemente), 255
+
+    Don Giulio Clovio, 51, 54, 111, 264
+
+    Donato (Donatello), 220
+
+    Duccio, 245
+
+    D�rer, Albrecht, _Life_, 92-98. 99, 102, 119, 165
+
+
+    Enea Vico, _Life_, 111-112
+
+
+    Faenza, Figurino da, 169
+
+    Fagiuoli, Girolamo, 87, 276
+
+    Falconetto, Alessandro, 47, 48
+
+    Falconetto, Giovan Maria, _Life_, 43-48. 22, 29, 42, 43-48
+
+    Falconetto, Giovanni Antonio (the elder), 42
+
+    Falconetto, Giovanni Antonio (the younger), 42, 43
+
+    Falconetto, Jacopo, 42, 43
+
+    Falconetto, Ottaviano, 47, 48
+
+    Falconetto, Provolo, 47, 48
+
+    Fantuzzi, Antonio (Antonio da Trento), 108
+
+    Fattore, Il (Giovan Francesco Penni), 146-148, 150, 151, 153,
+      177, 193, 194, 207, 216
+
+    Fermo Ghisoni, 34, 167, 169
+
+    Fiacco (or Flacco), Orlando, _Life_, 28
+
+    Fiesole, Fra Giovanni da (Fra Angelico), 246
+
+    Fiesole, Maestro Giovanni da, 210
+
+    Figurino da Faenza, 169
+
+    Filipepi, Alessandro (Sandro Botticelli), 91
+
+    Filippino (Filippo Lippi), 66
+
+    Filippo Brunelleschi, 68, 71
+
+    Filippo di Baccio d' Agnolo, 68, 70
+
+    Filippo Lippi (Filippino), 66
+
+    Filippo Lippi, Fra, 246
+
+    Filippo Negrolo, 86
+
+    Finiguerra, Maso, 91
+
+    Flacco (or Fiacco), Orlando, _Life_, 28
+
+    Floris, Franz (Franz de Vrient), 119, 120
+
+    Fra Angelico (Fra Giovanni da Fiesole), 246
+
+    Fra Bartolommeo di San Marco, 66
+
+    Fra Cherubino Monsignori (Bonsignori), 34
+
+    Fra Filippo Lippi, 246
+
+    Fra Giocondo, _Life_, 3-11. 28, 47, 126
+
+    Fra Giovanni da Fiesole (Fra Angelico), 246
+
+    Fra Giovanni da Verona, 38, 39, 51, 218
+
+    Fra Girolamo Monsignori (Bonsignori), _Life_, 34-35
+
+    Fra Sebastiano Viniziano del Piombo (Sebastiano Luciani),
+      _Life_, 173-186. 108, 139, 148, 173-186, 217, 259
+
+    Francesco Bonsignori (Monsignori), _Life_, 29-35
+
+    Francesco da San Gallo, 133, 173
+
+    Francesco dai Libri (the elder), _Life_, 49. 29
+
+    Francesco dai Libri (the younger), _Life_, 52-54
+
+    Francesco de' Rossi (Francesco Salviati), 108, 111, 177
+
+    Francesco dell' Indaco, 126
+
+    Francesco Francia, 95
+
+    Francesco Granacci (Il Granaccio), _Life_, 57-61. 66
+
+    Francesco Marcolini, 115
+
+    Francesco Mazzuoli (Parmigiano), 107-109, 114, 259
+
+    Francesco Monsignori (Bonsignori), _Life_, 29-35
+
+    Francesco Morone, _Life_, 36-39. 29, 36-39, 40, 41, 50
+
+    Francesco Primaticcio, 115, 157
+
+    Francesco Salviati (Francesco de' Rossi), 108, 111, 177
+
+    Francesco Turbido (Il Moro), _Life_, 22-28. 14, 15, 21, 22-28, 40,
+      50, 164
+
+    Francesco Ubertini (Il Bacchiacca), 60
+
+    Franci, Marc' Antonio de' (Marc' Antonio Bolognese, or Raimondi),
+      _Life_, 95-96, 99-106. 108, 109, 120
+
+    Francia, Francesco, 95
+
+    Franco, Battista, 108, 114, 156
+
+    Franz Floris (Franz de Vrient), 119, 120
+
+
+    Gabriele Giolito, 115
+
+    Galeazzo Mondella, 42, 80
+
+    Galeotto, Pietro Paolo, 87
+
+    Gasparo Misuroni (Misceroni), 86
+
+    Gatta, Don Bartolommeo della (Abbot of S. Clemente), 255
+
+    Georg Pencz, 119
+
+    Gherardo, 92
+
+    Ghirlandajo, Benedetto, 57
+
+    Ghirlandajo, David, 57
+
+    Ghirlandajo, Domenico, 57, 58, 191
+
+    Ghirlandajo, Ridolfo, 191, 192
+
+    Ghisi (Mantovano), Giorgio, 113, 118
+
+    Ghisoni, Fermo, 34, 167, 169
+
+    Gian Jacopo Caraglio, 109, 110, 209
+
+    Giannuzzi, Giulio Pippi de' (Giulio Romano), _Life_, 145-169.
+      20, 24, 103-105, 110, 114, 145-169, 177, 193, 194, 207, 216,
+      221, 259
+
+    Giannuzzi, Raffaello Pippi de', 168
+
+    Giano, Antonio di Marco di (Il Carota), 213
+
+    Giocondo, Fra, _Life_, 3-11. 28, 47, 126
+
+    Giolito, Gabriele, 115
+
+    Giorgio Mantovano (Ghisi), 113, 118
+
+    Giorgio Vasari. See Vasari (Giorgio)
+
+    Giorgione da Castelfranco, 23, 173, 174
+
+    Giotto, 114, 202, 219, 220, 235
+
+    Giovan Barile, 177
+
+    Giovan Battista de' Cavalieri, 113
+
+    Giovan Battista de' Rossi (Il Rosso), 109, 111, 115, 257-261, 273, 274
+
+    Giovan Battista Mantovano (Sculptore), 110, 111, 157, 164, 165, 169
+
+    Giovan Battista Rosso (or Rosto), 164
+
+    Giovan Battista Sozzini, 87
+
+    Giovan Francesco Caroto, _Life_, 15-21. 37
+
+    Giovan Francesco Penni (Il Fattore), 146-148, 150, 151, 153, 177,
+      193, 194, 207, 216
+
+    Giovan Maria dal Borgo a San Sepolcro, 256
+
+    Giovan Maria Falconetto, _Life_, 43-48. 22, 29, 42, 43-48
+
+    Giovanni Antonio Bazzi (Il Sodoma), 236-238, 247, 249
+
+    Giovanni Antonio de' Rossi, 86
+
+    Giovanni Antonio Falconetto (the elder), 42
+
+    Giovanni Antonio Falconetto (the younger), 42, 43
+
+    Giovanni Antonio Lappoli, _Life_, 255-265
+
+    Giovanni Antonio Licinio (Pordenone), 213, 244, 247
+
+    Giovanni Antonio Sogliani, 214, 215, 247, 248
+
+    Giovanni Battista Veronese, 13
+
+    Giovanni Bellini, 173
+
+    Giovanni Bernardi (Giovanni da Castel Bolognese), _Life_, 76-79. 83, 84
+
+    Giovanni Caroto, _Life_, 21-22. 15
+
+    Giovanni Cugini (Jean Cousin), 114
+
+    Giovanni da Castel Bolognese (Giovanni Bernardi), _Life_, 76-79. 83, 84
+
+    Giovanni da Fiesole, Fra (Fra Angelico), 246
+
+    Giovanni da Fiesole, Maestro, 210
+
+    Giovanni da Lione, 152, 169
+
+    Giovanni da Udine (Giovanni Nanni, or Ricamatori), 147, 148, 180,
+      194-196
+
+    Giovanni da Verona, Fra, 38, 39, 51, 218
+
+    Giovanni delle Corniole, 76, 84
+
+    Giovanni di Goro, 206
+
+    Giovanni Ricamatori (Giovanni da Udine, or Nanni), 147, 148, 180,
+      194-196
+
+    Girolamo Cicogna, 22
+
+    Girolamo da Treviso, 211, 212, 244
+
+    Girolamo dai Libri, _Life_, 49-52. 29, 37, 49-52, 54
+
+    Girolamo Fagiuoli, 87, 276
+
+    Girolamo Misuroni (Misceroni), 86
+
+    Girolamo Monsignori (Bonsignori), Fra, _Life_, 34-35
+
+    Girolamo Mosciano (Girolamo Muziano, or Brescianino), 114
+
+    Girolamo Siciolante (Girolamo Sermoneta), 221, 222, 225
+
+    Giugni, Rosso de', 87
+
+    Giuliano Bugiardini, 183
+
+    Giuliano da Maiano, 131
+
+    Giuliano da San Gallo, 6, 66, 123, 124, 126
+
+    Giuliano di Baccio d' Agnolo, _Life_, 68-72
+
+    Giuliano (di Niccol� Morelli), 251
+
+    Giuliano Leno, 130, 150
+
+    Giulio Bonasone, 114
+
+    Giulio Clovio, Don, 51, 54, 111, 264
+
+    Giulio Romano (Giulio Pippi de' Giannuzzi), _Life_, 145-169. 20,
+      24, 103-105, 110, 114, 145-169, 177, 193, 194, 207, 216, 221,
+      259
+
+    Giuntalodi, Domenico, 273-279
+
+    Giuseppe del Salviati (Giuseppe Porta), 115
+
+    Giuseppe Niccol� (Joannicolo) Vicentino, 108
+
+    Giuseppe Porta (Giuseppe del Salviati), 115
+
+    Gobbo, Battista, 133, 140
+
+    Goro, Giovanni di, 206
+
+    Gozzoli, Benozzo, 246
+
+    Granacci, Francesco (Il Granaccio), _Life_, 57-61. 66
+
+    Greco, Il (Alessandro Cesati), _Life_, 85
+
+    Guglielmo Milanese, 217
+
+
+    Hans Beham, 119
+
+    Hans Liefrinck, 117
+
+    Heemskerk, Martin, 116
+
+    Heinrich (Albrecht) Aldegrever, 119
+
+    Hieronymus Bosch, 118
+
+    Hieronymus Cock, _Life_, 116-120. 108
+
+    Holland, Lucas of (Luca di Leyden, or Lucas van Leyden), _Life_, 96-99
+
+
+    Il Bacchiacca (Francesco Ubertini), 60
+
+    Il Bologna (Domenico Aimo), 217
+
+    Il Carota (Antonio di Marco di Giano), 213
+
+    Il Cronaca (Simone del Pollaiuolo), 66, 70
+
+    Il Fattore (Giovan Francesco Penni), 146-148, 150, 151, 153, 177,
+      193, 194, 207, 216
+
+    Il Granaccio (Francesco Granacci), _Life_, 57-61. 66
+
+    Il Greco (Alessandro Cesati), _Life_, 85
+
+    Il Moro (Francesco Turbido), _Life_, 22-28. 14, 15, 21, 22-28, 40,
+      50, 164
+
+    Il Rosso (Giovan Battista de' Rossi), 109, 111, 115, 257-261, 273, 274
+
+    Il Sodoma (Giovanni Antonio Bazzi), 236-238, 247, 249
+
+    Indaco, Francesco dell', 126
+
+
+    Jacomo Melighino, 139, 140
+
+    Jacopo Barozzo, 114
+
+    Jacopo Bellini, 11, 35
+
+    Jacopo da Pontormo (Jacopo Carrucci), 60, 255-257, 273
+
+    Jacopo da Trezzo, 86
+
+    Jacopo (Cosimo) da Trezzo, 86
+
+    Jacopo Falconetto, 42, 43
+
+    Jacopo Sansovino, 47, 125, 127, 199
+
+    Jan Stephanus van Calcker (Johann of Calcar), 116
+
+    Jean Cousin (Giovanni Cugini), 114
+
+    Joannicolo (Giuseppe Niccol�) Vicentino, 108
+
+    Johann of Calcar (Jan Stephanus van Calcker), 116
+
+
+    Lafrery, Antoine (Antonio Lanferri), 113
+
+    Lamberto Suave (Lambert Zutmann), 110
+
+    Lanferri, Antonio (Antoine Lafrery), 113
+
+    Lappoli, Giovanni Antonio, _Life_, 255-265
+
+    Lappoli, Matteo, 255
+
+    Laureti, Tommaso (Tommaso Siciliano), 186
+
+    Leno, Giuliano, 130, 150
+
+    Leon Batista Alberti, 45
+
+    Leonardo Cungi, 225
+
+    Leone Aretino (Leone Lioni), 87
+
+    Leyden, Luca di (Lucas of Holland, or Lucas van Leyden), _Life_, 96-99
+
+    Liberale, _Life_, 11-15. 23, 24, 35, 36, 49
+
+    Libri, Francesco dai (the elder), _Life_, 49. 29
+
+    Libri, Francesco dai (the younger), _Life_, 52-54
+
+    Libri, Girolamo dai, _Life_, 49-52. 29, 37, 49-52, 54
+
+    Licinio, Giovanni Antonio (Pordenone), 213, 244, 247
+
+    Liefrinck, Hans, 117
+
+    Lione, Giovanni da, 152, 169
+
+    Lioni, Leone (Leone Aretino), 87
+
+    Lippi, Filippo (Filippino), 66
+
+    Lippi, Fra Filippo, 246
+
+    Lodovico Marmita, 84
+
+    Lombardino, Tofano (Cristofano Lombardi), 167
+
+    Luca da Cortona (Luca Signorelli), 246
+
+    Luca di Leyden (Lucas of Holland, or Lucas van Leyden), _Life_, 96-99
+
+    Luca Penni, 115
+
+    Luca Signorelli (Luca da Cortona), 246
+
+    Lucas of Holland (Luca di Leyden, or Lucas van Leyden), _Life_, 96-99
+
+    Luciani, Sebastiano (Fra Sebastiano Viniziano del Piombo), _Life_,
+      173-186. 108, 139, 148, 173-186, 217, 259
+
+    Luigi Anichini, 85
+
+    Luzio Romano, 212, 222
+
+
+    Maestro Giovanni da Fiesole, 210
+
+    Maestro Niccol�, 164
+
+    Maestro Salvestro, 87
+
+    Maiano, Benedetto da, 66
+
+    Maiano, Giuliano da, 131
+
+    Manno, 78
+
+    Mantegna, Andrea, 15, 29, 30, 91
+
+    Mantovano (Ghisi), Giorgio, 113, 118
+
+    Mantovano (Sculptore), Giovan Battista, 110, 111, 157, 164, 165, 169
+
+    Mantovano, Marcello (Marcello Venusti), 220, 225
+
+    Mantovano, Rinaldo, 155, 156, 160, 161, 169
+
+    Marc' Antonio Bolognese (Marc' Antonio Raimondi, or de' Franci),
+      _Life_, 95-96, 99-106. 108, 109, 120
+
+    Marcello Mantovano (Marcello Venusti), 220, 225
+
+    Marchissi, Antonio di Giorgio, 126
+
+    Marco da Ravenna (Marco Dente), _Life_, 102-103. 106
+
+    Marco da Siena, 223
+
+    Marco Dente (Marco da Ravenna), _Life_, 102-103. 106
+
+    Marco di Battista d' Agnolo, 27, 28
+
+    Marcolini, Francesco, 115
+
+    Marmita, 84
+
+    Marmita, Lodovico, 84
+
+    Martin Heemskerk, 116
+
+    Martin Schongauer, _Life_, 91-92
+
+    Masaccio, 202, 203
+
+    Maso Finiguerra, 91
+
+    Masolino da Panicale, 203
+
+    Matteo dal Nassaro, _Life_, 79-82. 76
+
+    Matteo Lappoli, 255
+
+    Maturino, 177, 196
+
+    Mazzuoli, Francesco (Parmigiano), 107-109, 114, 259
+
+    Melighino, Jacomo, 139, 140
+
+    Michael (Michele Coxie), 116, 178
+
+    Michelagnolo Buonarroti, 57, 59, 60, 66, 68, 78, 79, 85, 92, 107,
+      111, 113, 114, 129, 135, 136, 139, 140, 167, 174-177, 183, 185,
+      191, 193, 195, 205, 218, 219, 222, 225, 236, 263
+
+    Michele (Michael Coxie), 116, 178
+
+    Michele San Michele, 25, 26, 47, 130
+
+    Michelino, 76
+
+    Milanese, Guglielmo, 217
+
+    Minio, Tiziano (Tiziano da Padova), 47
+
+    Misuroni (Misceroni), Gasparo, 86
+
+    Misuroni (Misceroni), Girolamo, 86
+
+    Modena, Pellegrino da (Pellegrino degli Aretusi, or de' Munari), 125
+
+    Mondella, Galeazzo, 42, 80
+
+    Monsignori (Bonsignori), Alberto, 29
+
+    Monsignori (Bonsignori), Fra Cherubino, 34
+
+    Monsignori (Bonsignori), Fra Girolamo, _Life_, 34-35
+
+    Monsignori (Bonsignori), Francesco, _Life_, 29-35
+
+    Montelupo, Raffaello da, 133, 222
+
+    Morando, Paolo (Paolo Cavazzuola), _Life_, 39-42. 15, 24, 25, 29,
+      39-42, 50
+
+    Morelli, Giuliano di Niccol�, 251
+
+    Moro, Battista del (Battista d' Agnolo), _Life_, 27-28. 108
+
+    Moro, Il (Francesco Turbido), _Life_, 22-28. 14, 15, 21, 22-28, 40,
+      50, 164
+
+    Morone, Domenico, _Life_, 35-36. 29, 38
+
+    Morone, Francesco, _Life_, 36-39. 29, 36-39, 40, 41, 50
+
+    Mosca, Simone, 133
+
+    Mosciano, Girolamo (Girolamo Muziano, or Brescianino), 114
+
+    Munari, Pellegrino de' (Pellegrino da Modena, or degli Aretusi), 125
+
+    Musi, Agostino de' (Agostino Viniziano), _Life_, 102-103. 106
+
+    Muziano, Girolamo (Girolamo Mosciano, or Brescianino), 114
+
+
+    Nanni, Giovanni (Giovanni da Udine, or Ricamatori), 147, 148, 180,
+      194-196
+
+    Nassaro, Matteo dal, _Life_, 79-82. 76
+
+    Navarra, Pietro, 126
+
+    Negrolo, Filippo, 86
+
+    Niccola Viniziano, 209
+
+    Niccol� (called Tribolo), 133
+
+    Niccol�, Maestro, 164
+
+    Niccol� Avanzi, 79, 80
+
+    Niccol� Beatricio (Nicolas Beautrizet), 114
+
+    Niccol� Soggi, _Life_, 269-279. 261
+
+    Nicolas Beautrizet (Niccol� Beatricio), 114
+
+    Nunziata, Toto del, 191, 196
+
+
+    Orlando Fiacco (or Fiacco), _Life_, 28
+
+    Ottaviano Falconetto, 47, 48
+
+
+    Pace, Domenico di (Domenico Beccafumi), _Life_, 235-251. 108, 213,
+      215, 223, 235-251
+
+    Padova, Tiziano da (Tiziano Minio), 47
+
+    Pagni, Benedetto, 152, 154-156, 169
+
+    Palladio, Andrea, 28, 48
+
+    Panicale, Masolino da, 203
+
+    Paolo Caliari (Paolo Veronese), 22, 27
+
+    Paolo Cavazzuola (Paolo Morando), _Life_, 39-42. 15, 24, 25, 29,
+      39-42, 50
+
+    Paolo Veronese (Paolo Caliari), 22, 27
+
+    Papacello, Tommaso, 152
+
+    Papino della Pieve, 272
+
+    Parmigiano (Francesco Mazzuoli), 107-109, 114, 259
+
+    Pastorino da Siena, 87, 219
+
+    Pecori, Domenico, 255, 258, 271
+
+    Pellegrino da Modena (Pellegrino degli Aretusi, or de' Munari), 125
+
+    Pencz, Georg, 119
+
+    Penni, Giovan Francesco (Il Fattore), 146-148, 150, 151, 153, 177,
+      193, 194, 207, 216
+
+    Penni, Luca, 115
+
+    Perino del Vaga (Perino Buonaccorsi, or Perino de' Ceri), _Life_,
+      189-225. 78, 109, 125, 129, 139, 148, 177, 189-225, 244, 257-259
+
+    Perugino, Pietro (Pietro Vannucci), 235, 269
+
+    Peruzzi, Baldassarre, 107, 167, 174, 177, 239
+
+    Pescia, Pier Maria da, 76
+
+    Pier Francesco da Viterbo, 130, 132
+
+    Pier Francesco di Jacopo di Sandro, 257
+
+    Pier Maria da Pescia, 76
+
+    Piero Catanei, 250
+
+    Piero del Pollaiuolo, 182, 246
+
+    Pietrasanta, Stagio da, 214
+
+    Pietro Navarra, 126
+
+    Pietro Paolo Galeotto, 87
+
+    Pietro Perugino (Pietro Vannucci), 235, 269
+
+    Pieve, Papino della, 272
+
+    Piloto, 201, 205, 207
+
+    Pinturicchio, Bernardino, 195
+
+    Piombo, Fra Sebastiano Viniziano del (Sebastiano Luciani), _Life_,
+      173-186. 108, 139, 148, 173-186, 217, 259
+
+    Pisano (or Pisanello), Vittore (or Antonio), 35
+
+    Pittoni, Battista (Battista of Vicenza), 108
+
+    Poggini, Domenico, 87
+
+    Polidoro da Caravaggio, 177, 196
+
+    Pollaiuolo, Antonio del, 182, 246
+
+    Pollaiuolo, Piero del, 182, 246
+
+    Pollaiuolo, Simone del (Il Cronaca), 66, 70
+
+    Polo, Domenico di, 84
+
+    Pontormo, Jacopo da (Jacopo Carrucci), 60, 255-257, 273
+
+    Pordenone (Giovanni Antonio Licinio), 213, 244, 247
+
+    Porta, Giuseppe (Giuseppe del Salviati), 115
+
+    Primaticcio, Francesco, 115, 157
+
+    Provolo Falconetto, 47, 48
+
+
+    Raffaello da Montelupo, 133, 222
+
+    Raffaello da Urbino (Raffaello Sanzio), 6, 38, 66, 69, 99-104,
+      106-108, 114, 120, 126, 127, 130, 145-148, 153, 156, 165,
+      174-178, 181, 183, 193-195, 207, 209, 218, 221, 236, 269
+
+    Raffaello dal Colle (Raffaello dal Borgo), 152, 169
+
+    Raffaello Pippi de' Giannuzzi, 168
+
+    Raffaello Sanzio (Raffaello da Urbino), 6, 38, 66, 69, 99-104,
+      106-108, 114, 120, 126, 127, 130, 145-148, 153, 156, 165,
+      174-178, 181, 183, 193-195, 207, 209, 218, 221, 236, 269
+
+    Raimondi, Marc' Antonio (Marc' Antonio Bolognese, or de' Franci),
+      _Life_, 95-96, 99-106. 108, 109, 120
+
+    Ravenna, Marco da (Marco Dente), _Life_, 102-103. 106
+
+    Reggio, Sebastiano da, 165
+
+    Renato (Ren� Boyvin), 115
+
+    Ricamatori, Giovanni (Giovanni da Udine, or Nanni), 147, 148, 180,
+      194-196
+
+    Ricciarelli, Daniello, 113, 219, 224
+
+    Riccio, Domenico del (Domenico Brusciasorzi), 82
+
+    Ridolfi, Bartolommeo, 48
+
+    Ridolfo Ghirlandajo, 191, 192
+
+    Rinaldo Mantovano, 155, 156, 160, 161, 169
+
+    Romano, Giulio (Giulio Pippi de' Giannuzzi), _Life_, 145-169. 20,
+      24, 103-105, 110, 114, 145-169, 177, 193, 194, 207, 216, 221, 259
+
+    Romano, Luzio, 212, 222
+
+    Rossi, Francesco de' (Francesco Salviati), 108, 111, 177
+
+    Rossi, Giovan Battista de' (Il Rosso), 109, 111, 115, 257-261, 273, 274
+
+    Rossi, Giovanni Antonio de', 86
+
+    Rosso (or Rosto), Giovan Battista, 164
+
+    Rosso, Il (Giovan Battista de' Rossi), 109, 111, 115, 257-261, 273, 274
+
+    Rosso de' Giugni, 87
+
+    Rosto (or Rosso), Giovan Battista, 164
+
+
+    Salamanca, Antonio, 276
+
+    Salvestro, Maestro, 87
+
+    Salviati, Francesco (Francesco de' Rossi), 108, 111, 177
+
+    Salviati, Giuseppe del (Giuseppe Porta), 115
+
+    S. Clemente, Abbot of (Don Bartolommeo della Gatta), 255
+
+    San Gallo, Antonio da (the elder), 66, 123, 272
+
+    San Gallo, Antonio da (the younger), _Life_, 123-141. 167, 197,
+      198, 219, 220, 222
+
+    San Gallo, Francesco da, 133, 173
+
+    San Gallo, Giuliano da, 6, 66, 123, 124, 126
+
+    San Marco, Fra Bartolommeo di, 66
+
+    San Michele, Michele, 25, 26, 47, 130
+
+    Sandro, Pier Francesco di Jacopo di, 257
+
+    Sandro Botticelli (Alessandro Filipepi), 91
+
+    Sansovino, Andrea (Andrea Contucci), 66, 133
+
+    Sansovino, Jacopo, 47, 125, 127, 199
+
+    Sanzio, Raffaello (Raffaello da Urbino), 6, 38, 66, 69, 99-104,
+      106-108, 114, 120, 126, 127, 130, 145-148, 153, 156, 165,
+      174-178, 181, 183, 193-195, 207, 209, 218, 221, 236, 269
+
+    Sarto, Andrea del, 60, 106, 255-257, 272, 273
+
+    Sassoli, Stagio, 272
+
+    Scarpagni, Antonio (Scarpagnino or Zanfragnino), 10
+
+    Schongauer, Martin, _Life_, 91-92
+
+    Sculptore (Mantovano), Giovan Battista, 110, 111, 157, 164, 165, 169
+
+    Sebastiano da Reggio, 165
+
+    Sebastiano Luciani (Fra Sebastiano Viniziano del Piombo), _Life_,
+      173-186. 108, 139, 148, 173-186, 217, 259
+
+    Sebastiano Serlio, 113
+
+    Sebastiano Viniziano del Piombo, Fra (Sebastiano Luciani), _Life_,
+      173-186. 108, 139, 148, 173-186, 217, 259
+
+    Serlio, Sebastiano, 113
+
+    Sermoneta, Girolamo (Girolamo Siciolante), 221, 222, 225
+
+    Siciliano, Tommaso (Tommaso Laureti), 186
+
+    Siciolante, Girolamo (Girolamo Sermoneta), 221, 222, 225
+
+    Siena, Marco da, 223
+
+    Siena, Pastorino da, 87, 219
+
+    Signorelli, Luca (Luca da Cortona), 246
+
+    Silvio Cosini, 210
+
+    Simone Cioli, 133
+
+    Simone del Pollaiuolo (Il Cronaca), 66, 70
+
+    Simone Mosca, 133
+
+    Sodoma, Il (Giovanni Antonio Bazzi), 236-238, 247, 249
+
+    Soggi, Niccol�, _Life_, 269-279. 261
+
+    Sogliani, Giovanni Antonio, 214, 215, 247, 248
+
+    Sozzini, Giovan Battista, 87
+
+    Stagio da Pietrasanta, 214
+
+    Stagio Sassoli, 272
+
+    Stefano, Vincenzio di, 11
+
+    Stefano Veronese (Stefano da Zevio), 35, 42
+
+    Suave, Lamberto (Lambert Zutmann), 110
+
+
+    Tasso, Battista del, 213
+
+    Tiziano da Cadore (Tiziano Vecelli), 109, 111, 114, 161, 183, 222
+
+    Tiziano da Padova (Tiziano Minio), 47
+
+    Tiziano Vecelli (Tiziano da Cadore), 109, 111, 114, 161, 183, 222
+
+    Tofano Lombardino (Cristofano Lombardi), 167
+
+    Tommaso Barlacchi, 104, 113
+
+    Tommaso Laureti (Tommaso Siciliano), 186
+
+    Tommaso Papacello, 152
+
+    Tommaso Siciliano (Tommaso Laureti), 186
+
+    Torri, Bartolommeo, 264, 265
+
+    Toto del Nunziata, 191, 196
+
+    Trento, Antonio da (Antonio Fantuzzi), 108
+
+    Treviso, Girolamo da, 211, 212, 244
+
+    Trezzo, Cosimo (Jacopo) da, 86
+
+    Trezzo, Jacopo da, 86
+
+    Tribolo (Niccol�), 133
+
+    Turbido, Francesco (Il Moro), _Life_, 22-28. 14, 15, 21, 22-28,
+      40, 50, 164
+
+
+    Ubertini, Francesco (Il Bacchiacca), 60
+
+    Udine, Giovanni da (Giovanni Nanni, or Ricamatori), 147, 148, 180,
+      194-196
+
+    Ugo da Carpi, 106, 107
+
+    Urbino, Bramante da, 6, 124, 126, 136, 138
+
+    Urbino, Raffaello da (Raffaello Sanzio), 6, 38, 66, 69, 99-104,
+      106-108, 114, 120, 126, 127, 130, 145-148, 153, 156, 165,
+      174-178, 181, 183, 193-195, 207, 209, 218, 221, 236, 269
+
+
+    Vaga, 191, 192
+
+    Vaga, Perino del (Perino Buonaccorsi, or Perino de' Ceri), _Life_,
+      189-225. 78, 109, 125, 129, 139, 148, 177, 189-225, 244, 257-259
+
+    Valerio Vicentino (Valerio Belli), _Life_, 82-84. 76-79
+
+    Valverde, 116
+
+    Vannucci, Pietro (Pietro Perugino), 235, 269
+
+    Vasari, Giorgio--
+      as art-collector, 3, 22, 54, 60, 120, 157, 175, 225, 230, 250,
+        256, 260, 263
+      as author, 3, 6, 10, 11, 13, 15, 22, 23, 27, 28, 32, 35, 39, 42,
+        46, 48, 53, 54, 57-59, 65, 75, 76, 79, 82, 84-87, 91, 93-95,
+        105-107, 112, 113, 120, 123, 133, 152, 153, 159, 161, 165-167,
+        175, 176, 178, 190, 194, 196, 202, 204, 207, 210-213, 215, 217,
+        221, 223, 229-231, 235, 239, 246, 248-250, 258, 261, 264, 269,
+        273
+      as painter, 22, 72, 120, 215, 221, 263, 264, 276
+      as architect, 70, 139, 278
+
+    Vecelli, Tiziano (Tiziano da Cadore), 109, 111, 114, 161, 183, 222
+
+    Venusti, Marcello (Marcello Mantovano), 220, 225
+
+    Verese, 118
+
+    Verona, Fra Giovanni da, 38, 39, 51, 218
+
+    Veronese, Giovanni Battista, 13
+
+    Veronese, Paolo (Paolo Caliari), 22, 27
+
+    Veronese, Stefano (Stefano da Zevio), 35, 42
+
+    Vicentino, Joannicolo (Giuseppe Niccol�), 108
+
+    Vicentino, Valerio (Valerio Belli), _Life_, 82-84. 76, 79
+
+    Vicenza, Battista of (Battista Pittoni), 108
+
+    Vico, Enea, _Life_, 111-112
+
+    Vincenzio di Stefano, 11
+
+    Viniziano, Agostino (Agostino de' Musi), _Life_, 102-103. 106
+
+    Viniziano, Domenico, 182
+
+    Viniziano, Niccola, 209
+
+    Viterbo, Pier Francesco da, 130, 132
+
+    Vitruvius, 5, 45, 140
+
+    Vittore (or Antonio) Pisano (or Pisanello), 35
+
+    Vrient, Franz de (Franz Floris), 119, 120
+
+
+    Zanfragnino (Antonio Scarpagni, or Scarpagnino), 10
+
+    Zeuxis, 239
+
+    Zevio, Stefano da (Stefano Veronese), 35, 42
+
+    Zoppo, 81
+
+    Zutmann, Lambert (Lamberto Suave), 110
+
+
+END OF VOL VI.
+
+
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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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+  <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 VI.  by Georgio Vasari.
+    </title>
+    <style type="text/css">
+<!--
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+<pre>
+
+The Project Gutenberg EBook of Lives of the most Eminent Painters
+Sculptors and Architects, by Giorgio Vasari
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Lives of the most Eminent Painters Sculptors and Architects
+       Vol. 06 (of 10) Fra Giocondo to Niccolo Soggi
+
+Author: Giorgio Vasari
+
+Translator: Gaston du C. De Vere
+
+Release Date: March 27, 2009 [EBook #28422]
+
+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
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+(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 VI.<br> FRA GIOCONDO TO NICCOL� SOGGI<br>     1913</h2>
+
+<h4>NEWLY TRANSLATED BY GASTON <span class="smcap">Du</span> C. DE VERE. WITH FIVE HUNDRED
+  ILLUSTRATIONS: IN TEN VOLUMES</h4>
+
+
+<div class="figcenter">
+<img src="images/img001.jpg" width="423" height="600" alt="Title page" title="">
+</div>
+
+<p class="center">PHILIP LEE WARNER,<br>
+ PUBLISHER TO THE MEDICI SOCIETY, LIMITED<br> 7 GRAFTON
+  ST. LONDON, W. 1912-14</p>
+
+
+<hr style="width: 65%;">
+<h2><a name="CONTENTS_OF_VOLUME_IV" id="CONTENTS_OF_VOLUME_IV"></a><span class="pagenum"><a id="Page_v" name="Page_v">[Pg v]</a></span> CONTENTS OF VOLUME VI</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">Fra Giocondo, Liberale, and Others</span></td><td align='right'><a href='#Page_1'><b>1</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Francesco Granacci [Il Granaccio]</span></td><td align='right'><a href='#Page_55'><b>55</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Baccio d' Agnolo</span></td><td align='right'><a href='#Page_63'><b>63</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Valerio Vicentino [Valerio Belli], Giovanni da Castel
+  Bolognese [Giovanni Bernardi], Matteo dal Nassaro,
+  and Others</span></td><td align='right'><a href='#Page_73'><b>73</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Marc' Antonio Bolognese, and Others</span></td><td align='right'><a href='#Page_89'><b>89</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Antonio da San Gallo</span></td><td align='right'><a href='#Page_121'><b>121</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Giulio Romano</span></td><td align='right'><a href='#Page_143'><b>143</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Fra Sebastiano Viniziano del Piombo</span></td><td align='right'><a href='#Page_171'><b>171</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Perino del Vaga</span></td><td align='right'><a href='#Page_187'><b>187</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Giorgio Vasari, to the Craftsmen in Design</span></td><td align='right'><a href='#Page_227'><b>227</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Domenico Beccafumi</span></td><td align='right'><a href='#Page_233'><b>233</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Giovanni Antonio Lappoli</span></td><td align='right'><a href='#Page_253'><b>253</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Niccol� Soggi</span></td><td align='right'><a href='#Page_267'><b>267</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Index of Names</span></td><td align='right'><a href='#Page_281'><b>281</b></a></td></tr>
+</table>
+</div>
+
+<hr style="width: 65%;">
+<h2><a name="ILLUSTRATIONS_TO_VOLUME_VI" id="ILLUSTRATIONS_TO_VOLUME_VI"></a><span class="pagenum"><a id="Page_vii" name="Page_vii">[Pg vii]</a></span> ILLUSTRATIONS TO VOLUME VI</h2>
+
+<h3>PLATES IN COLOUR</h3>
+
+<div class='centered'>
+<table border="0" cellpadding="2" width="100%" cellspacing="0" summary="ILLUSTRATIONS TO VOLUME VI">
+<tr>
+<td><span class="smcap">Giovan Francesco Caroto</span></td>
+<td>Elisabetta Gonzaga, Duchess of Mantua</td>
+<td>Florence: Uffizi, 1121</td>
+<td align="right"><a href='#img004'><b>16</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Francesco Monsignori (Bonsignori)</span></td>
+<td>Portrait of a Gentleman</td>
+<td>London: N.G., 736</td>
+<td align="right"><a href='#img007'><b>28</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Francesco Morone</span></td>
+<td>Madonna and Child</td>
+<td>London: N.G., 285</td>
+<td align="right"><a href='#img009'><b>32</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Girolamo dai Libri</span></td>
+<td>Madonna and Child, with S. Anne</td>
+<td>London: N.G., 748</td>
+<td align="right"><a href='#img013'><b>48</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Francesco Granacci (Il Granaccio)</span></td>
+<td>The Holy Family</td>
+<td>Florence: Pitti, 199</td>
+<td align="right"><a href='#img015'><b>58</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Fra Sebastiano Viniziano del Piombo</span></td>
+<td>Portrait of a Lady</td>
+<td>Florence: Uffizi, 1123</td>
+<td align="right"><a href='#img032'><b>174</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Domenico Beccafumi</span></td>
+<td>S. Catharine before the Crucifix</td>
+<td>Siena: Pinacoteca, 420</td>
+<td align="right"><a href='#img036'><b>238</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 VI">
+<tr>
+<td><span class="smcap">Liberale of Verona</span></td>
+<td>S. Mary Magdalene with Saints</td>
+<td>Verona: S. Anastasia</td>
+<td align="right"><a href='#img002'><b>10</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Liberale of Verona</span></td>
+<td>Miniature</td>
+<td>Siena: Duomo Library</td>
+<td align="right"><a href='#img003'><b>14</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giovan Francesco Caroto</span></td>
+<td>Madonna and Child, with S. Anne and Saints</td>
+<td>Verona: S. Fermo Maggiore</td>
+<td align="right"><a href='#img005'><b>18</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Francesco Turbido (Il Moro)</span></td>
+<td>Portrait of a Man</td>
+<td>Munich: Pinacothek, 1125</td>
+<td align="right"><a href='#img006'><b>24</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Francesco Monsignori (Bonsignori)</span></td>
+<td>S. Sebastian</td>
+<td>Berlin: Kaiser Friedrich Museum, 46c</td>
+<td align="right"><a href='#img008'><b>30</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Francesco Morone</span></td>
+<td>The Crucifixion</td>
+<td>Verona: S. Bernardino</td>
+<td align="right"><a href='#img010'><b>34</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Paolo Cavazzuola</span></td>
+<td>The Deposition</td>
+<td>Verona: Museo Civico, 392</td>
+<td align="right"><a href='#img011'><b>40</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giovan Maria (Falconetto)</span></td>
+<td>Palazzo del Capitanio</td>
+<td>Padua</td>
+<td align="right"><a href='#img012'><b>46</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap"><span class="pagenum"><a id="Page_viii" name="Page_viii">[Pg viii]</a></span> Girolamo dai Libri</span></td>
+<td>Madonna and Child, with Saints</td>
+<td>Verona: Museo Civico, 290</td>
+<td align="right"><a href='#img014'><b>50</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Francesco Granacci (Il Granaccio)</span></td>
+<td>The Madonna giving the Girdle to S. Thomas</td>
+<td>Florence: Uffizi, 1280</td>
+<td align="right"><a href='#img016'><b>62</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giovanni da Castel Bolognese (Giovanni Bernardi)</span></td>
+<td>Cassetta Farnese</td>
+<td>Naples: Museo Nazionale</td>
+<td align="right"><a href='#img017'><b>78</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Valerio Vicentino Valerio Belli</span></td>
+<td>Casket of Rock Crystal</td>
+<td>Florence: Uffizi</td>
+<td align="right"><a href='#img018'><b>82</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Alessandro Cesati</span><br><span class="smcap">Benvenuto Cellini</span></td>
+<td>Medals</td>
+<td>London: British Museum</td>
+<td align="right"><a href='#img019'><b>84</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Pastorino of Siena</span><br><span class="smcap">Domenico Poggini</span></td>
+<td>Medals</td>
+<td>London: British Museum</td>
+<td align="right"><a href='#img020'><b>84</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Martin Schongauer</span></td>
+<td>Christ and the Virgin Enthroned</td>
+<td>London: British Museum, B. 71</td>
+<td align="right"><a href='#img021'><b>92</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Albrecht D�rer</span></td>
+<td>Hercules</td>
+<td>London: British Museum, B. 73</td>
+<td align="right"><a href='#img022'><b>92</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Albrecht D�rer</span></td>
+<td>Christ taking leave of His Mother</td>
+<td>London: British Museum, B. 92</td>
+<td align="right"><a href='#img023'><b>94</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Albrecht D�rer</span></td>
+<td>S. Jerome in his Study</td>
+<td>London: British Museum, B. 60</td>
+<td align="right"><a href='#img024'><b>96</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Lucas van Leyden</span></td>
+<td>"Ecce Homo" of 1510</td>
+<td>London: British Museum</td>
+<td align="right"><a href='#img025'><b>98</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Marc' Antonio Bolognese</span></td>
+<td>The Death of Lucretia</td>
+<td>London: British Museum,  B. 192</td>
+<td align="right"><a href='#img026'><b>102</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Marc' Antonio Bolognese (after Bandinelli)</span></td>
+<td>The Martyrdom of S. Lawrence (engraving)</td>
+<td>London: British Museum</td>
+<td align="right"><a href='#img027'><b>104</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Antonio da San Gallo (The Younger) (with Michelagnolo Buonarroti)</span></td>
+<td>Palazzo Farnese</td>
+<td>Rome</td>
+<td align="right"><a href='#img028'><b>138</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giulio Romano</span></td>
+<td>Detail: The Battle of Constantine</td>
+<td>Rome: The Vatican</td>
+<td align="right"><a href='#img029'><b>146</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giulio Romano</span></td>
+<td>The Marriage Banquet of Cupid and Psyche</td>
+<td>Mantua: Palazzo del T�</td>
+<td align="right"><a href='#img030'><b>154</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giulio Romano</span></td>
+<td>The Destruction of the Giants by the Thunderbolts of Jove</td>
+<td>Mantua: Palazzo del T�, Sala dei Giganti</td>
+<td align="right"><a href='#img031'><b>160</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Fra Sebastiano Viniziano del Piombo</span></td>
+<td>The Flagellation</td>
+<td>Rome: S. Pietro in Montorio</td>
+<td align="right"><a href='#img033'><b>176</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Fra Sebastiano Viniziano del Piombo</span></td>
+<td>Andrea Doria</td>
+<td>Rome: Palazzo Doria</td>
+<td align="right"><a href='#img034'><b>182</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Perino del Vaga</span></td>
+<td>The Passage of the Red Sea</td>
+<td>Rome: The Vatican, Loggia</td>
+<td align="right"><a href='#img035'><b>192</b></a></td>
+</tr>
+</table>
+</div>
+
+
+<hr style="width: 65%;">
+<h2><a name="giocondo" id="giocondo"></a><span class="pagenum"><a id="Page_1" name="Page_1">[Pg 1]</a></span> FRA GIOCONDO, LIBERALE,
+  AND OTHER CRAFTSMEN
+  OF VERONA</h2>
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_giocondo" id="life_of_giocondo"></a><span class="pagenum"><a id="Page_3" name="Page_3">[Pg 3]</a></span> LIVES OF FRA GIOCONDO, LIBERALE, AND OTHER CRAFTSMEN OF
+VERONA</h2>
+
+
+<p>If writers of history were to live a few years longer than the number
+commonly granted as the span of human life, I, for my part, have no
+manner of doubt that they would have something to add to the accounts
+of the past previously written by them, for the reason that, even as
+it is not possible for a single man, be he ever so diligent, to learn
+the exact truth in a flash, or to discover all the details of his
+subject in the little time at his command, so it is as clear as the
+light of day that Time, who is said to be the father of truth, is
+always revealing new things every day to the seeker after knowledge.
+If, many years ago, when I first wrote and also published these Lives
+of the Painters and other Craftsmen, I had possessed that full
+information which I have since received concerning Fra Giocondo of
+Verona, a man of rare parts and a master of all the most noble
+faculties, I would without a doubt have made that honourable record of
+him which I am now about to make for the benefit of craftsmen, or
+rather, of the world; and not of him only, but also of many other
+masters of Verona, who have been truly excellent. And let no one
+marvel that I place them all under the image of one only, because, not
+having been able to obtain portraits of them all, I am forced to do
+this; but, so far as in me lies, not one of them shall thereby have
+his excellence defrauded of its due.</p>
+
+<p>Now, since the order of time and merit so demands, I shall speak first
+of Fra Giocondo. This man, when he assumed the habit of S. Dominic,
+was called not simply Fra Giocondo, but Fra Giovanni Giocondo. How the
+name Giovanni dropped from him I know not, but I do know that he was
+always called Fra Giocondo by everyone. And although his <span class="pagenum"><a id="Page_4" name="Page_4">[Pg 4]</a></span>
+chief profession was that of letters, and he was not only a very good
+philosopher and theologian, but also an excellent Greek scholar (which
+was a rare thing at that time, when learning and letters were just
+beginning to revive in Italy), nevertheless he was also a very fine
+architect, being a man who always took supreme delight in that art, as
+Scaliger relates in his epistle against Cardan, and the learned Bud�
+in his book "De Asse," and in the observations that he wrote on the
+Pandects.</p>
+
+<p>Fra Giocondo, then, who was a fine scholar, a capable architect, and
+an excellent master of perspective, spent many years near the person
+of the Emperor Maximilian, and was master in the Greek and Latin
+tongues to the learned Scaliger, who writes that he heard him dispute
+with profound learning on matters of the greatest subtlety before the
+same Maximilian. It is related by persons still living, who remember
+the facts very clearly, that at the time when Verona was under the
+power of that Emperor the bridge which is called the Ponte della
+Pietra, in that city, was being restored, and it was seen to be
+necessary to refound the central pier, which had been destroyed many
+times in the past, and Fra Giocondo gave the design for refounding it,
+and also for safeguarding it in such a manner that it might never be
+destroyed again. His method of safeguarding it was as follows: he gave
+orders that the pier should be kept always bound together with long
+double piles fixed below the water on every side, to the end that
+these might so protect it that the river should not be able to
+undermine it; for the place where it is built is in the main current
+of the river, the bed of which is so soft that no solid ground can be
+found on which to lay its foundations. And excellent, in truth, as is
+evident from the result, was the advice of Fra Giocondo, for the
+reason that the pier has stood firm from that time to our own, as it
+still does, without ever showing a crack; and there is hope that, by
+the observation of the suggestions given by that good monk, it will
+stand for ever.</p>
+
+<p>In his youth Fra Giocondo spent many years in Rome, giving his
+attention to the study of antiquities, and not of buildings only, but
+also of the ancient inscriptions that are in the tombs, and the other
+relics of antiquity, both in Rome itself and its neighbourhood, and in
+every part <span class="pagenum"><a id="Page_5" name="Page_5">[Pg 5]</a></span> of Italy; and he collected all these inscriptions
+and memorials into a most beautiful book, which he sent as a present,
+according to the account of the citizens of Verona mentioned above, to
+the elder Lorenzo de' Medici, the Magnificent, to whom, by reason of
+the great friendliness and favour that he showed to all men of talent,
+both Fra Giocondo and Domizio Calderino, his companion and compatriot,
+were always most deeply devoted. Of this book Poliziano makes mention
+in his Mugellane, in which he uses various parts of it as authorities,
+calling Fra Giocondo a profound master in antiquities.</p>
+
+<p>The same Giocondo wrote some observations, which are in print, on the
+Commentaries of C�sar; and he was the first who made a drawing of the
+bridge built by C�sar over the River Rhone, and described by him in
+those same Commentaries, but misunderstood in the time of Fra
+Giocondo. Him the aforesaid Bud� confesses to have had as his master
+in the study of architecture, thanking God that he had been taught his
+Vitruvius by a teacher so learned and so diligent as was that monk,
+who corrected in that author a vast number of errors not recognized up
+to that time; and this he was able to do with ease, because he was a
+master of every kind of learning, and had a good knowledge of both the
+Greek tongue and the Latin. This and other things declares Bud�,
+extolling Fra Giocondo as an excellent architect, and adding that by
+the researches of the same monk there were discovered in an old
+library in Paris the greater part of the Epistles of Pliny, which,
+after having been so long out of the hands of mankind, were printed by
+Aldus Manutius, as may be read in a Latin letter written by him and
+printed with the same.</p>
+
+<p>When living in Paris in the service of King Louis XII, Fra Giocondo
+built two superb bridges over the Seine, covered with shops&mdash;works
+truly worthy of that magnanimous King and of the marvellous intellect
+of Fra Giocondo. Wherefore that master, in addition to the inscription
+in his praise that may still be seen on those works, won the honour of
+being celebrated by Sannazzaro, a rare poet, in this most beautiful
+distich:</p>
+
+<p class="poem10">
+  Jocundus geminum imposuit tibi, Sequana, pontem;<br>
+<span class="add1em">Hunc tu jure potes dicere pontificem.</span></p>
+
+<p><span class="pagenum"><a id="Page_6" name="Page_6">[Pg 6]</a></span> Besides this, he executed a vast number of other works for
+that King throughout all his kingdom; but of these, after having made
+mention of those above, as being the greatest, I shall say no more.</p>
+
+<p>Then, happening to be in Rome at the death of Bramante, he was placed,
+in company with Raffaello da Urbino and Giuliano da San Gallo, in
+charge of the Church of S. Pietro, to the end that the structure begun
+by Bramante might be carried forward. Now, from the circumstance that
+it had been erected in haste, and for other reasons given in another
+place, it was threatening to fall in many parts, and by the advice of
+Fra Giocondo, Raffaello, and Giuliano, the foundations were in great
+measure renewed; in which work persons who were present and are still
+living declare that those masters adopted the following method. They
+excavated below the foundations many large pits after the manner of
+wells, but square, at a proper distance one from another, which they
+filled with masonry; and between every two of these piers, or rather
+pits filled with masonry, they threw very strong arches across the
+space below, insomuch that the whole building came to be placed on new
+foundations without suffering any shock, and was secured for ever from
+the danger of showing any more cracks.</p>
+
+<p>But the work for which it seems to me that Fra Giocondo deserves the
+greatest praise is one on account of which an everlasting gratitude is
+due to him not only from the Venetians, but from the whole world as
+well. For he reflected that the life of the Republic of Venice
+depended in great measure on the preservation of its impregnable
+position on the lagoons on which that city, as it were by a miracle,
+is built; and that, whenever those lagoons silted up with earth, the
+air would become infected and pestilential, and the city consequently
+uninhabitable, or at the least exposed to all the dangers that
+threaten cities on the mainland. He set himself, therefore, to think
+in what way it might be possible to provide for the preservation of
+the lagoons and of the site on which the city had been built in the
+beginning. And having found a way, Fra Giocondo told the Signori that,
+if they did not quickly come to some resolution about preventing such
+an evil, in a few years, to judge by that which could be seen to have
+happened in part, they would become <span class="pagenum"><a id="Page_7" name="Page_7">[Pg 7]</a></span> aware of their error,
+without being in time to be able to retrieve it. Roused by this
+warning, and hearing the powerful arguments of Fra Giocondo, the
+Signori summoned an assembly of the best engineers and architects that
+there were in Italy, at which many opinions were given and many
+designs made; but that of Fra Giocondo was held to be the best, and
+was put into execution. They made a beginning, therefore, with
+excavating a great canal, which was to divert two-thirds or at least
+one-half of the water brought down by the River Brenta, and to conduct
+that water by a long d�tour so as to debouch into the lagoons of
+Chioggia; and thus that river, no longer flowing into the lagoons at
+Venice, has not been able to fill them up by bringing down earth, as
+it has done at Chioggia, where it has filled and banked up the lagoons
+in such a manner that, where there was formerly water, many tracts of
+land and villas have sprung up, to the great benefit of the city of
+Venice. Wherefore it is the opinion of many persons, and in particular
+of the Magnificent Messer Luigi Cornaro, a Venetian gentleman of ripe
+wisdom gained both by learning and by long experience, that, if it had
+not been for the warning of Fra Giocondo, all the silting up that took
+place in the lagoons of Chioggia would have happened, and perhaps on a
+greater scale, in those of Venice, inflicting incredible damage and
+almost ruin on that city. The same Messer Luigi, who was very much the
+friend of Fra Giocondo, as he is and always has been of all men of
+talent, declares that his native city of Venice owes an eternal debt
+of gratitude for this to the memory of Fra Giocondo, who on this
+account, he says, might reasonably be called the second founder of
+Venice; and that he almost deserves more praise for having preserved
+by that expedient the grandeur and nobility of that marvellous and
+puissant city, than do those who built it at the beginning in such a
+weak and ill-considered fashion, seeing that the benefit received from
+him will be to all eternity, as it has been hitherto, of incalculable
+utility and advantage to Venice.</p>
+
+<p>Not many years after Fra Giocondo had executed this divine work, the
+Venetians suffered a great loss in the burning of the Rialto, the
+place in which are the magazines of their most precious
+merchandise&mdash;the treasure, as it were, of that city. This happened at
+the very time when <span class="pagenum"><a id="Page_8" name="Page_8">[Pg 8]</a></span> that Republic had been reduced by
+long-continued wars and by the loss of the greater part, or rather
+almost the whole, of her dominions on the mainland to a desperate
+condition; and the Signori then governing were full of doubt and
+hesitation as to what they should do. However, the rebuilding of that
+place being a matter of the greatest importance, they resolved that it
+should be reconstructed at all costs. And wishing to give it all
+possible grandeur, in keeping with the greatness and magnificence of
+that Republic, and having already recognized the talent of Fra
+Giocondo and his great ability in architecture, they gave him the
+commission to make a design for that structure; whereupon he drew one
+in the following manner. He proposed to occupy all the space that lies
+between the Canale delle Beccherie,<a id="FNanchor1" name="FNanchor1"></a><a href="#Footnote1" title="Go to footnote 1" class="fnanchor">[1]</a> in the Rialto, and the Rio del
+Fondaco delle Farine,<a id="FNanchor2" name="FNanchor2"></a><a href="#Footnote2" title="Go to footnote 2" class="fnanchor">[2]</a> taking as much ground between one canal and
+the other as would make a perfect square&mdash;that is, the length of the
+sides of this fabric was to be as great as the space which one covers
+at the present day in walking from the debouchure of one of those
+canals into the Grand Canal to that of the other. He intended, also,
+that the same two canals should debouch on the other side into a
+common canal, which was to run from the one to the other, so that the
+fabric might be left entirely surrounded by water, having the Grand
+Canal on one side, the two smaller canals on two other sides, and on
+the last the new canal that was to be made. Then he desired that
+between the water and the buildings, right round the square, there
+should be made, or rather should be left, a beach or quay of some
+breadth, which might serve as a piazza for the selling in duly
+appointed places of the vegetables, fruits, fish, and other things,
+that come from many parts to the city. It was also his opinion that
+right round the outer side of the buildings there should be erected
+shops looking out upon those same quays, and that these shops should
+serve only for the sale of eatables of every kind. And in these four
+sides the design of Fra Giocondo had four principal gates&mdash;namely, one
+to each side, placed in the centre, one directly opposite to another.
+But before going into the central piazza, by whichever side one
+entered, one would have found both on the right hand and on the left a
+street which <span class="pagenum"><a id="Page_9" name="Page_9">[Pg 9]</a></span> ran round the block of buildings and had shops
+on either side, with handsome workshops above them and magazines for
+the use of those shops, which were all to be devoted to the sale of
+woven fabrics&mdash;that is, fine woollen cloth and silk, which are the two
+chief products of that city. This street, in short, was to contain all
+the shops that are called the Tuscan's and the silk-merchant's.</p>
+
+<p>From this double range of shops there was to be access by way of the
+four gates into the centre of the whole block&mdash;that is to say, into a
+vast piazza surrounded on every side by spacious and beautiful loggie
+for the accommodation of the merchants and for the use of the great
+number of people who flock together for the purposes of their trade
+and commerce to that city, which is the custom-house of all Italy, or
+rather of Europe. Under those loggie, on every side, were to be the
+shops of the bankers, goldsmiths, and jewellers; and in the centre was
+to be built a most beautiful temple dedicated to S. Matthew, in which
+the people of quality might be able to hear the divine offices in the
+morning. With regard to this temple, however, some persons declare
+that Fra Giocondo changed his mind, and wished to build two under the
+loggie, so as not to obstruct the piazza. And, in addition, this
+superb structure was to have so many other conveniences,
+embellishments, and adornments, all in their proper places, that
+whoever sees at the present day the beautiful design that Fra Giocondo
+made for the whole, declares that nothing more lovely, more
+magnificent, or planned with better order, could be imagined or
+conceived by the most excellent of craftsmen, be his genius never so
+happy.</p>
+
+<p>It was proposed, also, with the advice of the same master, and as a
+completion to this work, to build the Bridge of the Rialto of stone,
+covered with shops, which would have been a marvellous thing. But this
+enterprise was not carried into effect, for two reasons: first,
+because the Republic, on account of the extraordinary expenses
+incurred in the last war, happened to be drained dry of money; and,
+secondly, because a gentleman of great position and much authority at
+that time (of the family, so it is said, of Valereso), being a man of
+little judgment in such matters, and perchance influenced by some
+private interest, chose to <span class="pagenum"><a id="Page_10" name="Page_10">[Pg 10]</a></span> favour one Maestro
+Zanfragnino,<a id="FNanchor3" name="FNanchor3"></a><a href="#Footnote3" title="Go to footnote 3" class="fnanchor">[3]</a> who, so I am informed, is still alive, and who had
+worked for him on buildings of his own. This Zanfragnino&mdash;a fit and
+proper name for a master of his calibre&mdash;made the design for that
+medley of marble which was afterwards carried into execution, and
+which is still to be seen; and many who are still alive, and remember
+the circumstances very well, are even yet not done with lamenting that
+foolish choice.</p>
+
+<p>Fra Giocondo, having seen that shapeless design preferred to his
+beautiful one, and having perceived how much more virtue there often
+is in favour than in merit with nobles and great persons, felt such
+disdain that he departed from Venice, nor would he ever return,
+although he was much entreated to do it. And the design, with others
+by the same monk, remained in the house of the Bragadini, opposite to
+S. Marina, in the possession of Frate Angelo, a member of that family
+and a friar of S. Dominic, who, by reason of his many merits,
+afterwards became Bishop of Vicenza.</p>
+
+<p>Fra Giocondo was very versatile, and delighted, in addition to the
+pursuits already mentioned, in simples and in agriculture. Thus Messer
+Donato Giannotti, the Florentine, who was very much his friend for
+many years in France, relates that once, when living in that country,
+the monk reared a peach-tree in an earthen pot, and that this little
+tree, when he saw it, was so laden with fruit that it was a marvellous
+sight. On one occasion, by the advice of some friends, he had set it
+in a place where the King was to pass and would be able to see it,
+when certain courtiers, who passed by first, plucked all the peaches
+off that little tree, as suchlike people were sure to do, and, playing
+about with one another, scattered what they could not eat along the
+whole length of the street, to the great displeasure of Fra Giocondo.
+The matter coming to the ears of the King, he first laughed over the
+jest with the courtiers, and then, after thanking the monk for what he
+had done to please him, gave him a present of such a kind that he was
+consoled.</p>
+
+<div class="figcenter">
+<a name="img002" id="img002"></a>
+<img src="images/img002-tb.jpg" width="400" height="518" alt="The Magdalene with Saints." title="">
+<p class="caption">THE MAGDALENE WITH SAINTS<br>
+(<i>After the painting by</i> Liberale da Verona.<br> <i>Verona: S. Anastasia</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img002.jpg">View larger image</a></span></p>
+</div>
+
+<p>Fra Giocondo was a man of saintly and most upright life, much beloved
+by all the great men of letters of his age, and in particular by
+<span class="pagenum"><a id="Page_11" name="Page_11">[Pg 11]</a></span> Domizio Calderino, Matteo Bosso, and Paolo Emilio, the
+writer of the History of France, all three his compatriots. Very much
+his friends, likewise, were Sannazzaro, Bud�, and Aldus Manutius, with
+all the Academy of Rome; and he had a disciple in Julius C�sar
+Scaliger, one of the most learned men of our times. Finally, being
+very old, he died, but precisely at what time and in what place this
+happened, and consequently where he was buried, is not known.</p>
+
+<p>Even as it is true that the city of Verona is very similar to Florence
+in situation, manners, and other respects, so it is also true that in
+the first as well as in the second there have always flourished men of
+the finest genius in all the noblest and most honourable professions.
+Saying nothing of the learned, for with them I have nothing to do
+here, and continuing to speak of the men of our arts, who have always
+had an honourable abode in that most noble city, I come to Liberale of
+Verona, a disciple of Vincenzio di Stefano, a native of the same city,
+already mentioned in another place, who executed for the Church of
+Ognissanti, belonging to the Monks of S. Benedict, at Mantua, in the
+year 1463, a Madonna that was a very praiseworthy example of the work
+of those times. Liberale imitated the manner of Jacopo Bellini, for
+when a young man, while the said Jacopo was painting the Chapel of S.
+Niccol� at Verona, he gave his attention under Bellini to the studies
+of design in such thorough fashion that, forgetting all that he had
+learned from Vincenzio di Stefano, he acquired the manner of Bellini
+and retained it ever after.</p>
+
+<p>The first paintings of Liberale were in the Chapel of the Monte della
+Piet� in S. Bernardino, in his native city; and there, in the
+principal picture, he painted a Deposition from the Cross, with
+certain Angels, some of whom have in their hands the Mysteries (for so
+they are called) of the Passion, and all with their weeping faces show
+grief at the Death of the Saviour. Very natural, in truth, are these
+figures, as are other works of the same kind by this master, who
+strove to show in many places that he was able to paint weeping
+countenances. This may also be seen in S. Anastasia, a church of
+Friars of S. Dominic, likewise in Verona, where he painted a Dead
+Christ with the Maries mourning for <span class="pagenum"><a id="Page_12" name="Page_12">[Pg 12]</a></span> Him on the pediment of
+the Chapel of the Buonaveri; and he executed many pictures in the same
+manner of painting as the work mentioned above, which are dispersed
+among the houses of various gentlemen in Verona.</p>
+
+<p>In the same chapel he painted a God the Father surrounded by many
+Angels who are playing instruments and singing, with three figures on
+either side&mdash;S. Peter, S. Dominic, and S. Thomas Aquinas on one side,
+and S. Lucia, S. Agnese, and another female Saint on the other; but
+the first three are much the finer, being executed in a better manner
+and with more relief. On the main wall of that chapel he painted Our
+Lady, with the Infant Christ marrying S. Catharine, the Virgin-Martyr;
+and in this work he made a portrait of Messer Piero Buonaveri, the
+owner of the chapel. Around this group are some Angels presenting
+flowers, with some heads that are smiling, executed with such grace in
+their gladness, that they prove that he was able to paint a smiling
+face as well as he had painted tears in other figures. In the
+altar-piece of the same chapel he painted S. Mary Magdalene in the
+air, supported by some Angels, with S. Catharine below&mdash;a work which
+was held to be very beautiful. On the altar of the Madonna in the
+Church of S. Maria della Scala, belonging to the Servite Friars, he
+executed the story of the Magi on two folding-doors that enclose that
+Madonna, which is held in vast veneration in that city; but the work
+did not long remain there, for it was removed because it was being
+spoilt by the smoke of the candles, and placed in the sacristy, where
+it is much admired by the painters of Verona.</p>
+
+<p>In the tramezzo<a id="FNanchor4" name="FNanchor4"></a><a href="#Footnote4" title="Go to footnote 4" class="fnanchor">[4]</a> of the Church of S. Bernardino, above the Chapel of
+the Company of the Magdalene, he painted in fresco the story of the
+Purification, wherein is a figure of Simeon that is much extolled, as
+also is that of the Infant Christ, who with great affection is kissing
+that old man, who is holding Him in his arms; and very beautiful,
+likewise, is a priest standing there on one side, who, with his arms
+extended and his face uplifted towards Heaven, appears to be thanking
+God for the salvation of the world. Beside this chapel is a picture of
+the story of the Magi by the hand of the same Liberale; and in the
+pediment of the <span class="pagenum"><a id="Page_13" name="Page_13">[Pg 13]</a></span> picture there is the Death of the Madonna,
+executed with little figures, which are highly extolled. Great,
+indeed, was his delight in painting works with little figures, with
+which he always took such pains that they seem to be the work rather
+of an illuminator than of a painter, as may be seen in the Duomo of
+the same city, where there is a picture by his hand of the story of
+the Magi, with a vast number of little figures, horses, dogs, and
+various other animals, and near them a group of rosy-coloured
+Cherubim, who serve as a support to the Mother of Jesus. In this
+picture the heads are so finished, and everything is executed with
+such diligence, that, as I have said, it appears to be the work of an
+illuminator.</p>
+
+<p>He also painted stories of Our Lady on a small predella, likewise
+after the manner of miniatures, for the Chapel of the Madonna in the
+Duomo. But this was afterwards removed from that chapel by order of
+Monsignor Messer Giovan Matteo Giberti, Bishop of Verona, and placed
+in the Palace of the Vescovado, which is the residence of the Bishops,
+in that chapel wherein they hear Mass every morning. And there that
+predella stands in company with a most beautiful Crucifix in relief,
+executed by Giovanni Battista Veronese, a sculptor, who now lives in
+Mantua. Liberale also painted a panel-picture for the Chapel of the
+Allegni in S. Vitale, containing a figure of S. Mestro, the Confessor,
+a Veronese and a man of great sanctity, whom he placed between a S.
+Francis and a S. Dominic. For the Chapel of S. Girolamo in the
+Vittoria, a church and convent of certain Eremite Friars, he executed
+at the commission of the Scaltritegli family an altar-piece of S.
+Jerome in the habit of a Cardinal, with a S. Francis and a S. Paul,
+all much extolled. And in the tramezzo<a id="FNanchor5" name="FNanchor5"></a><a href="#Footnote5" title="Go to footnote 5" class="fnanchor">[5]</a> of the Church of S. Giovanni
+in Monte he painted the Circumcision of Christ and other works, which
+were destroyed not long since, because it was considered that the
+tramezzo impaired the beauty of the church.</p>
+
+<p>Being then summoned to Siena by the General of the Monks of Monte
+Oliveto, Liberale illuminated many books for that Order; and in these
+he succeeded so well, that he was commissioned in consequence to
+illuminate some that had been left unfinished&mdash;that is to say, only
+written&mdash;in <span class="pagenum"><a id="Page_14" name="Page_14">[Pg 14]</a></span> the library of the Piccolomini. He also
+illuminated some books of plain-song for the Duomo of that city, where
+he would have remained longer, executing many works that he had in
+hand; but, being driven away by envy and persecution, he set off to
+return to Verona, with eight hundred crowns that he had earned, which
+he lent afterwards to the Monks of Monte Oliveto at S. Maria in
+Organo, from whom he drew interest to support him from day to day.</p>
+
+<p>Having thus returned to Verona, he gave his attention for the rest of
+his life more to illumination than to any other kind of work. At
+Bardolino, a place on the Lake of Garda, he painted a panel-picture
+which is now in the Pieve; and another for the Church of S. Tommaso
+Apostolo. For the Chapel of S. Bernardo, likewise, in the Church of S.
+Fermo, a convent of Friars of S. Francis, he painted a panel-picture
+of the first-named Saint, with some scenes from his life in the
+predella. In the same place, also, and in others, he executed many
+nuptial pictures, one of which, containing the Madonna with the Child
+in her arms marrying S. Catharine, is in the house of Messer Vincenzio
+de' Medici at Verona.</p>
+
+<p>On the corner of the house of the Cartai, on the way from the Ponte
+Nuovo to S. Maria in Organo, in Verona, he painted a Madonna and S.
+Joseph in fresco, a work which was much extolled. Liberale would have
+liked to paint the Chapel of the Riva family, which had been built in
+order to honour the memory of Giovanni Riva, a captain of men-at-arms
+at the battle of the Taro, in the Church of S. Eufemia; but he did not
+receive the commission, which was given to some strangers, and he was
+told that he was too old and that his sight was failing him. When this
+chapel was opened, a vast number of faults were perceived in it, and
+Liberale said that he who had given the commission had been much more
+blind than himself.</p>
+
+<div class="figcenter">
+<a name="img003" id="img003"></a>
+<img src="images/img003-tb.jpg" width="400" height="514" alt="Miniature." title="">
+<p class="caption">MINIATURE<br>
+(<i>After</i> Liberale da Verona.<br> <i>Siena: Duomo Library</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img003.jpg">View larger image</a></span></p>
+</div>
+
+<p>Finally, being eighty-four years of age, or even more, Liberale
+allowed himself to be ruled by his relatives, and particularly by a
+married daughter, who, like the rest, treated him very badly. At
+which, having grown angry both with her and with his other relatives,
+and happening to have under his charge one Francesco Turbido, called
+Il Moro, then a young man, who was a diligent painter and much
+affected towards him, <span class="pagenum"><a id="Page_15" name="Page_15">[Pg 15]</a></span> he appointed him as heir to the
+house and garden that he had at S. Giovanni in Valle, a very pleasant
+part of the city; and with him he took up his quarters, saying that he
+would rather give the enjoyment of his property to one who loved
+virtue than to those who ill-treated their nearest of kin. But no long
+time passed before he died, which was on the day of S. Chiara in the
+year 1536, at the age of eighty-five; and he was buried in S. Giovanni
+in Valle.</p>
+
+<p>His disciples were Giovan Francesco Caroto and Giovanni Caroto,
+Francesco Turbido, called Il Moro, and Paolo Cavazzuola, of whom,
+since they were truly excellent masters, I shall make mention in their
+due order.</p>
+
+<p>Giovan Francesco Caroto was born at Verona in the year 1470, and after
+having learned the first rudiments of letters, being drawn to
+painting, he abandoned the studies of grammar and placed himself to
+learn painting under the Veronese Liberale, undertaking to recompense
+him for his pains. Young as he was, then, Giovan Francesco devoted
+himself with such love and diligence to design, that even in his
+earliest years he was a great assistance to Liberale both in that and
+in colouring. No long time after, when his judgment had increased with
+his years, he saw the works of Andrea Mantegna in Verona; and
+thinking, as indeed was the truth, that these were of another manner
+and better than those of his master, he so wrought upon his father
+that he was given leave, with the gracious consent of Liberale, to
+apprentice himself to Mantegna. Having gone to Mantua, therefore, and
+having placed himself under Mantegna, in a short time he made such
+proficience that Andrea sent out works by Caroto as works by his own
+hand. In short, before many years had passed by, he had become an able
+master. The first works that he executed after leaving the discipline
+of Mantegna were on the altar of the three Magi in the Church of the
+Hospital of S. Cosimo at Verona, where he painted on the folding-doors
+that enclose that altar the Circumcision of Christ and the Flight into
+Egypt, with other figures. In the Church of the Frati Ingiesuati,
+called S. Girolamo, in two angles of a chapel, he painted the Madonna
+and the Angel of the Annunciation. And for the Prior of the Friars of
+S. Giorgio he executed a little panel-picture <span class="pagenum"><a id="Page_16" name="Page_16">[Pg 16]</a></span> of the Manger,
+in which he may be seen to have greatly improved his manner, since the
+heads of the shepherds and of all the other figures have expressions
+so sweet and so beautiful, that this work was much extolled, and that
+rightly; and if it were not that the priming of gesso is peeling off
+through having been badly prepared, so that the picture is gradually
+perishing, it would be enough by itself to keep him alive for ever in
+the memory of his fellow-citizens.</p>
+
+<p>Next, having been commissioned by the men who governed the Company of
+the Angel Raphael to paint their chapel in the Church of S. Eufemia,
+he executed therein two stories of the Angel Raphael in fresco, and in
+the altar-piece, in oils, three large Angels, Raphael in the centre,
+and Gabriel and Michael on either side, and all with good
+draughtsmanship and colouring. He was reproached, indeed, for having
+made the legs of those Angels too slender and wanting in softness; to
+which he made a pleasant and gracious answer, saying that even as
+Angels were represented with wings and with bodies, so to speak,
+celestial and ethereal, as if they were birds, so it was only right to
+make their legs lean and slender, to the end that they might fly and
+soar upwards with greater ease. For that altar of the Church of S.
+Giorgio where there is a Christ bearing His Cross, he painted S. Rocco
+and S. Sebastian, with some scenes in the predella executed with very
+beautiful little figures. And by order of the Company of the Madonna
+he painted on the predella of the altar of that Company, in S.
+Bernardino, the Nativity of the Madonna and the Massacre of the
+Innocents, with a great variety of attitudes in the murderers and in
+the groups of children whom their mothers are defending with all their
+might. This work is held in great veneration, and is kept covered, the
+better to preserve it; and it was the reason that the men of the
+Fraternity of S. Stefano commissioned him to paint three pictures with
+similar figures for their altar in the old Duomo of Verona, containing
+three little scenes from the life of Our Lady&mdash;her Marriage, the
+Nativity of Christ, and the story of the Magi.</p>
+
+<div class="figcenter">
+<a name="img004" id="img004"></a>
+<img src="images/img004-tb.jpg" width="400" height="577"
+alt="Elisabetta Gonzaga, Duchess of Mantua." title="">
+<p class="caption">GIOVAN FRANCESCO CAROTO: ELISABETTA GONZAGA, DUCHESS OF MANTUA<br>
+(<i>Florence: Uffizi, 1121. Panel</i>)
+<br><span class="link"><a href="images/img004.jpg">View larger image</a></span></p>
+</div>
+
+<p>After these works, thinking that he had gained enough credit in
+Verona, Giovan Francesco was minded to depart and make trial of other
+places; but his friends and relatives, pressing him much, persuaded
+him <span class="pagenum"><a id="Page_17" name="Page_17">[Pg 17]</a></span> to take to wife a young woman of noble birth, the
+daughter of Messer Braliassarti Grandoni, whom he married in 1505. In
+a short time, however, after he had had a son by her, she died in
+child-birth; and Giovan Francesco, thus left free, departed from
+Verona and went off to Milan, where Signor Anton Maria Visconti
+received him into his house and caused him to execute many works for
+its adornment.</p>
+
+<p>Meanwhile there was brought to Milan by a Fleming a head of a young
+man, taken from life and painted in oils, which was admired by
+everyone in that city; but Giovan Francesco, seeing it, laughed and
+said: "I am confident that I can do a better." At which the Fleming
+mocked him, but after many words the matter came to this, that Giovan
+Francesco was to try his hand, losing his own picture and twenty-five
+crowns if he lost, and winning the Fleming's head and likewise
+twenty-five crowns if he won. Setting to work, therefore, with all his
+powers, Giovan Francesco made a portrait of an aged gentleman with
+shaven face, with a falcon on his wrist; but, although this was a good
+likeness, the head of the Fleming was judged to be the better. Giovan
+Francesco did not make a good choice in executing his portrait, for he
+took a head that could not do him honour; whereas, if he had chosen a
+handsome young man, and had made as good a likeness of him as he did
+of the old man, he would at least have equalled his adversary's
+picture, even if he had not surpassed it. But for all this the head of
+Giovan Francesco did not fail to win praise, and the Fleming showed
+him courtesy, for he contented himself with the head of the shaven old
+man, and, being a noble and courteous person, would by no means accept
+the five-and-twenty crowns. This picture came after some time into the
+possession of Madonna Isabella d'Este, Marchioness of Mantua, who paid
+a very good price for it to the Fleming and placed it as a choice work
+in her study, in which she had a vast number of very beautiful coins,
+pictures, works in marble, and castings.</p>
+
+<p>After completing his work for Visconti, Giovan Francesco, being
+invited by Guglielmo, Marquis of Montferrat, went willingly to serve
+him, as Visconti straitly besought him to do. On his arrival, a fine
+provision was assigned to him; and, setting to work, he painted for
+that noble at <span class="pagenum"><a id="Page_18" name="Page_18">[Pg 18]</a></span> Casale, in a chapel where he heard Mass, as
+many pictures as were necessary to fill it and adorn it on every side,
+with subjects from the Old Testament and the New, which were executed
+by him with supreme diligence, as was also the chief altar-piece. He
+then executed many works throughout the apartments of that Castle,
+which brought him very great fame. And in S. Domenico, by order of
+that Marquis, he painted the whole of the principal chapel for the
+adornment of the tomb wherein he was to be laid to rest; in which work
+Giovan Francesco acquitted himself so well, that he was rightly
+rewarded with honourable gifts by the liberality of his patron, who
+also favoured him by making him one of his own chamberlains, as may be
+seen from an instrument that is in the possession of his heirs at
+Verona. He made portraits of that lord and of his wife, with many
+pictures that they sent to France, and also the portrait of Guglielmo,
+their eldest child, who was then a boy, and likewise portraits of
+their daughters and of all the ladies who were in the service of the
+Marchioness.</p>
+
+<p>On the death of the Marquis Guglielmo, Giovan Francesco departed from
+Casale, after first selling all the property that he had in those
+parts, and made his way to Verona, where he so arranged his affairs
+and those of his son, to whom he gave a wife, that in a short time he
+found himself in possession of more than seven thousand ducats. But he
+did not therefore abandon his painting; indeed, having a quiet mind,
+and not being obliged to rack his brain for a livelihood, he gave more
+attention to it than ever. It is true that either from envy or for
+some other reason he was accused of being a painter who could do
+nothing but little figures; wherefore, in executing the altar-piece of
+the Chapel of the Madonna in S. Fermo, a convent of Friars of S.
+Francis, wishing to show that the accusation was a calumny, he painted
+the figures larger than life, and so well, that they were the best
+that he had ever done. In the air is Our Lady seated in the lap of S.
+Anne, with some Angels standing upon clouds, and beneath are S. Peter,
+S. John the Baptist, S. Rocco, and S. Sebastian; and not far away, in
+a most beautiful landscape, is S. Francis receiving the Stigmata. This
+work, indeed, is held by craftsmen to be not otherwise than good.</p>
+
+<div class="figcenter">
+<a name="img005" id="img005"></a>
+<img src="images/img005-tb.jpg" width="400" height="591" alt="Madonna and Child with S. Anne and Saints." title="">
+<p class="caption">MADONNA AND CHILD WITH S. ANNE AND SAINTS<br>
+(<i>After the painting by</i> Giovan Francesco Caroto.<br> <i>Verona: S. Fermo
+Maggiore</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img005.jpg">View larger image</a></span></p>
+</div>
+
+<p><span class="pagenum"><a id="Page_19" name="Page_19">[Pg 19]</a></span> For the Chapel of the Cross in S. Bernardino, a seat of the
+Frati Zoccolanti, he painted Christ kneeling on one knee and taking
+leave of His Mother. In this work, stirred to emulation by the many
+notable pictures by the hands of other masters that are in that place,
+he strove to surpass them all; wherefore, in truth, he acquitted
+himself very well, and was praised by all who saw it, save only by the
+Guardian of that convent, who, like the boorish and solemn fool that
+he was, reproved Giovan Francesco with biting words, saying that he
+had made Christ show such little reverence to His Mother as to kneel
+only upon one knee. To which Giovan Francesco answered by saying:
+"Father, first do me the favour of kneeling down and rising up again,
+and I will then tell you for what reason I have painted Christ so."
+The Guardian, after much persuasion, knelt down, placing on the ground
+first his right knee and then his left; and in rising up he raised
+first the left and then the right. Which done, Giovan Francesco said:
+"Did you observe, Father Guardian, that you neither knelt down nor
+rose up with both knees together? I tell you, therefore, that this
+Christ of mine is right, because one might say that He is either
+coming to His knees before His Mother, or beginning, after having
+knelt a while, to raise one leg in order to rise." At which the
+Guardian had to appear a little appeased, although he went off
+muttering under his breath.</p>
+
+<p>Giovan Francesco was very sharp in his answers; and it is also related
+of him that once, being told by a priest that his figures were too
+seductive for altar-pieces, he replied: "A lusty fellow you must be,
+if painted figures so move you. Think how much you are to be trusted
+in places where there are living people for you to touch." At Isola, a
+place on the Lake of Garda, he painted two panel-pictures for the
+Church of the Zoccolanti; and at Malsessino, a township above that
+same lake, he painted a very beautiful Madonna over the door of a
+church, and some Saints within the church, at the request of
+Fracastoro, a very famous poet, who was much his friend. For Count
+Giovan Francesco Giusti, executing a subject conceived by that
+nobleman, he painted a young man wholly naked except for the parts of
+shame, and in an attitude of indecision as to whether he shall rise up
+or not; and on one side he had <span class="pagenum"><a id="Page_20" name="Page_20">[Pg 20]</a></span> a most beautiful young woman
+representing Minerva, who with one hand was pointing out to him a
+figure of Fame on high, and with the other was urging him to follow
+her; but Sloth and Idleness, who were behind the young man, were
+striving to detain him. Below these was a figure with an uncouth face,
+rather that of a slave and a plebeian than of one of noble blood, who
+had two great snails clinging to his elbows and was seated on a crab,
+and near him was another figure with the hands full of poppies. This
+invention, in which are other beautiful details and fancies, was
+executed by Giovan Francesco with supreme diligence and love; and it
+serves as the head-board of a bedstead at that nobleman's lovely place
+near Verona, which is called S. Maria in Stella.</p>
+
+<p>The same master painted the whole of a little chamber with various
+scenes in little figures, for Count Raimondo della Torre. And since he
+delighted to work in relief, he executed not only models for his own
+purposes and for the arrangement of draperies, but also other things
+of his own fancy, of which there are some to be seen in the house of
+his heirs, and in particular a scene in half-relief, which is not
+otherwise than passing good. He also executed portraits on medallions,
+and some are still to be seen, such as that of Guglielmo, Marquis of
+Montferrat, which has on the reverse a Hercules slaying ..., with a
+motto that runs: "Monstra domat." He painted portraits of Count
+Raimondo della Torre, Messer Giulio his brother, and Messer Girolamo
+Fracastoro.</p>
+
+<p>But when Giovan Francesco became old, he began gradually to lose his
+mastery over art, as may be seen from the organ-doors in S. Maria
+della Scala, from the panel-picture of the Movi family, wherein is a
+Deposition from the Cross, and from the Chapel of S. Martino in S.
+Anastasia. Giovan Francesco had always a great opinion of himself, and
+not for anything in the world would he have ever copied another man's
+work in his own. Now Bishop Giovan Matteo Giberti wished him to paint
+some stories of the Madonna in the great chapel of the Duomo, and had
+the designs for these drawn in Rome by Giulio Romano, who was very
+much his friend (for Giberti was Datary to Pope Clement VII). But,
+when the Bishop had returned to Verona, Giovan Francesco would never
+<span class="pagenum"><a id="Page_21" name="Page_21">[Pg 21]</a></span> consent to execute these designs; at which the Bishop, in
+disdain, caused them to be put into execution by Francesco, called Il
+Moro.</p>
+
+<p>Giovan Francesco held an opinion, in which he was not far from the
+truth, that varnishing pictures spoiled them, and made them become old
+sooner than they otherwise would; and for this reason he used varnish
+in the darks while painting, together with certain purified oils. He
+was also the first who executed landscapes well in Verona; wherefore
+there are some by his hand to be seen in that city, which are very
+beautiful. Finally, when seventy-six years of age, Giovan Francesco
+died the death of a good Christian, leaving his grandchildren and his
+brother, Giovanni Caroto, passing well provided. This Giovanni, after
+first applying himself to art under his brother, and then spending
+some time in Venice, had just returned to Verona when Giovan Francesco
+passed to the other life; and thus he took a hand with the
+grandchildren in inspecting the things of art that had been left to
+them. Among these they found a portrait of an old man in armour, very
+beautiful both in drawing and in colour, which was the best work by
+the hand of Giovan Francesco that was ever seen; and likewise a little
+picture containing a Deposition from the Cross, which was presented to
+Signor Spitech, a man of great authority with the King of Poland, who
+had come at that time to some baths that are in the territory of
+Verona. Giovan Francesco was buried in the Madonna dell' Organo, in
+the Chapel of S. Niccol�, which he himself had adorned with his
+paintings.</p>
+
+<p>Giovanni Caroto, brother of Giovan Francesco, although he followed the
+manner of the latter, yet gained less reputation in the practice of
+painting. This master painted the altar-piece in the above-mentioned
+Chapel of S. Niccol�, wherein is the Madonna enthroned on clouds; and
+below this he placed a portrait of himself, taken from life, and that
+of his wife Placida. He also painted some little figures of female
+Saints for the altar of the Schioppi in the Church of S. Bartolommeo,
+together with a portrait of Madonna Laura degli Schioppi, who had
+caused that chapel to be built, and who was much celebrated by the
+writers of those times no less for her virtues than for her beauty.
+Giovanni likewise painted a S. Martin in a little altar-piece for S.
+Giovanni in Fonte, near <span class="pagenum"><a id="Page_22" name="Page_22">[Pg 22]</a></span> the Duomo; and he made a portrait of
+Messer Marc' Antonio della Torre (who afterwards became a man of
+learning and gave public lectures at Padua and Pavia) as a young man,
+and also one of Messer Giulio; which heads are in the possession of
+their heirs at Verona. For the Prior of S. Giorgio he painted a
+picture of Our Lady, which, as a good painting, has been kept ever
+since, as it still is, in the chamber of the Priors. And he painted
+another picture, representing the transformation of Act�on into a
+stag, for the organist Brunetto, who afterwards presented it to
+Girolamo Cicogna, an excellent embroiderer, and engineer to Bishop
+Giberti; and it now belongs to Messer Vincenzio Cicogna, his son.</p>
+
+<p>Giovanni took ground-plans of all the ancient buildings of Verona,
+with the triumphal arches and the Colosseum. These were revised by the
+Veronese architect Falconetto, and they were meant for the adornment
+of the book of the Antiquities of Verona, which had been written after
+his own original research by Messer Torello Saraina, who afterwards
+had the book printed. This book was sent to me by Giovanni Caroto when
+I was in Bologna (where I was executing the work of the Refectory of
+S. Michele in Bosco), together with the portrait of the reverend
+Father, Don Cipriano da Verona, who was twice General of the Monks of
+Monte Oliveto; and the portrait, which was sent to me by Giovanni to
+the end that I might make use of it, as I did, for one of those
+pictures, is now in my house at Florence, with other paintings by the
+hands of various masters.</p>
+
+<p>Finally, having lived without children and without ambition, but with
+good means, Giovanni died at about the age of sixty, full of gladness
+because he saw some of his disciples, particularly Anselmo Canneri and
+Paolo Veronese, already in good repute. Paolo is now working in
+Venice, and is held to be a good master; and Anselmo has executed many
+works both in oils and in fresco, and in particular at the Villa
+Soranza on the Tesino, and in the Palace of the Soranzi at
+Castelfranco, and also in many other places, but more at Vicenza than
+anywhere else. But to return to Giovanni; he was buried in S. Maria
+dell' Organo, where he had painted a chapel with his own hand.</p>
+
+<p>Francesco Turbido, called Il Moro, a painter of Verona, learned the
+<span class="pagenum"><a id="Page_23" name="Page_23">[Pg 23]</a></span> first rudiments of art, when still quite young, from
+Giorgione da Castelfranco, whom he imitated ever afterwards in
+colouring and in softness of painting. But just when Il Moro was
+making progress, he came to words with I know not whom, and handled
+him so roughly, that he was forced to leave Venice and return to
+Verona. There, abandoning his painting, since he was somewhat ready
+with his hands and associated with the young noblemen, being a person
+of very good breeding, he lived for a time without doing any work. And
+associating in this way, in particular, with the Counts Sanbonifazi
+and the Counts Giusti, two illustrious families of Verona, he became
+so intimate with them that he lived in their houses as if he had been
+born in them; and, what is more, no long time passed before Count
+Zenovello Giusti gave him a natural daughter of his own for a wife,
+and granted him a commodious apartment in his own house for himself,
+his wife, and the children that were born to them.</p>
+
+<p>It is said that Francesco, while living in the service of those
+noblemen, always carried a pencil in his pouch; and wherever he went,
+if only he had time, he would draw a head or something else on the
+walls. Wherefore the same Count Zenovello, seeing him to be so much
+inclined to painting, relieved him of his other duties, like the
+generous nobleman that he was, and made him give his whole attention
+to art; and since Francesco had all but forgotten everything, he
+placed himself, through the good offices of that patron, under
+Liberale, a famous painter and illuminator of that time. And thus,
+practising under that master without ever ceasing, he went on making
+such progress from one day to another, that not only did all that he
+had forgotten awaken in his memory, but he also acquired in a short
+time as much more knowledge as sufficed to make him an able craftsman.
+It is true, however, that, although he always held to the manner of
+Liberale, he yet imitated the softness and well-blended colouring of
+Giorgione, his first instructor, believing that the works of Liberale,
+while good in other respects, suffered from a certain dryness.</p>
+
+<p>Now Liberale, having recognized the beauty of Francesco's spirit,
+conceived such an affection for him, that he loved him ever afterwards
+<span class="pagenum"><a id="Page_24" name="Page_24">[Pg 24]</a></span> as a son, and, when death came upon him, left him heir to
+all his possessions. And thus, after the death of Liberale, Francesco
+followed in his steps and executed many works, which are dispersed
+among various private houses. Of those in Verona which deserve to be
+extolled above all others, the first is the great chapel of the Duomo,
+on the vaulting of which are four large pictures painted in fresco,
+wherein are the Nativity of the Madonna and the Presentation in the
+Temple, and, in the picture in the centre, which appears to recede
+inwards, three Angels in the air, who are seen foreshortened from
+below, and are holding a crown of stars wherewith to crown the
+Madonna, who is in the recess, in the act of ascending into Heaven,
+accompanied by many Angels, while the Apostles are gazing upwards in
+attitudes of great variety; and these Apostles are figures twice the
+size of life. All these pictures were executed by Il Moro after the
+designs of Giulio Romano, according to the wish of Bishop Giovan
+Matteo Giberti, who gave the commission for the work, and who, as has
+been said, was very much the friend of that same Giulio.</p>
+
+<p>After this Il Moro painted the fa�ade of the house of the Manuelli,
+which stands on the abutment of the Ponte Nuovo, and a fa�ade for
+Torello Saraina, the doctor, who wrote the above-mentioned book of the
+Antiquities of Verona. In Friuli, likewise, he painted in fresco the
+principal chapel of the Abbey of Rosazzo, for Bishop Giovan Matteo,
+who held it "in commendam," and, being a noble and truly religious
+dignitary, rebuilt it; for it had been allowed to fall completely into
+ruin, as such buildings are generally found to be, by those who had
+held it "in commendam" before him, attending only to the drawing of
+the revenues and spending not a farthing in the service of God and of
+the Church.</p>
+
+<div class="figcenter">
+<a name="img006" id="img006"></a>
+<img src="images/img006-tb.jpg" width="400" height="477" alt="Portrait of a Man." title="">
+<p class="caption">PORTRAIT OF A MAN<br>
+(<i>After the painting by</i> Francesco Turbido [Il Moro].<br> <i>Munich:
+Pinacoteca, 1125</i>)<br>
+<i>Bruckmann</i>
+<br><span class="link"><a href="images/img006.jpg">View larger image</a></span></p>
+</div>
+
+<p>Il Moro afterwards painted many works in oils at Verona and in Venice.
+On the outer wall (of a chapel) in S. Maria in Organo he executed in
+fresco the figures that are still there, with the exception of the
+Angel Michael and the Angel Raphael, which are by the hand of Paolo
+Cavazzuola. For the same chapel he painted an altar-piece in oils,
+wherein he made a portrait of Messer Jacopo Fontani, who gave the
+commission for the work, in a figure of S. James, in addition to the
+Madonna and other very beautiful figures. And in a large semicircle
+above that altar-piece, <span class="pagenum"><a id="Page_25" name="Page_25">[Pg 25]</a></span> occupying the whole width of the
+chapel, he painted the Transfiguration of Our Lord, and the Apostles
+beneath, which were held to be among the best figures that he ever
+executed. For the Chapel of the Bombardieri, in S. Eufemia, he painted
+an altar-piece with S. Barbara in the heavens, in the centre, and a S.
+Anthony below, with his hand on his beard, which is a most beautiful
+head, and on the other side a S. Rocco, which is also held to be a
+very good figure; whence this work is rightly looked upon as one
+executed with supreme diligence and unity of colouring. In a picture
+on the altar of the Santificazione, in the Madonna della Scala, he
+painted a S. Sebastian, in competition with Paolo Cavazzuola, who
+executed a S. Rocco in another picture; and he afterwards painted an
+altar-piece that was taken to Bagolino, a place in the mountains of
+Brescia.</p>
+
+<p>Il Moro executed many portraits, and his heads are in truth beautiful
+to a marvel, and very good likenesses of those whom they were meant to
+represent. At Verona he executed a portrait of Count Francesco
+Sanbonifazio, who, on account of the length of his body, was called
+the Long Count; with that of one of the Franchi, which was an amazing
+head. He also painted the portrait of Messer Girolamo Verit�, which
+remained unfinished, because Il Moro was inclined to be dilatory in
+his work; and this, still unfinished, is in the possession of the sons
+of that good nobleman. Among many other portraits, likewise, he
+executed one of the Venetian, Monsignor de' Martini, a knight of
+Rhodes, and to the same man he sold a head of marvellous beauty and
+excellence, which he had painted many years before as the portrait of
+a Venetian gentleman, the son of one who was then Captain in Verona.
+This head, through the avarice of the Venetian, who never paid him,
+was left in the hands of Francesco, and he disposed of it to Monsignor
+de' Martini, who had the Venetian dress changed into that of a
+shepherd or herdsman. It is as rare a portrait as ever issued from the
+hand of any craftsman, and it is now in the house of the heirs of the
+same Monsignor de' Martini, where it is rightly held in vast
+veneration. In Venice he painted a portrait of Messer Alessandro
+Contarini, Procurator of S. Mark and Proveditor of the forces, and one
+of Messer Michele San Michele for one of Messer <span class="pagenum"><a id="Page_26" name="Page_26">[Pg 26]</a></span> Michele's
+dearest friends, who took the portrait to Orvieto; and it is said that
+he executed another of the same architect, Messer Michele, which is
+now in the possession of Messer Paolo Ramusio, the son of Messer
+Giovan Battista. He also painted a portrait of Fracastoro, a very
+famous poet, at the instance of Monsignor Giberti, by whom it was sent
+to Giovio, who placed it in his museum.</p>
+
+<p>Il Moro executed many other works, of which there is no need to make
+mention, although they are all well worthy of remembrance, because he
+was as diligent a colourist as any master that lived in his day, and
+because he bestowed much time and labour on his work. So great,
+indeed, was his diligence, that it brought upon him more blame than
+praise, as may also be seen at times to happen to others, for the
+reason that he accepted any commission and took the earnest-money from
+every patron, and trusted to the will of God to finish the work; and
+if he did this in his youth, everyone may imagine what he must have
+done in his last years, when to his natural slowness there was added
+that which old age brings in its train. By this method of procedure he
+brought upon himself more entanglements and annoyances than he cared
+for; and Messer Michele San Michele, therefore, moved by compassion
+for him, took him into his house in Venice and treated him like a
+friend and man of talent.</p>
+
+<p>Finally, having been invited back to Verona by his former patrons, the
+Counts Giusti, Il Moro died among them in their beautiful Palace of S.
+Maria in Stella, and was buried in the church of that villa, being
+accompanied to his tomb by all those loving noblemen, and even laid to
+rest with extraordinary affection by their own hands; for they loved
+him as a father, since they had all been born and brought up while he
+was living in their house. In his youth Il Moro was very courageous
+and agile in body, and handled all kinds of arms with great skill. He
+was most faithful to his friends and patrons, and he showed spirit in
+all his actions. His most intimate friends were the architect, Messer
+Michele San Michele, Danese da Carrara, an excellent sculptor, and the
+very reverend and most learned Fra Marco de' Medici, who often went
+after his studies to sit with him, watching him at work, and
+discoursing <span class="pagenum"><a id="Page_27" name="Page_27">[Pg 27]</a></span> lovingly with him, in order to refresh his mind
+when he was weary with labour.</p>
+
+<p>A disciple and son-in-law of Il Moro, who had two daughters, was
+Battista d' Agnolo, who was afterwards called Battista del Moro. This
+master, although he had his hands full for a time with the
+complications of the inheritance that Il Moro bequeathed to him, has
+yet executed many works which are not otherwise than passing good. In
+Verona he has painted a S. John the Baptist in the Church of the Nuns
+of S. Giuseppe, and in the tramezzo<a id="FNanchor6" name="FNanchor6"></a><a href="#Footnote6" title="Go to footnote 6" class="fnanchor">[6]</a> of S. Eufemia, above the altar
+of S. Paolo, a scene in fresco showing the latter Saint presenting
+himself to Ananias after being converted by Christ; which work,
+although he executed it when still a lad, is much extolled. For the
+noble Counts Canossi he painted two apartments, and in a hall two
+friezes with battle-pieces, which are very beautiful and praised by
+everyone. In Venice he painted the fa�ade of a house near the Carmine,
+a work of no great size, but much extolled, in which he executed a
+figure of Venice crowned and seated upon a lion, the device of that
+Republic. For Camillo Trevisano he painted the fa�ade of his house at
+Murano, and in company with his son Marco he decorated the inner court
+with very beautiful scenes in chiaroscuro. And in competition with
+Paolo Veronese he painted a large chamber in the same house, which
+proved to be so beautiful that it brought him much honour and profit.</p>
+
+<p>The same master has also executed many works in miniature, of which
+the most recent is a very beautiful drawing of S. Eustachio adoring
+Christ, who has appeared to him between the horns of a deer, with two
+dogs near him, which could not be more excellent, and a landscape full
+of trees, receding and fading away little by little into the distance,
+which is an exquisite thing. This drawing has been very highly praised
+by the many persons who have seen it, and particularly by Danese da
+Carrara, who saw it when he was in Verona, carrying out the work of
+the Chapel of the Signori Fregosi, which is one of rare distinction
+among all the number that there are in Italy at the present day.
+Danese, I say, having seen this drawing, was lost in astonishment at
+its beauty, <span class="pagenum"><a id="Page_28" name="Page_28">[Pg 28]</a></span> and exhorted the above-mentioned Fra Marco de'
+Medici, his old and particular friend, not for anything in the world
+to let it slip through his hands, but to contrive to place it among
+the other choice examples of all the arts in his possession. Whereupon
+Battista, having heard that Fra Marco desired it, and knowing of his
+friendship with his father-in-law, gave it to him, almost forcing him
+to accept it, in the presence of Danese; nor was that good Father
+ungrateful to him for so much courtesy. However, since that same
+Battista and his son Marco are alive and still at work, I shall say
+nothing more of them for the present.</p>
+
+<p>Il Moro had another disciple, called Orlando Fiacco, who has become a
+good master and a very able painter of portraits, as may be seen from
+the many that he has painted, all very beautiful and most lifelike. He
+made a portrait of Cardinal Caraffa when he was returning from
+Germany, which he took secretly by torch-light while the Cardinal was
+at supper in the Vescovado of Verona; and this was such a faithful
+likeness that it could not have been improved. He also painted a very
+lifelike portrait of the Cardinal of Lorraine, when, coming from the
+Council of Trent, he passed through Verona on his return to Rome; and
+likewise portraits of the two Bishops Lippomani of Verona, Luigi the
+uncle and Agostino the nephew, which Count Giovan Battista della Torre
+now has in a little apartment. Other portraits that he painted were
+those of Messer Adamo Fumani, a Canon and a very learned gentleman of
+Verona, of Messer Vincenzio de' Medici of Verona, and of his consort,
+Madonna Isotta, in the guise of S. Helen, and of their grandson,
+Messer Niccol�. He has likewise executed portraits of Count Antonio
+della Torre, of Count Girolamo Canossi, and his brothers, Count
+Lodovico and Count Paolo, of Signor Astorre Baglioni, Captain-General
+of all the light cavalry of Venice and Governor of Verona, the latter
+clad in white armour and most beautiful in aspect, and of his consort,
+Signora Ginevra Salviati. In like manner, he has portrayed the eminent
+architect Palladio and many others; and he still continues at work,
+wishing to become in the art of painting as true an Orlando as once
+was that great Paladin of France.</p>
+
+<div class="figcenter">
+<a name="img007" id="img007"></a>
+<img src="images/img007-tb.jpg" width="400" height="556" alt="Portrait of a Gentleman." title="">
+<p class="caption">BONSIGNORI (MONSIGNORI): PORTRAIT OF A GENTLEMAN<br>
+(<i>London: National Gallery, 736. Tempera Panel</i>)
+<br><span class="link"><a href="images/img007.jpg">View larger image</a></span></p>
+</div>
+
+<p>In Verona, where an extraordinary degree of attention has been given
+to design ever since the death of Fra Giocondo, there have flourished
+<span class="pagenum"><a id="Page_29" name="Page_29">[Pg 29]</a></span> at all times men excellent in painting and architecture,
+as will now be seen, in addition to what has been observed hitherto,
+in the Lives of Francesco Monsignori, of Domenico Morone and his son
+Francesco, of Paolo Cavazzuola, of the architect Falconetto, and,
+lastly, of the miniaturists Francesco and Girolamo.</p>
+
+<p>Francesco Monsignori, the son of Alberto, was born at Verona in the
+year 1455; and when he was well grown he was advised by his father,
+who had always delighted in painting, although he had not practised it
+save for his own pleasure, to give his attention to design. Having,
+therefore, gone to Mantua to seek out Mantegna, who was then working
+in that city, he exerted himself in such a manner, being fired by the
+fame of his instructor, that no long time passed before Francesco II,
+Marquis of Mantua, who found an extraordinary delight in painting,
+took him into his own service; and in the year 1487 he gave him a
+house for his habitation in Mantua, and assigned him an honourable
+provision. For these benefits Francesco was not ungrateful, for he
+always served that lord with supreme fidelity and lovingness; whence
+the Marquis came to love and favour him more and more every day,
+insomuch that he could not leave the city without having Francesco in
+his train, and was once heard to say that Francesco was as dear to him
+as the State itself.</p>
+
+<p>Francesco painted many works for that lord in his Palace of S.
+Sebastiano at Mantua, and also in the Castello di Gonzaga and in the
+beautiful Palace of Marmirolo without the city. In the latter
+Francesco had finished painting in the year 1499, after a vast number
+of other pictures, some triumphs and many portraits of gentlemen of
+the Court; and on Christmas Eve, on which day he had finished those
+works, the Marquis presented to him an estate of a hundred fields in
+the territory of Mantua, at a place called La Marzotta, with a
+mansion, garden, meadows, and other things of great beauty and
+convenience. He was most excellent at taking portraits from life, and
+the Marquis caused him to paint many portraits, of himself, of his
+sons, and of many other lords of the house of Gonzaga, which were sent
+to France and Germany as presents for various Princes. And many of
+these portraits are still in Mantua, such as those of the Emperor
+Frederick Barbarossa; of Doge <span class="pagenum"><a id="Page_30" name="Page_30">[Pg 30]</a></span> Barbarigo of Venice; of
+Francesco Sforza, Duke of Milan; of Massimiliano, also Duke of Milan,
+who died in France; of the Emperor Maximilian; of Signor Ercole
+Gonzaga, who afterwards became a Cardinal; of his brother, Duke
+Federigo (then a young man); of Signor Giovan Francesco Gonzaga; of
+Messer Andrea Mantegna, the painter; and of many others; of all which
+Francesco preserved copies drawn on paper in chiaroscuro, which are
+now in the possession of his heirs at Mantua.</p>
+
+<p>Above the pulpit of S. Francesco de' Zoccolanti, in the same city, is
+a picture that he painted of S. Louis and S. Bernardino holding a
+large circle that contains the name of Jesus; and in the refectory of
+those friars there is a picture on canvas as large as the whole of the
+head-wall, of the Saviour in the midst of the twelve Apostles, painted
+in perspective and all very beautiful, and executed with many proofs
+of consideration. Among them is the traitor Judas, with a face wholly
+different from those of the others, and in a strange attitude; and the
+others are all gazing intently at Jesus, who is speaking to them,
+being near His Passion. On the right hand of this work is a S. Francis
+of the size of life, a very beautiful figure, the countenance of which
+is the very presentment of that sanctity which was peculiar to that
+most saintly man; and he is presenting to Christ the Marquis
+Francesco, who is kneeling at his feet, portrayed from life in a long
+coat pleated and worked with a curly pattern, according to the fashion
+of those times, and embroidered with white crosses, perchance because
+he may have been at that time Captain of the Venetians. And in front
+of the Marquis is a portrait, with the hands clasped, of his eldest
+son, who was then a very beautiful boy, and afterwards became Duke
+Federigo. On the other side is painted a S. Bernardino, equal in
+excellence to the figure of S. Francis, and likewise presenting to
+Christ the brother of the Marquis, Cardinal Sigismondo Gonzaga, a very
+beautiful kneeling figure, robed in the habit of a Cardinal, with the
+rochet, which is also a portrait from life; and in front of that
+Cardinal is a portrait of Signora Leonora, the daughter of the same
+Marquis, who was then a girl, and afterwards became Duchess of Urbino.
+This whole work is held by the most excellent painters to be a
+marvellous thing.</p>
+
+<div class="figcenter">
+<a name="img008" id="img008"></a>
+<img src="images/img008-tb.jpg" width="250" height="524" alt="S. Sebastian." title="">
+<p class="caption">S. SEBASTIAN<br>
+(<i>After the painting by</i> Francesco Monsignori [Bonsignori].<br>
+<i>Berlin: Kaiser Friedrich Museum, 46 c</i>)<br>
+<i>Hanfstaengl</i>
+<br><span class="link"><a href="images/img008.jpg">View larger image</a></span></p>
+</div>
+
+<p><span class="pagenum"><a id="Page_31" name="Page_31">[Pg 31]</a></span> The same master painted a picture of S. Sebastian, which was
+afterwards placed in the Madonna delle Grazie, without the city of
+Mantua; and to this he devoted extraordinary pains, copying many
+things in it from the life. It is related that the Marquis, going one
+day, while Francesco was executing this picture, to see him at work,
+as he used often to do, said to him: "Francesco, you must take some
+fine figure as your model in painting this Saint." To which Francesco
+answered: "I am using as my model a porter with a very handsome
+figure, whom I bind in a fashion of my own in order to make the work
+natural." "But the limbs of this Saint of yours," rejoined the
+Marquis, "are not true to life, for they have not the appearance of
+being strained by force or by that fear which one would expect in a
+man bound and shot with arrows; and by your leave I will undertake to
+show you what you ought to do in order to make this figure perfect."
+"Nay, but I beg you to do it, my lord," said Francesco; and the
+Marquis added: "When you have your porter bound here, send for me, and
+I will show you what you must do." The next day, therefore, when
+Francesco had the porter bound in the manner that he wished, he sent a
+secret summons to the Marquis, but without knowing what he intended to
+do. And the Marquis, bursting out of a neighbouring room in a great
+fury, with a loaded cross-bow in his hand, rushed towards the porter,
+crying out at the top of his voice, "Traitor, prepare to die! At last
+I have caught thee as I would have thee," and other suchlike words;
+which hearing, the wretched porter, thinking himself as good as dead,
+struggled in a frenzy of terror with the ropes wherewith he was bound,
+and made frantic efforts to break them, thus truly representing one
+about to be shot with arrows, and revealing fear in his face and the
+horror of death in his strained and distorted limbs, as he sought to
+escape from his peril. This done, the Marquis said to Francesco,
+"There he is in the state that he ought to be: the rest is for you to
+do"; which the painter having well considered, made his figure as
+perfect as could be imagined.</p>
+
+<p>Francesco painted in the Gonzaga Palace, besides many other things,
+the Election of the first Lords of Mantua, with the jousts that were
+held on the Piazza di S. Piero, which is seen there in perspective.
+When <span class="pagenum"><a id="Page_32" name="Page_32">[Pg 32]</a></span> the Grand Turk sent one of his men with a most
+beautiful dog, a bow, and a quiver, as presents for the Marquis, the
+latter caused the dog, the Turk who had brought it, and the other
+things, to be painted in the same Gonzaga Palace; and, this done,
+wishing to see whether the painted dog were truly lifelike, he had one
+of his own dogs, of a breed very hostile to the Turkish dog, brought
+to the place where the other one stood on a pedestal painted in
+imitation of stone. The living dog, then, arriving there, had no
+sooner seen the painted one than, precisely as if it had been a living
+animal and the very one for whom he had a mortal hatred, he broke
+loose from his keeper and rushed at it with such vehemence, in order
+to bite it, that he struck his head full against the wall and dashed
+it all to pieces.</p>
+
+<div class="figcenter">
+<a name="img009" id="img009"></a>
+<img src="images/img009-tb.jpg" width="400" height="572" alt="Madonna and Child." title="">
+<p class="caption">GIOVAN FRANCESCO MORONE: MADONNA AND CHILD<br>
+(<i>London: National Gallery, 285. Panel</i>)
+<br><span class="link"><a href="images/img009.jpg">View larger image</a></span></p>
+</div>
+
+<p>Another story is told by persons who were present at the scene, of a
+little picture by the hand of Francesco, little more than two span in
+height, and belonging to his nephew Benedetto Baroni, in which is a
+Madonna painted in oils, from the breast upwards, and almost
+life-size, and, lower down, in the corner of the picture, the Child,
+seen from the shoulders upwards, with one arm uplifted and in the act
+of caressing His Mother. It is related, I say, that, when the Emperor
+was master of Verona, Don Alfonso of Castille and Alarcon, a very
+famous Captain, happened to be in that city on behalf of His Majesty
+and the Catholic King; and that these lords, being in the house of the
+Veronese Count Lodovico da Sesso, said that they had a great desire to
+see that picture. Whereupon it was sent for; and one evening they were
+standing contemplating it in a good light, and admiring its masterly
+workmanship, when Signora Caterina, the wife of the Count, entered
+into the room where those noblemen were, together with one of her
+sons, who had on his wrist one of those green birds&mdash;called in Verona
+"terrazzani,"<a id="FNanchor7" name="FNanchor7"></a><a href="#Footnote7" title="Go to footnote 7" class="fnanchor">[7]</a> because they make their nests on the ground&mdash;which
+learn to perch on the wrist, like hawks. It happened, then, that,
+while she stood with the others contemplating the picture, the bird,
+seeing the extended arm and wrist of the painted Child, flew to perch
+upon it; but, not having been able to find a hold on the surface of
+the painting, and having <span class="pagenum"><a id="Page_33" name="Page_33">[Pg 33]</a></span> therefore fallen to the ground,
+it twice returned to settle on the wrist of that painted Child,
+precisely as if it had been one of those living children who were
+always holding it on their wrists. At which those noblemen, being
+amazed, offered to pay a great price to Benedetto for the picture, if
+only he would give it to them; but it was not possible by any means to
+wrest it from him. Not long afterwards the same persons planned to
+have it stolen from him on the day of the festival of S. Biagio in S.
+Nazzaro; but the owner was informed of this, and their design did not
+succeed.</p>
+
+<p>For S. Paolo, in Verona, Francesco painted a panel-picture in gouache,
+which is very beautiful, and another, also most beautiful, for the
+Chapel of the Bandi in S. Bernardino. In Mantua he executed for Verona
+a picture with two most lovely nudes, a Madonna in the sky, with the
+Child in her arms, and some Angels, all marvellous figures, which is
+in the chapel where S. Biagio is buried, in the Black Friars Church of
+S. Nazzaro.</p>
+
+<p>Francesco was a man of saintly life, and the enemy of every vice,
+insomuch that he would never on any account paint licentious works,
+although he was very often entreated to do so by the Marquis; and
+equal to him in goodness were his brothers, as will be related in the
+proper place. Finally, being old, and suffering in the bladder,
+Francesco, with the leave of the Marquis and by the advice of the
+physicians, went with his wife and many servants to the Baths of
+Caldero, in the territory of Verona, to take the waters. There, one
+day, after he had drunk the water, he allowed himself to be overcome
+by drowsiness, and slept a little, being indulged in this by his wife
+out of compassion; whereupon, a violent fever having come upon him in
+consequence of his sleeping, which is a deadly thing for one who has
+just taken that water, he finished the course of his life on the
+second day of July, 1519; which having been reported to the Marquis,
+he straightway sent orders by a courier that the body of Francesco
+should be brought to Mantua. This was done, although it gave little
+pleasure to the people of Verona; and he was laid to rest with great
+honour in the burial-place of the Compagnia Segreta in S. Francesco at
+Mantua. Francesco lived to the age of <span class="pagenum"><a id="Page_34" name="Page_34">[Pg 34]</a></span> sixty-four, and the
+portrait of him which belongs to Messer Fermo was executed when he was
+fifty. Many compositions were written in his praise, and he was
+mourned by all who knew him as a virtuous and saintly man, which he
+was. He had for wife Madonna Francesca Gioacchini of Verona, but he
+had no children.</p>
+
+<p>The eldest of his three brothers was called Monsignore; and he, being
+a person of culture and learning, received offices with good salaries
+in Mantua from the Marquis, on account of that nobleman's love of
+Francesco. He lived to the age of eighty, and left children, who keep
+the family of the Monsignori alive in Mantua. Another brother of
+Francesco had the name of Girolamo when in the world, and of Fra
+Cherubino among the Frati Zoccolanti di San Francesco; and he was a
+very beautiful calligrapher and illuminator. The third, who was a
+Friar of S. Dominic and an Observantine, and was called Fra Girolamo,
+chose out of humility to become a lay-brother. He was not only a man
+of good and holy life, but also a passing good painter, as may be seen
+in the Convent of S. Domenico in Mantua, where, besides other works,
+he executed a most beautiful Last Supper in the refectory, with a
+Passion of Christ, which remained unfinished on account of his death.
+The same friar painted the beautiful Last Supper that is in the
+refectory of the very rich abbey which the Monks of S. Benedict
+possess in the territory of Mantua. In S. Domenico he painted the
+altar of the Rosary; and in the Convent of S. Anastasia, in Verona, he
+painted in fresco the Madonna, S. Remigio the Bishop, and S.
+Anastasia; with a Madonna, S. Dominic, and S. Thomas Aquinas, all
+executed with mastery, on a little arch over the second door of
+entrance in the second cloister.</p>
+
+<div class="figcenter">
+<a name="img010" id="img010"></a>
+<img src="images/img010-tb.jpg" width="400" height="582" alt="The Crucifixion." title="">
+<p class="caption">THE CRUCIFIXION<br>
+(<i>After the painting by</i> Giovan Francesco Morone.<br> <i>Verona: S.
+Bernardino</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img010.jpg">View larger image</a></span></p>
+</div>
+
+<p>Fra Girolamo was a person of great simplicity, wholly indifferent to
+the things of the world. He lived in the country, at a farm belonging
+to his convent, in order to avoid all noise and disturbance, and the
+money sent to him in return for his works, which he used for buying
+colours and suchlike things, he kept in a box without a cover, hung
+from the ceiling in the middle of his chamber, so that all who wished
+could take some; and in order not to have the trouble of thinking
+every day <span class="pagenum"><a id="Page_35" name="Page_35">[Pg 35]</a></span> what he was to eat, he used to cook a pot of
+beans every Monday to last him the whole week.</p>
+
+<p>When the plague came to Mantua and the sick were abandoned by all, as
+happens in such cases, Fra Girolamo, with no other motive but the
+purest love, would never desert the poor plague-stricken monks, and
+even tended them all day long with his own hands. And thus, careless
+of his life for the love of God, he became infected with that malady
+and died at the age of sixty, to the great grief of all who knew him.</p>
+
+<p>But to return to Francesco Monsignori: he painted a life-size
+portrait, which I forgot to mention above, of Count Ercole Giusti of
+Verona, in a robe of cloth of gold, such as he was wont to wear; and
+this is a very beautiful likeness, as may be seen in the house of his
+son, Count Giusto.</p>
+
+<p>Domenico Morone, who was born at Verona about the year 1430, learned
+the art of painting from some masters who were disciples of Stefano,
+and from works by the same Stefano, by Jacopo Bellini, by Pisano, and
+by others, which he saw and copied. Saying nothing of the many
+pictures that he executed after the manner of those times, which are
+now in monasteries and private houses, I begin by recording that he
+painted in chiaroscuro, with "terretta verde," the fa�ade of a house
+belonging to the city of Verona, on the square called the Piazza de'
+Signori; and in this may be seen many ornamental friezes and scenes
+from ancient history, with a very beautiful arrangement of figures and
+costumes of bygone days. But the best work to be seen by the hand of
+this master is the Leading of Christ to the Cross, with a multitude of
+figures and horses, which is in S. Bernardino, on the wall above the
+Chapel of the Monte di Piet�, for which Liberale painted the picture
+of the Deposition with the weeping Angels. The same Domenico received
+a commission to paint the chapel that is next to that one, both within
+and without, at great expense and with a lavish use of gold, from the
+Chevalier, Messer Niccol� de' Medici, who was considered to be the
+richest man of his day in Verona, and who spent great sums of money on
+other pious works, being a man who was inclined to this by nature.
+This gentleman, after he had built many monasteries and churches, and
+<span class="pagenum"><a id="Page_36" name="Page_36">[Pg 36]</a></span> had left scarcely any place in that city where he had not
+executed some noble and costly work to the honour of God, chose as his
+burial-place the chapel mentioned above, for the ornamentation of
+which he availed himself of Domenico, at that time more famous than
+any other painter in that city, Liberale being in Siena.</p>
+
+<p>Domenico, then, painted in the interior of this chapel the Miracles of
+S. Anthony of Padua, to whom it is dedicated, and portrayed the
+Chevalier in an old man with shaven face and white hair, without any
+cap, and wearing a long gown of cloth of gold, such as Chevaliers used
+to wear in those times. All this, for a work in fresco, is very well
+designed and executed. Then, in certain medallions in the outer
+vaulting, which is all overlaid with gold, he painted the four
+Evangelists; and on the pilasters both within and without he executed
+figures of Saints, among which are S. Elizabeth of the Third Order of
+S. Francis, S. Helen, and S. Catharine, which are very beautiful
+figures, and much extolled for the draughtsmanship, colouring, and
+grace. This work, then, can bear witness to the talent of Domenico and
+to the magnificent liberality of that Chevalier.</p>
+
+<p>Domenico died very old, and was buried in S. Bernardino, wherein are
+the works by his hand described above, leaving his son, Francesco
+Morone, heir to his property and his talents. This Francesco, who
+learned the first principles of art from his father, afterwards
+exerted himself in such a manner that in a short time he became a much
+better master than his father had been, as the works that he executed
+in emulation of those of his father clearly demonstrate. Below his
+father's work on the altar of the Monte, in the aforesaid Church of S.
+Bernardino, Francesco painted in oils the folding-doors that enclose
+the altar-piece of Liberale; on the inner side of which he depicted in
+one the Virgin, and in the other S. John the Evangelist, both
+life-size figures, with great beauty in the faces, which are weeping,
+in the draperies, and in every other part. In the same chapel, at the
+foot of the face of that wall which serves as head-wall to the
+tramezzo,<a id="FNanchor8" name="FNanchor8"></a><a href="#Footnote8" title="Go to footnote 8" class="fnanchor">[8]</a> he painted the Miracle that Our Lord performed with the
+five loaves and two fishes, which satisfied <span class="pagenum"><a id="Page_37" name="Page_37">[Pg 37]</a></span> the multitude;
+and in this are many beautiful figures and many portraits from life,
+but most of all is praise given to a S. John the Evangelist, who is
+very slender, and has his back partly turned towards the spectator. He
+then executed in the same place, beside the altar-piece, in the vacant
+spaces on the wall against which it rests, a S. Louis, Bishop and
+Friar of S. Francis, and another figure; with some heads in
+foreshortening in a sunk medallion on the vaulting. All these works
+are much extolled by the painters of Verona. And for the altar of the
+Cross, on which are so many painted pictures, between that chapel and
+the Chapel of the Medici, in the same church, he executed a picture
+which is in the centre above all the others, containing Christ on the
+Cross, the Madonna, and S. John, and very beautiful. In another
+picture, which is above that of Caroto, on the left-hand side of the
+same altar, he painted Our Lord washing the feet of the Apostles, who
+are seen in various attitudes; in which work, so men say, this painter
+made a portrait of himself in the figure of one who is serving Christ
+by bringing water.</p>
+
+<p>For the Chapel of the Emilii, in the Duomo, Francesco executed a S.
+James and a S. John, one on either side of Christ, who is bearing His
+Cross; and the beauty and excellence of these two figures leave
+nothing to be desired. The same master executed many works at Lonico,
+in an abbey of Monks of Monte Oliveto, whither great multitudes flock
+together to adore a figure of the Madonna which performs many miracles
+in that place. Afterwards, Francesco being very much the friend, and,
+as it were, the brother of Girolamo dai Libri, the painter and
+illuminator, they undertook to paint in company the organ-doors of S.
+Maria in Organo, a church of Monks of Monte Oliveto. In one of these,
+on the outer side, Francesco painted a S. Benedict clothed in white,
+and S. John the Evangelist, and on the inner side the Prophets Daniel
+and Isaiah, with two little Angels in the air, and a ground all full
+of very beautiful landscapes. And then he executed the great
+altar-piece of the altar of the Muletta, painting therein a S. Peter
+and a S. John, which are little more than one braccio in height, but
+wrought so well and with such diligence, that they have the appearance
+of miniatures. The carvings <span class="pagenum"><a id="Page_38" name="Page_38">[Pg 38]</a></span> of this work were executed by
+Fra Giovanni da Verona, a master of tarsia and carving.</p>
+
+<p>In the same place, on the wall of the choir, Francesco painted two
+scenes in fresco&mdash;one of Our Lord riding on an ass into Jerusalem, and
+the other of His Prayer in the Garden, wherein, on one side, is the
+armed multitude coming to take Him, guided by Judas. But more
+beautiful than all the rest is the vaulted sacristy, which is all
+painted by the same master, excepting only the S. Anthony being
+scourged by Demons, which is said to be by the hand of his father,
+Domenico. In this sacristy, then, besides the Christ and some little
+Angels that are seen in foreshortening on the vaulting, he painted in
+the lunettes, two in each niche, and robed in their pontifical
+vestments, the various Popes who have been exalted to the Pontificate
+from the Order of S. Benedict. Round the sacristy, below the lunettes
+of the vaulting, is drawn a frieze four feet high, and divided into
+compartments, wherein are painted in the monastic habit various
+Emperors, Kings, Dukes, and other Princes, who have abandoned the
+States and Principalities that they ruled, and have become monks. In
+these figures Francesco made portraits from life of many of the monks
+who had their habitation or a temporary abode in that monastery, the
+while that he was working there; and among them are portraits of many
+novices and other monks of every kind, which are heads of great
+beauty, and executed with much diligence. In truth, by reason of these
+ornaments, that was then the most beautiful sacristy that there was in
+all Italy, since, in addition to the beauty of the room, which is of
+considerable size and well proportioned, and the pictures described
+above, which are also very beautiful, there is at the foot of the
+walls a range of panelled seats adorned with fine perspective-views,
+so well executed in tarsia and carving, that there is no work to be
+seen of those times, and perchance even of our own, that is much
+better. For Fra Giovanni da Verona, who executed this work, was most
+excellent in that art, as was said in the Life of Raffaello da Urbino,
+and as is demonstrated not only by his many other works in houses of
+his Order, but also by those that are in the Papal Palace at Rome, in
+Monte Oliveto di Chiusuri in the territory of Siena, and in other
+places. But those of this sacristy <span class="pagenum"><a id="Page_39" name="Page_39">[Pg 39]</a></span> are the best of all the
+works that Fra Giovanni ever executed, for the reason that it may be
+said that in them he surpassed himself by as much as he excelled in
+the rest every other master. Among other things, Fra Giovanni carved
+for this place a candelabrum more than fourteen feet in height to hold
+the Paschal candle, all made of walnut-wood, and wrought with such
+extraordinary patience that I do not believe that there is a better
+work of the same kind to be seen.</p>
+
+<p>But to return to Francesco: he painted for the same church the
+panel-picture which is in the Chapel of the Counts Giusti, in which he
+depicted the Madonna, with S. Augustine and S. Martin in pontifical
+robes. And in the cloister he executed a Deposition from the Cross,
+with the Maries and other Saints, works in fresco which are much
+extolled in Verona. In the Church of the Vittoria he painted the
+Chapel of the Fumanelli, which is below the wall that supports the
+choir which was built by the Chevalier Messer Niccol� de' Medici; and
+a Madonna in fresco in the cloister. And afterwards he painted a
+portrait from life of Messer Antonio Fumanelli, a physician very
+famous for the works written by him in connection with his profession.
+He painted in fresco, also, on a house which is seen on the left hand
+as one crosses the Ponte delle Navi on the way to S. Paolo, a Madonna
+with many Saints, which is held to be a very beautiful work, both in
+design and in colouring; and on the house of the Sparvieri, in the
+Br�, opposite to the garden of the Friars of S. Fermo, he painted
+another like it. Francesco painted a number of other works, of which
+there is no need to make mention, since the best have been described;
+let it suffice to say that he gave grace, unity, and good design to
+his pictures, with a colouring as vivid and pleasing as that of any
+other painter. Francesco lived fifty-five years, and died on May 16,
+1529. He chose to be carried to his tomb in the habit of a Friar of S.
+Francis, and he was buried in S. Domenico, beside his father. He was
+so good a man, so religious, and so exemplary, that there was never
+heard to issue from his mouth any word that was otherwise than seemly.</p>
+
+<p>A disciple of Francesco, and much more able than his master, was the
+Veronese Paolo Cavazzuola, who executed many works in Verona; I
+<span class="pagenum"><a id="Page_40" name="Page_40">[Pg 40]</a></span> say in Verona, because it is not known that he ever worked
+in any other place. In S. Nazzaro, a seat of Black Friars at Verona,
+he painted many works in fresco near those of his master Francesco;
+but these were all thrown to the ground when that church was rebuilt
+by the pious munificence of the reverend Father, Don Mauro Lonichi, a
+nobleman of Verona and Abbot of that Monastery. On the old house of
+the Fumanelli, in the Via del Paradiso, Paolo painted, likewise in
+fresco, the Sibyl showing to Augustus Our Lord in the heavens, in the
+arms of His Mother; which work is beautiful enough for one of the
+first that he executed. On the outer side of the Chapel of the
+Fontani, in S. Maria in Organo, he painted, also in fresco, two
+Angels&mdash;namely, S. Michael and S. Raphael. In the street into which
+there opens the Chapel of the Angel Raphael, in S. Eufemia, over a
+window that gives light to a recess in the staircase of that chapel,
+he painted the Angel Raphael, and with him Tobias, whom he guided on
+his journey; which was a very beautiful little work. And in S.
+Bernardino, in a round picture over the door where there is the bell,
+he painted a S. Bernardino in fresco, and in another round picture on
+the same wall, but lower down, and above the entrance to a
+confessional, a S. Francis, which is beautiful and well executed, as
+is also the S. Bernardino. These are all the works that Paolo is known
+to have painted in fresco.</p>
+
+<div class="figcenter">
+<a name="img011" id="img011"></a>
+<img src="images/img011-tb.jpg" width="400" height="618" alt="The Deposition." title="">
+<p class="caption">THE DEPOSITION<br>
+(<i>After the panel by</i> Paolo Cavazzuola.<br> <i>Verona: Museo Civico, 392</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img011.jpg">View larger image</a></span></p>
+</div>
+
+<p>As for his works in oils, he painted a picture of S. Rocco for the
+altar of the Santificazione in the Church of the Madonna della Scala,
+in emulation of the S. Sebastian which Il Moro painted for the other
+side of the same place; which S. Rocco is a very beautiful figure. But
+the best figures that this painter ever executed are in S. Bernardino,
+where all the large pictures that are on the altar of the Cross, round
+the principal altar-piece, are by his hand, excepting that with the
+Christ Crucified, the Madonna, and S. John, which is above all the
+others, and is by the hand of his master Francesco. Beside it, in the
+upper part, are two large pictures by the hand of Paolo, in one of
+which is Christ being scourged at the Column, and in the other His
+Coronation, painted with many figures somewhat more than life-size. In
+the principal picture, which is lower down, in the first range, he
+painted a Deposition from the Cross, with the <span class="pagenum"><a id="Page_41" name="Page_41">[Pg 41]</a></span> Madonna, the
+Magdalene, S. John, Nicodemus, and Joseph; and he made a portrait of
+himself, so good that it has the appearance of life, in one of these
+figures, a young man with a red beard, who is near the Tree of the
+Cross, with a coif on his head, such as it was the custom to wear at
+that time. On the right-hand side is a picture by Paolo of Our Lord in
+the Garden, with the three Disciples near Him; and on the left-hand
+side is another of Christ with the Cross on His shoulder, being led to
+Mount Calvary. The excellence of these works, which stand out strongly
+in comparison with those by the hand of his master that are in the
+same place, will always give Paolo a place among the best craftsmen.</p>
+
+<p>On the base he painted some Saints from the breast upwards, which are
+all portraits from life. The first figure, wearing the habit of S.
+Francis, and representing a Beato, is a portrait of Fra Girolamo
+Rechalchi, a noble Veronese; the figure beside the first, painted to
+represent S. Bonaventura, is the portrait of Fra Bonaventura
+Rechalchi, brother of the aforesaid Fra Girolamo; and the head of S.
+Joseph is the portrait of a steward of the Marchesi Malespini, who had
+been charged at that time by the Company of the Cross to see to the
+execution of this work. All these heads are very beautiful.</p>
+
+<p>For the same church Paolo painted the altar-piece of the Chapel of S.
+Francesco, in which work, the last that he executed, he surpassed
+himself. There are in it six figures larger than life; one being S.
+Elizabeth, of the Third Order of S. Francis, who is a most beautiful
+figure, with a smiling air and a gracious countenance, and with her
+lap full of roses; and she seems to be rejoicing at the sight of the
+bread that she, great lady as she was, had been carrying to the poor,
+turned by a miracle of God into roses, in token that her humble
+charity in thus ministering to the poor with her own hands was
+acceptable to God. This figure is a portrait of a widowed lady of the
+Sacchi family. Among the other figures are S. Bonaventura the Cardinal
+and S. Louis the Bishop, both Friars of S. Francis. Near these are S.
+Louis, King of France, S. Eleazar in a grey habit, and S. Ivo in the
+habit of a priest. Then there is the Madonna on a cloud above them
+all, with S. Francis and other figures <span class="pagenum"><a id="Page_42" name="Page_42">[Pg 42]</a></span> round her; but it is
+said that these are not by the hand of Paolo, but by that of a friend
+who helped him to execute the picture; and it is evident, indeed, that
+these figures are not equal in excellence to those beneath. And in
+this picture is a portrait from life of Madonna Caterina de' Sacchi,
+who gave the commission for the work.</p>
+
+<p>Now Paolo, having set his heart on becoming great and famous, made to
+this end such immoderate exertions that he fell ill and died at the
+early age of thirty-one, at the very moment when he was beginning to
+give proofs of what might be expected from him at a riper age. It is
+certain that Paolo, if Fortune had not crossed him at the height of
+his activity, would without a doubt have attained to the highest,
+best, and greatest honours that could be desired by a painter. His
+loss, therefore, grieved not only his friends, but all men of talent
+and everyone who knew him, and all the more because he had been a
+young man of excellent character, untainted by a single vice. He was
+buried in S. Paolo, after making himself immortal by the beautiful
+works that he left behind him.</p>
+
+<p>Stefano Veronese, a very rare painter in his day, as has been related,
+had a brother-german, called Giovanni Antonio, who, although he
+learned to paint from that same Stefano, nevertheless did not become
+anything more than a mediocre painter, as may be seen from his works,
+of which there is no need to make mention. To this Giovanni Antonio
+was born a son, called Jacopo, who likewise became a painter of
+commonplace works; and to Jacopo were born Giovan Maria, called
+Falconetto, whose Life we are about to write, and Giovanni Antonio.
+The latter, devoting himself to painting, executed many works at
+Rovereto, a very famous township in the Trentino, and many pictures at
+Verona, which are dispersed among the houses of private citizens. He
+also painted many works in the valley of the Adige, above Verona, and
+a panel-picture of S. Nicholas, with many animals, at Sacco, opposite
+to Rovereto, with many others; after which he finally died at
+Rovereto, where he had gone to live. This master was particularly
+excellent in making animals and fruits, of which many very beautiful
+drawings, executed in miniature, were taken to France by the Veronese
+Mondella; and many of them were <span class="pagenum"><a id="Page_43" name="Page_43">[Pg 43]</a></span> given by Agnolo, the son of
+Giovanni Antonio, to Messer Girolamo Lioni, a Venetian gentleman of
+noble spirit.</p>
+
+<p>But to come at last to Giovan Maria, the brother of Giovanni Antonio.
+He learned the rudiments of painting from his father, whose manner he
+rendered no little better and grander, although even he was not a
+painter of much reputation, as is evident from the Chapels of the
+Maffei and of the Emilii in the Duomo of Verona, from the upper part
+of the cupola of S. Nazzaro, and from works in other places. This
+master, recognizing the little value of his work in painting, and
+delighting beyond measure in architecture, set himself with great
+diligence to study and draw all the antiquities in his native city of
+Verona. He then resolved to visit Rome, and to learn architecture from
+its marvellous remains, which are the true masters; and he made his
+way to that city, and stayed there twelve whole years. That time he
+spent, for the most part, in examining and drawing all those
+marvellous antiquities, searching out in every place all the
+ground-plans that he could see and all the measurements that he could
+find. Nor did he leave anything in Rome, either buildings or their
+members, such as cornices, capitals, and columns, of whatsoever Order,
+that he did not draw with his own hand, with all the measurements; and
+he also drew all the sculptures which were discovered in those times,
+insomuch that when he returned to his own country, after those twelve
+years, he was rich in all the treasures of his art. And, not content
+with the things in the city of Rome itself, he drew all that was good
+and beautiful in the whole of the Roman Campagna, going even as far as
+the Kingdom of Naples, the Duchy of Spoleto, and other parts. It is
+said that Giovan Maria, being poor, and therefore having little
+wherewith to live or to maintain himself in Rome, used to spend two or
+three days every week in assisting some painter with his work; and
+with his earnings, since at that time masters were well paid and
+living was cheap, he was able to live the other days of the week,
+pursuing the studies of architecture. Thus, then, he drew all those
+antiquities as if they were complete, reconstructing them in his
+drawings from the parts and members that he saw, from which he
+imagined all the other parts of the buildings in all their perfection
+and integrity, and <span class="pagenum"><a id="Page_44" name="Page_44">[Pg 44]</a></span> all with such true measurements and
+proportions, that he could not make an error in a single detail.</p>
+
+<p>Having returned to Verona, and finding no opportunity of exercising
+himself in architecture, since his native city was in the throes of a
+change of government, Giovan Maria gave his attention for the time to
+painting, and executed many works. On the house of the Della Torre
+family he painted a large escutcheon crowned by some trophies; and for
+two German noblemen, counsellors of the Emperor Maximilian, he
+executed in fresco some scenes from the Scriptures on a wall of the
+little Church of S. Giorgio, and painted there life-size portraits of
+those two Germans, one kneeling on one side and one on the other. He
+executed a number of works at Mantua, for Signor Luigi Gonzaga; and
+some others at Osimo, in the March of Ancona. And while the city of
+Verona was under the Emperor, he painted the imperial arms on all the
+public buildings, and received for this from the Emperor a good salary
+and a patent of privilege, from which it may be seen that many favours
+and exemptions were granted to him, both on account of his good
+service in matters of art, and because he was a man of great spirit,
+brave and formidable in the use of arms, with which he might likewise
+be expected to give valiant and faithful service: and all the more
+because he drew after him, on account of the great credit that he had
+with his neighbours, the whole mass of the people who lived in the
+Borgo di San Zeno, a very populous part of the city, in which he had
+been born and had taken a wife from the family of the Provali. For
+these reasons, then, he had all the inhabitants of his district as his
+following, and was called throughout the city by no other name but
+that of the "Red-head of San Zeno."</p>
+
+<p>Now, when the city again changed its government and returned to the
+rule of its ancient masters the Venetians, Giovan Maria, being known
+as one who had served the party of the Emperor, was forced to seek
+safety in flight; and he went, therefore, to Trento, where he passed
+some time painting certain pictures. Finally, however, when matters
+had mended, he made his way to Padua, where he was first received in
+audience and then much favoured by the very reverend Monsignor Bembo,
+who presented him not long afterwards to the illustrious Messer Luigi
+<span class="pagenum"><a id="Page_45" name="Page_45">[Pg 45]</a></span> Cornaro, a Venetian gentleman of lofty spirit and truly
+regal mind, as is proved by his many magnificent enterprises. This
+gentleman, who, in addition to his other truly noble qualities,
+delighted in the study of architecture, the knowledge of which is
+worthy of no matter how great a Prince, had therefore read the works
+of Vitruvius, Leon Batista Alberti, and others who have written on
+this subject, and he wished to put what he had learned into practice.
+And when he saw the designs of Falconetto, and perceived with what
+profound knowledge he spoke of these matters, and rendered clear all
+the difficulties that can arise through the variety of the Orders of
+architecture, he conceived such a love for him that he took him into
+his own house and kept him there as an honoured guest for twenty-one
+years, which was the whole of the rest of Giovan Maria's life.</p>
+
+<p>During this time Falconetto executed many works with the help of the
+same Messer Luigi. The latter, desiring to see the antiquities of Rome
+on the spot, even as he had seen them in the drawings of Giovan Maria,
+went to Rome, taking him with him; and there he devoted himself to
+examining everything minutely, having him always in his company. After
+they had returned to Padua, a beginning was made with building from
+the design and model of Falconetto that most beautiful and ornate
+loggia which is in the house of the Cornari, near the Santo; and the
+palace was to be erected next, after the model made by Messer Luigi
+himself. In this loggia the name of Giovan Maria is carved on a
+pilaster.</p>
+
+<p>The same architect built a very large and magnificent Doric portal for
+the Palace of the Captain of that place; and this portal is much
+praised by everyone as a work of great purity. He also erected two
+very beautiful gates for the city, one of which, called the Porta di
+S. Giovanni, and leading to Vicenza, is very fine, and commodious for
+the soldiers who guard it; and the other, which is very well designed,
+was called the Porta Savonarola. He made, likewise, for the Friars of
+S. Dominic, the design and model of the Church of S. Maria delle
+Grazie, and laid the foundations; and this work, as may be seen from
+the model, is so beautiful and well designed, that one of equal size
+to rival it has <span class="pagenum"><a id="Page_46" name="Page_46">[Pg 46]</a></span> perhaps never been seen up to our own day in
+any other place. And by the same master was made the model of a most
+superb palace for Signor Girolamo Savorgnano, at his well fortified
+stronghold of Usopo in Friuli; for which all the foundations were then
+laid, and it had begun to rise above the ground, when, by reason of
+the death of that nobleman, it was left in that condition without
+being carried further; but if this building had been finished, it
+would have been a marvel.</p>
+
+<p>About the same time Falconetto went to Pola, in Istria, for the sole
+purpose of seeing and drawing the theatre, amphitheatre, and arch that
+are in that most ancient city. He was the first who made drawings of
+theatres and amphitheatres and traced their ground-plans, and those
+that are to be seen, particularly in the case of Verona, came from
+him, and were printed at the instance of others after his designs.
+Giovan Maria was a man of exalted mind, and, being one who had never
+done anything else but draw the great works of antiquity, he desired
+nothing save that there should be presented to him opportunities of
+executing works similar to those in greatness. He would sometimes make
+ground-plans and designs for them, with the very same pains that he
+would have taken if he had been commissioned to put them into
+execution at once; and in this he lost himself so much, so to speak,
+that he would not deign to make designs for the private houses of
+gentlemen, either in the country or in the city, although he was much
+besought to do so.</p>
+
+<p>Giovan Maria was in Rome on many occasions besides those described
+above; whence that journey was so familiar to him, that when he was
+young and vigorous he would undertake it on the slightest opportunity.
+Persons who are still alive relate that, falling one day into a
+discussion with a foreign architect, who happened to be in Verona,
+about the measurements of I know not what ancient cornice in Rome,
+after many words Giovan Maria said, "I will soon make myself certain
+in this matter," and then went straight to his house and set out on
+his way to Rome.</p>
+
+<div class="figcenter">
+<a name="img012" id="img012"></a>
+<img src="images/img012-tb.jpg" width="500" height="361" alt="Palazzo Del Capitanio." title="">
+<p class="caption">PALAZZO DEL CAPITANIO<br>
+(<i>After</i> Falconetto. <i>Padua</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img012.jpg">View larger image</a></span></p>
+</div>
+
+<p>This master made for the Cornaro family two very beautiful designs of
+tombs, which were to be erected in S. Salvatore, at Venice&mdash;one for
+the Queen of Cyprus, a lady of that family, and the other for Cardinal
+<span class="pagenum"><a id="Page_47" name="Page_47">[Pg 47]</a></span> Marco Cornaro, who was the first of that house to be
+honoured with that dignity. And in order that these designs might be
+carried out, a great quantity of marble was quarried at Carrara and
+taken to Venice, where the rough blocks still are, in the house of the
+same Cornari.</p>
+
+<p>Giovan Maria was the first who brought the true methods of building
+and of good architecture to Verona, Venice, and all those parts, where
+before him there had not been one who knew how to make even a cornice
+or a capital, or understood either the measurements or the proportions
+of a column or of any Order of architecture, as is evident from the
+buildings that were erected before his day. This knowledge was
+afterwards much increased by Fra Giocondo, who lived about the same
+time, and it received its final perfection from Messer Michele San
+Michele, insomuch that those parts are therefore under an everlasting
+obligation to the people of Verona, in which city were born and lived
+at one and the same time these three most excellent architects. To
+them there then succeeded Sansovino, who, not resting content with
+architecture, which he found already grounded and established by the
+three masters mentioned above, also brought thither sculpture, to the
+end that by its means their buildings might have all the adornments
+that were proper to them. And for this a debt of gratitude&mdash;if one may
+use such a word&mdash;is due to the ruin of Rome, by reason of which the
+masters were dispersed over many places and the beauties of these arts
+communicated throughout all Europe.</p>
+
+<p>Giovan Maria caused some works in stucco to be carried out in Venice,
+and taught the method of executing them. Some declare that when he was
+a young man he had the vaulting of the Chapel of the Santo, at Padua,
+decorated with stucco by Tiziano da Padova and many others, and also
+had similar works executed in the house of the Cornari, which are very
+beautiful. He taught his work to two of his sons, Ottaviano, who was,
+like himself, also a painter, and Provolo. Alessandro, his third son,
+worked in his youth at making armour, and afterwards adopted the
+calling of a soldier; he was three times victor in the lists, and
+finally, when a captain of infantry, died fighting valiantly before
+Turin in Piedmont, having been wounded by a harquebus-ball.</p>
+
+<p>Giovan Maria, on his part, after being crippled by gout, finished
+<span class="pagenum"><a id="Page_48" name="Page_48">[Pg 48]</a></span> the course of his life at Padua, in the house of the
+aforesaid Messer Luigi Cornaro, who always loved him like a brother,
+or rather, like his own self. And to the end that there might be no
+separation in death between the bodies of those whose minds had been
+united together in the world by friendship and love of art, Messer
+Luigi had intended that Giovan Maria should be laid to rest beside
+himself in the tomb that was to be erected for his own burial,
+together with that most humorous poet, Ruzzante, his very familiar
+friend, who lived and died in his house; but I do not know whether
+this design of the illustrious Cornaro was ever carried into effect.
+Giovan Maria was a fine talker, pleasant and agreeable in
+conversation, and very acute in repartee, insomuch that Cornaro used
+to declare that a whole book could have been made with his sayings.
+And since, although he was crippled by gout, he lived cheerfully, he
+preserved his life to the age of seventy-six, dying in 1534.</p>
+
+<p>He had six daughters, five of whom he gave in marriage himself, and
+the sixth was married by her brothers, after his death, to Bartolommeo
+Ridolfi of Verona, who executed many works in stucco in company with
+them, and was a much better master than they were. This may be seen
+from his works in many places, and in particular at Verona, in the
+house of Fiorio della Seta on the Ponte Nuovo, in which he decorated
+some apartments in a very beautiful manner. There are others in the
+house of the noble Counts Canossi, which are amazing; and such, also,
+are those that he executed in the house of the Murati, near S.
+Nazzaro; and for Signor Giovan Battista della Torre, for Cosimo
+Moneta, the Veronese banker, at his beautiful villa, and for many
+others in various places, all works of great beauty. Palladio, most
+excellent of architects, declares that he knows no person more
+marvellous in invention or better able to adorn apartments with
+beautiful designs in stucco, than this Bartolommeo Ridolfi. Not many
+years since, Spitech Giordan, a nobleman of great authority with the
+King of Poland, took Bartolommeo with him to that King; and there,
+enjoying an honourable salary, he has executed, as he still does, many
+works in stucco, large portraits, medallions, and many designs for
+palaces and other buildings, with the assistance of a son of his own,
+who is in no way inferior to his father.</p>
+
+<div class="figcenter">
+<a name="img013" id="img013"></a>
+<img src="images/img013-tb.jpg" width="350" height="589" alt="Madonna and Child, with S. Anne." title="">
+<p class="caption">GIROLAMO DAI LIBRI: MADONNA AND CHILD, WITH S. ANNE<br>
+(<i>London: National Gallery, 748. Canvas</i>)
+<br><span class="link"><a href="images/img013.jpg">View larger image</a></span></p>
+</div>
+
+<p><span class="pagenum"><a id="Page_49" name="Page_49">[Pg 49]</a></span> The elder Francesco dai Libri of Verona lived some time
+before Liberale, although it is not known exactly at what date he was
+born; and he was called "Dai Libri"<a id="FNanchor9" name="FNanchor9"></a><a href="#Footnote9" title="Go to footnote 9" class="fnanchor">[9]</a> because he practised the art of
+illuminating books, his life extending from the time when printing had
+not yet been invented to the very moment when it was beginning to come
+into use. Since, therefore, there came to him from every quarter books
+to illuminate&mdash;a work in which he was most excellent&mdash;he was known by
+no other surname than that of "Dai Libri"; and he executed great
+numbers of them, for the reason that whoever went to the expense of
+having them written, which was very great, wished also to have them
+adorned as much as was possible with illuminations.</p>
+
+<p>This master illuminated many choral books, all beautiful, which are at
+Verona, in S. Giorgio, in S. Maria in Organo, and in S. Nazzaro; but
+the most beautiful is a little book, or rather, two little pictures
+that fold together after the manner of a book, on one side of which is
+a S. Jerome, a figure executed with much diligence and very minute
+workmanship, and on the other a S. John in the Isle of Patmos,
+depicted in the act of beginning to write his Book of the Apocalypse.
+This work, which was bequeathed to Count Agostino Giusti by his
+father, is now in S. Leonardo, a convent of Canons Regular, of which
+Don Timoteo Giusti, the son of that Count, is a member. Finally, after
+having executed innumerable works for various noblemen, Francesco
+died, content and happy for the reason that, in addition to the
+serenity of mind that his goodness brought him, he left behind him a
+son, called Girolamo, who was so excellent in art that before his
+death he saw him already a much greater master than himself.</p>
+
+<p>This Girolamo, then, was born at Verona in the year 1472, and at the
+age of sixteen he painted for the Chapel of the Lischi, in S. Maria in
+Organo, an altar-piece which caused such marvel to everyone when it
+was uncovered and set in its place, that the whole city ran to embrace
+and congratulate his father Francesco. In this picture is a Deposition
+from the Cross, with many figures, and among the many beautiful
+<span class="pagenum"><a id="Page_50" name="Page_50">[Pg 50]</a></span> weeping heads the best of all are a Madonna and a S.
+Benedict, which are much commended by all craftsmen; and he also made
+therein a landscape, with a part of the city of Verona, drawn passing
+well from the reality. Then, encouraged by the praises that he heard
+given to his work, Girolamo painted the altar of the Madonna in S.
+Paolo in a masterly manner, and also the picture of the Madonna with
+S. Anne, which is placed between the S. Sebastian of Il Moro and the
+S. Rocco of Cavazzuola in the Church of the Scala. For the family of
+the Zoccoli he painted the great altar-piece of the high-altar in the
+Church of the Vittoria, and for the family of the Cipolli the picture
+of S. Onofrio, which is near the other, and is held to be both in
+design and in colouring the best work that he ever executed.</p>
+
+<p>For S. Leonardo nel Monte, also, near Verona, he painted at the
+commission of the Cartieri family the altar-piece of the high-altar,
+which is a large work with many figures, and much esteemed by
+everyone, above all for its very beautiful landscape. Now a thing that
+has happened very often in our own day has caused this work to be held
+to be a marvel. There is a tree painted by Girolamo in the picture,
+and against it seems to rest the great chair on which the Madonna is
+seated. This tree, which has the appearance of a laurel, projects
+considerably with its branches over the chair, and between the
+branches, which are not very thick, may be seen a sky so clear and
+beautiful, that the tree seems to be truly a living one, graceful and
+most natural. Very often, therefore, birds that have entered the
+church by various openings have been seen to fly to this tree in order
+to perch upon it, and particularly swallows, which had their nests
+among the beams of the roof, and likewise their little ones. Many
+persons well worthy of credence declare that they have seen this,
+among them Don Giuseppe Mangiuoli of Verona, a person of saintly life,
+who has twice been General of his Order and would not for anything in
+the world assert a thing that was not absolutely true, and also Don
+Girolamo Volpini, likewise a Veronese, and many others.</p>
+
+<div class="figcenter">
+<a name="img014" id="img014"></a>
+<img src="images/img014-tb.jpg" width="400" height="525" alt="Madonna and Child with Saints." title="">
+<p class="caption">MADONNA AND CHILD WITH SAINTS<br>
+(<i>After the painting by</i> Girolamo dai Libri.<br> <i>Verona: Museo Civico,
+290</i>)<br>
+<i>Brogi</i>
+<br><span class="link"><a href="images/img014.jpg">View larger image</a></span></p>
+</div>
+
+<p>In S. Maria in Organo, where was the first work executed by Girolamo,
+he also painted two Saints on the outer side of one of the folding
+doors of the organ&mdash;the other being painted by Francesco Morone, his
+<span class="pagenum"><a id="Page_51" name="Page_51">[Pg 51]</a></span> companion&mdash;and on the inner side a Manger. And afterwards
+he painted the picture that is opposite to his first work, containing
+the Nativity of Our Lord, with shepherds, landscapes, and very
+beautiful trees; but most lifelike and natural of all are two rabbits,
+which are executed with such diligence that each separate hair may
+actually be seen in them. He painted another altar-piece for the
+Chapel of the Buonalivi, with a Madonna seated in the centre, two
+other figures, and some Angels below, who are singing. Then, in the
+ornamental work made by Fra Giovanni da Verona for the altar of the
+Sacrament, the same Girolamo painted three little pictures after the
+manner of miniatures. In the central picture is a Deposition from the
+Cross, with two little Angels, and in those at the sides are painted
+six Martyrs, kneeling towards the Sacrament, three in each picture,
+these being saints whose bodies are deposited in that very altar. The
+first three are Cantius, Cantianus, and Cantianilla, who were nephews
+of the Emperor Diocletian, and the others are Protus, Chrysogonus, and
+Anastasius, who suffered martyrdom at Aqu� Gradat�, near Aquileia; and
+all these figures are in miniature, and very beautiful, for Girolamo
+was more able in that field of art than any other master of his time
+in Lombardy and in the State of Venice.</p>
+
+<p>Girolamo illuminated many books for the Monks of Montescaglioso in the
+Kingdom of Naples, some for S. Giustina at Padua, and many others for
+the Abbey of Praia in the territory of Padua; and also some at
+Candiana, a very rich monastery of the Canons Regular of S. Salvatore,
+to which place he went in person to work, although he would never go
+to any other place. While he was living there, Don Giulio Clovio, who
+was a friar in that place, learned the first rudiments of
+illumination; and he has since become the greatest master of that art
+that is now alive in Italy. Girolamo illuminated at Candiana a sheet
+with a Kyrie, which is an exquisite work, and for the same monks the
+first leaf of a psalter for the choir; with many things for S. Maria
+in Organo and for the Friars of S. Giorgio, in Verona. He executed,
+likewise, some other very beautiful illuminations for the Black Friars
+of S. Nazzaro at Verona. But that which surpassed all the other works
+of this master, which were all divine, was a sheet on which was
+depicted in miniature the Earthly Paradise, <span class="pagenum"><a id="Page_52" name="Page_52">[Pg 52]</a></span> with Adam and
+Eve driven forth by the Angel, who is behind them with a sword in his
+hand. One would not be able to express how great and how beautiful is
+the variety of the trees, fruits, flowers, animals, birds, and all the
+other things that are in this amazing work, which was executed at the
+commission of Don Giorgio Cacciamale of Bergamo, then Prior of S.
+Giorgio in Verona, who, in addition to the many other courtesies that
+he showed to Girolamo, gave him sixty crowns of gold. This work was
+afterwards presented by that Father to a Roman Cardinal, at that time
+Protector of his Order, who showed it to many noblemen in Rome, and
+they all declared it to be the best example of illumination that had
+ever been seen up to that day.</p>
+
+<p>Girolamo painted flowers with such diligence, and made them so true,
+so beautiful, and so natural, that they appeared to all who beheld
+them to be real; and he counterfeited little cameos and other engraved
+stones and jewels in such a manner, that there was nothing more
+faithfully imitated or more diminutive to be seen. Among his little
+figures there are seen some, as in his imitations of cameos and other
+stones, that are no larger than little ants, and yet all the limbs and
+all the muscles can be perceived so clearly that one who has not seen
+them could scarcely believe it. Girolamo used to say in his old age
+that he knew more in his art then than he had ever known, and saw
+where every stroke ought to go, but that when he came to handle the
+brushes, they went the wrong way, because neither his eye nor his hand
+would serve him any longer. He died on the 2nd of July in the year
+1555, at the age of eighty-three, and was laid to rest in the
+burial-place of the Company of S. Biagio in S. Nazzaro.</p>
+
+<p>He was a good and upright man, who never had a quarrel or dispute with
+anyone, and his life was very pure. He had, besides other children, a
+son called Francesco, who learned his art from him, and executed
+miracles of illumination when still a mere lad, so that Girolamo
+declared that he had not known as much at that age as his son knew.
+But this young man was led away from him by a brother of his mother,
+who, being passing rich, and having no children, took him with him to
+Vicenza and placed him in charge of a glass-furnace that he was
+setting up. When Francesco had spent his best years in this, his
+uncle's wife dying, he fell <span class="pagenum"><a id="Page_53" name="Page_53">[Pg 53]</a></span> from his high hopes, and found
+that he had wasted his time, for the uncle took another wife, and had
+children by her, and thus Francesco did not become his uncle's heir,
+as he had thought to be. Thereupon he returned to his art after an
+absence of six years, and, after acquiring some knowledge, set himself
+to work. Among other things, he made a large globe, four feet in
+diameter, hollow within, and covered on the outer side, which was of
+wood, with a glue made of bullock's sinews, which was of a very strong
+admixture, so that there should be no danger of cracks or other damage
+in any part. This sphere, which was to serve as a terrestrial globe,
+was then carefully measured and divided under the personal supervision
+of Fracastoro and Beroldi, both eminent physicians, cosmographers, and
+astrologers; and it was to be painted by Francesco for Messer Andrea
+Navagiero, a Venetian gentleman, and a most learned poet and orator,
+who wished to make a present of it to King Francis of France, to whom
+he was about to go as Ambassador from his Republic. But Navagiero had
+scarcely arrived in France after a hurried journey, when he died, and
+this work remained unfinished. A truly rare work it would have been,
+thus executed by Francesco with the advice and guidance of two men of
+such distinction; but it was left unfinished, as we have said, and,
+what was worse, in its incomplete condition it received some injury, I
+know not what, in the absence of Francesco. However, spoiled as it
+was, it was bought by Messer Bartolommeo Lonichi, who has never
+consented to give it up to anyone, although he has been much besought
+and offered vast prices.</p>
+
+<p>Before this, Francesco had made two smaller globes, one of which is in
+the possession of Mazzanti, Archpriest of the Duomo of Verona, and the
+other belonged to Count Raimondo della Torre, and is now in the hands
+of his son, Count Giovan Batista, who holds it very dear, because this
+one, also, was made with the measurements and personal assistance of
+Fracastoro, who was a very familiar friend of Count Raimondo.</p>
+
+<p>Finally, growing weary of the extraordinary labour that miniatures
+demand, Francesco devoted himself to painting and to architecture, in
+which he became very skilful, executing many works in Venice and in
+Padua. About that time the Bishop of Tournai, a very rich and noble
+Fleming, had come to Italy in order to study letters, to see the
+country, <span class="pagenum"><a id="Page_54" name="Page_54">[Pg 54]</a></span> and to learn our manners and ways of living. This
+man, delighting much in architecture, and happening to be in Padua,
+became so enamoured of the Italian method of building that he resolved
+to take the modes of our architecture with him to his own country; and
+in order to facilitate this purpose, he drew Francesco, whose ability
+he had recognized, into his service with an honourable salary, meaning
+to take him to Flanders, where he intended to carry out many
+magnificent works. But when the time came to depart, poor Francesco,
+who had caused designs to be made of all the best and greatest and
+most famous buildings in Italy, was overtaken by death, while still
+young and the object of the highest expectations, leaving his patron
+much grieved by his loss.</p>
+
+<p>Francesco left an only brother, in whom, being a priest, the Dai Libri
+family became extinct, after producing in succession three men most
+excellent in their field of art. Nor have any disciples survived them
+to keep this art alive, excepting the above-mentioned churchman, Don
+Giulio, who, as we have related, learned it from Girolamo when he was
+working at Candiana, where the former was a friar; and this Don Giulio
+has since raised it to a height of excellence which very few have
+reached and no one has ever surpassed.</p>
+
+<p>I knew for myself some of the facts about the excellent and noble
+craftsmen mentioned above, but I would never have been able to learn
+the whole of what I have related of them if the great goodness and
+diligence of the reverend and most learned Fra Marco de' Medici of
+Verona, a man profoundly conversant with all the most noble arts and
+sciences, and with him Danese Cattaneo of Carrara, a sculptor of great
+excellence, both being very much my friends, had not given me that
+complete and perfect information which I have just written down, to
+the best of my ability, for the convenience and advantage of all who
+may read these our Lives, in which the courtesy of many friends, who
+have taken pains with the investigation of these matters in order to
+please me and to benefit the world, has been, as it still is, of great
+assistance to me. And let this be the end of the Lives of these
+craftsmen of Verona, the portraits of each of whom I have not been
+able to obtain, because this full notice did not reach my hands until
+I found myself almost at the close of my work.</p>
+
+
+<hr style="width: 65%;">
+<h2><a name="granacci" id="granacci"></a><span class="pagenum"><a id="Page_55" name="Page_55">[Pg 55]</a></span> FRANCESCO GRANACCI
+  (IL GRANACCIO)</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_granacci" id="life_of_granacci"></a><span class="pagenum"><a id="Page_57" name="Page_57">[Pg 57]</a></span> LIFE OF FRANCESCO GRANACCI (IL GRANACCIO)</h2>
+
+<h3>PAINTER OF FLORENCE</h3>
+
+
+<p>Great, indeed, is the good fortune of those craftsmen who are brought
+into contact, either by their birth or by the associations that are
+formed in childhood, with those men whom Heaven has chosen out to be
+distinguished and exalted above all others in our arts, for the reason
+that a good and beautiful manner can be acquired with the greatest
+facility by seeing the methods and works of men of excellence, not to
+mention that rivalry and emulation, as we have said elsewhere, have
+great power over our minds.</p>
+
+<p>Francesco Granacci, of whom we have already spoken, was one of those
+who were placed by the Magnificent Lorenzo de' Medici to learn in his
+garden; whence it happened that, recognizing, boy as he was, the great
+genius of Michelagnolo, and what extraordinary fruits he was likely to
+produce when full grown, he could never tear himself away from his
+side, and even strove with incredible attention and humility to be
+always following that great brain, insomuch that Michelagnolo was
+constrained to love him more than all his other friends, and to
+confide so much in him, that there was no one with whom he was more
+willing to confer touching his works or to share all that he knew of
+art at that time, than with Granacci. Then, after they had been
+companions together in the workshop of Domenico Ghirlandajo, it came
+to pass that Granacci, because he was held to be the best of
+Ghirlandajo's young men, the strongest draughtsman, and the one who
+had most grace in painting in distemper, assisted David and Benedetto
+Ghirlandajo, the brothers of Domenico, to finish the altar-piece of
+the high-altar in S. Maria Novella, <span class="pagenum"><a id="Page_58" name="Page_58">[Pg 58]</a></span> which had been left
+unfinished at the death of the same Domenico. By this work Granacci
+gained much experience, and afterwards he executed in the same manner
+as that altar-piece many pictures that are in the houses of citizens,
+and others which were sent abroad.</p>
+
+<p>And since he was very gracious, and made himself very useful in
+certain ceremonies that were performed in the city during the
+festivals of the Carnival, he was constantly employed by the
+Magnificent Lorenzo de' Medici in many similar works, and in
+particular for the masquerade that represented the Triumph of Paulus
+Emilius, which was held in honour of the victory that he gained over
+certain foreign nations. In this masquerade, which was full of most
+beautiful inventions, Granacci acquitted himself so well, although he
+was a mere lad, that he won the highest praise. And here I will not
+omit to tell that the same Lorenzo de' Medici, as I have said in
+another place, was the first inventor of those masquerades that
+represent some particular subject, and are called in Florence
+"Canti";<a id="FNanchor10" name="FNanchor10"></a><a href="#Footnote10" title="Go to footnote 10" class="fnanchor">[10]</a> for it is not known that any were performed in earlier
+times.</p>
+
+<p>In like manner Granacci was employed in the sumptuous and magnificent
+preparations that were made in the year 1513 for the entry of Pope Leo
+X, one of the Medici, by Jacopo Nardi, a man of great learning and
+most beautiful intellect, who, having been commanded by the Tribunal
+of Eight to prepare a splendid masquerade, executed a representation
+of the Triumph of Camillus. This masquerade, in so far as it lay in
+the province of the painter, was so beautifully arranged and adorned
+by Granacci that no man could imagine anything better; and the words
+of the song, which Jacopo composed, began thus:</p>
+
+<p class="poem10">
+  Contempla in quanta gloria sei salita,<br>
+<span class="add2em">Felice alma Fiorenza,</span><br>
+<span class="add2em">Poich� dal Ciel discesa,</span></p>
+
+<p>with what follows. For the same spectacle Granacci executed a great
+quantity of theatrical scenery, as he did both before and afterwards.
+And while working with Ghirlandajo he painted standards for ships, and
+<span class="pagenum"><a id="Page_59" name="Page_59">[Pg 59]</a></span> also banners and devices for certain Knights of the Golden
+Spur, for their public entry into Florence, all at the expense of the
+Captains of the Guelph Party, as was the custom at that time, and as
+has been done in our own day, not long since.</p>
+
+<div class="figcenter">
+<a name="img015" id="img015"></a>
+<img src="images/img015-tb.jpg" width="400" height="402" alt="The Holy Family." title="">
+<p class="caption">FRANCESCO GRANACCI: THE HOLY FAMILY<br>
+(<i>Florence: Pitti, 199. Panel</i>)
+<br><span class="link"><a href="images/img015.jpg">View larger image</a></span></p>
+</div>
+
+<p>In like manner he made many beautiful embellishments and decorations
+of his own invention for the Potenze<a id="FNanchor11" name="FNanchor11"></a><a href="#Footnote11" title="Go to footnote 11" class="fnanchor">[11]</a> and their tournaments. These
+festivals were of a kind which is peculiar to the Florentines, and
+very pleasing, and in them were seen men standing almost upright on
+horseback, with very short stirrups, and breaking a lance with the
+same facility as do the warriors firmly seated on their saddles; and
+all this was done for the above-mentioned visit of Leo to Florence.
+Granacci also made, besides other things, a most beautiful triumphal
+arch opposite to the door of the Badia, covered with scenes in
+chiaroscuro and very lovely things of fancy. This arch was much
+extolled, and particularly for the invention of the architecture, and
+because he had made an imitation of that same door of the Badia for
+the entrance of the Via del Palagio, executed in perspective with the
+steps and every other thing, so that the painted and supposititious
+door was in no way different from the real and true one. To adorn the
+same arch he executed with his own hand some very beautiful figures of
+clay in relief, and on the summit of the arch he placed a great
+inscription with these words: <span class="smcap">LEONI X PONT. MAX. FIDEI CULTORI</span>.</p>
+
+<p>But to come at length to some works by Granacci that are in existence,
+let me relate that, having studied the cartoon of Michelagnolo
+Buonarroti while the latter was executing it for the Great Hall of the
+Palace, he found it so instructive and made such proficience, that,
+when Michelagnolo was summoned to Rome by Pope Julius II to the end
+that he might paint the vaulting of the Chapel in his Palace, Granacci
+was one of the first to be sent for by Buonarroti to help him to paint
+that work in fresco after the cartoons that he himself had prepared.
+It is true that Michelagnolo, being dissatisfied with the manner and
+method <span class="pagenum"><a id="Page_60" name="Page_60">[Pg 60]</a></span> of every one of his assistants, afterwards found
+means to make them all return to Florence without dismissing them, by
+closing the door on them all and not allowing himself to be seen.</p>
+
+<p>In Florence Granacci painted for Pier Francesco Borgherini a scene in
+oils on the head-board of a couch which stood in an apartment wherein
+Jacopo da Pontormo, Andrea del Sarto, and Francesco Ubertini had
+painted many stories from the life of Joseph, in Pier Francesco's
+house in Borgo Sant' Apostolo; and in this scene were little figures
+representing a story of the same Joseph, executed with extraordinary
+finish and with great charm and beauty of colouring, and a building in
+perspective, wherein he depicted Joseph ministering to Pharaoh, which
+could not be more beautiful in any part. For the same man, also, he
+painted a round picture, likewise in oils, of the Trinity, or rather,
+God the Father supporting a Christ Crucified. And in the Church of S.
+Piero Maggiore there is a picture of the Assumption by his hand, with
+many Angels and a S. Thomas, to whom the Madonna is giving the Girdle.
+The figure of S. Thomas is very graceful, turning to one side in a
+beautiful attitude worthy of the hand of Michelagnolo, and such, also,
+is that of Our Lady. The drawing for these two figures by the hand of
+Granacci is in our book, together with others likewise by him. On
+either side of this picture are figures of S. Paul, S. Laurence, S.
+James, and S. John, which are all so beautiful that the work is held
+to be the best that Francesco ever painted; and in truth this work
+alone, even if he had never executed another, would ensure his being
+considered to be, as indeed he was, an excellent painter.</p>
+
+<p>For the Church of S. Gallo, without the Gate of the same name, and
+formerly a seat of the Eremite Friars of S. Augustine, he painted an
+altar-piece with the Madonna and two children, S. Zanobi, Bishop of
+Florence, and S. Francis. This altar-piece, which was in the Chapel of
+the Girolami, to which family that S. Zanobi belonged, is now in S.
+Jacopo tra Fossi at Florence.</p>
+
+<p>Michelagnolo Buonarroti, having a niece who was a nun in S. Apollonia
+at Florence, had therefore executed an ornament for the high-altar of
+that church, and a design for the altar-piece; and Granacci painted
+<span class="pagenum"><a id="Page_61" name="Page_61">[Pg 61]</a></span> there some scenes in oils with figures large and small,
+which gave much satisfaction to the nuns at that time, and also to the
+other painters. For the same place he painted another altar-piece,
+which stood lower down, but this was burned one night, together with
+some draperies of great value, through some lights being inadvertently
+left on the altar; which was certainly a great loss, seeing that the
+work was much extolled by craftsmen. And for the Nuns of S. Giorgio in
+sulla Costa he executed the altar-piece of their high-altar, painting
+in it the Madonna, S. Catharine, S. Giovanni Gualberto, S. Bernardo
+Uberti the Cardinal, and S. Fedele.</p>
+
+<p>Granacci also executed many pictures, both square and round, which are
+dispersed among the houses of gentlemen in the city; and he made many
+cartoons for glass-windows, which were afterwards put into execution
+by the Frati Ingiesuati of Florence. He delighted much in painting on
+cloth, either alone or in company with others; wherefore, in addition
+to the works mentioned above, he painted many church-banners. And
+since he practised art more to pass the time than from necessity, he
+worked at his ease, always consulting his own convenience, and
+avoiding discomforts as much as he was able, more than any other man;
+and yet, without being covetous of the goods of others, he always
+preserved his own. Allowing but few cares to oppress him, he was a
+merry fellow, and took his pleasures with a glad heart. He lived
+sixty-seven years, at the end of which he finished the course of his
+life after an ordinary malady, a kind of fever; and he was buried in
+the Church of S. Ambrogio at Florence, on the day of S. Andrew the
+Apostle, in 1544.</p>
+
+<div class="figcenter">
+<a name="img016" id="img016"></a>
+<img src="images/img016-tb.jpg" width="350" height="588" alt="The Madonna giving the Girdle to S. Thomas." title="">
+<p class="caption">THE MADONNA GIVING THE GIRDLE TO S. THOMAS<br>
+(<i>After the panel by</i> Francesco Granacci.<br> <i>Florence: Uffizi, 1280</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img016.jpg">View larger image</a></span></p>
+</div>
+
+<hr style="width: 65%;">
+<h2><a name="dagnolo" id="dagnolo"></a><span class="pagenum"><a id="Page_63" name="Page_63">[Pg 63]</a></span> BACCIO D' AGNOLO</h2>
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_dagnolo" id="life_of_dagnolo"></a><span class="pagenum"><a id="Page_65" name="Page_65">[Pg 65]</a></span> LIFE OF BACCIO D' AGNOLO</h2>
+
+<h3>ARCHITECT OF FLORENCE</h3>
+
+<p>Great is the pleasure that I take in studying at times the beginnings
+of our craftsmen, for one sees some rising from the lowest depth to
+the greatest height, and especially in architecture, a science which
+has not been practised for several years past save by carvers and
+cunning impostors who profess to understand perspective without
+knowing even its terms or its first principles. The truth, indeed, is
+that architecture can never be practised to perfection save by those
+who have an excellent judgment and a good mastery of design, or have
+laboured much in painting, sculpture, or works in wood, for the reason
+that in it have to be executed with true measurements the dimensions
+of their figures, which are columns, cornices, and bases, and all the
+ornaments, which are made for the adornment of the figures, and for no
+other reason. And thus the workers in wood, by continually handling
+such things, in course of time become architects; and sculptors
+likewise, by having to find positions for their statues and by making
+ornaments for tombs and other works in the round, come in time to a
+knowledge of architecture; and painters, on account of their
+perspectives, the variety of their inventions, and the buildings that
+they draw, are compelled to take the ground-plans of edifices, seeing
+that they cannot plant houses or flights of steps on the planes where
+their figures stand, without in the first place grasping the order of
+the architecture.</p>
+
+<p>Working in his youth excellently well at wood-inlaying, Baccio
+executed the backs of the stalls in the choir of S. Maria Novella, in
+the principal chapel, wherein are most beautiful figures of S. John
+the Baptist and S. Laurence. In carving, he executed the ornaments of
+<span class="pagenum"><a id="Page_66" name="Page_66">[Pg 66]</a></span> that same chapel, those of the high-altar in the Nunziata,
+the decorations of the organ in S. Maria Novella, and a vast number of
+other works, both public and private, in his native city of Florence.
+Departing from that city, he went to Rome, where he applied himself
+with great zeal to the study of architecture; and on his return he
+made triumphal arches of wood in various places for the visit of Pope
+Leo X. But for all this he never gave up his workshop, where there
+were often gathered round him, in addition to many citizens, the best
+and most eminent masters of our arts, so that most beautiful
+conversations and discussions of importance took place there,
+particularly in winter. The first of these masters was Raffaello da
+Urbino, then a young man, and next came Andrea Sansovino, Filippino,
+Maiano, Cronaca, Antonio da San Gallo and Giuliano da San Gallo,
+Granaccio, and sometimes, but not often, Michelagnolo, with many young
+Florentines and strangers.</p>
+
+<p>Having thus given his attention to architecture in so thorough a
+manner, and having made some trial of his powers, Baccio began to be
+held in such credit in Florence, that the most magnificent buildings
+that were erected in his time were entrusted to him and were put under
+his direction. When Piero Soderini was Gonfalonier, Baccio took part,
+with Cronaca and others, as has been related above, in the
+deliberations that were held with regard to the great Hall of the
+Palace; and with his own hand he executed in wood the ornament for the
+large panel-picture which was begun by Fra Bartolommeo, after the
+design by Filippino. In company with the same masters he made the
+staircase that leads to that Hall, with a very beautiful ornamentation
+of stone, and also the columns of variegated marble and the doors of
+marble in the hall that is now called the Sala de' Dugento.</p>
+
+<p>He built a palace for Giovanni Bartolini, which is very ornate within,
+on the Piazza di S. Trinit�; and he made many designs for the garden
+of the same man in Gualfonda. And since that palace was the first
+edifice that was built with ornaments in the form of square windows
+with pediments, and a portal with columns supporting architrave,
+frieze, and cornice, these things were much censured by the
+Florentines with spoken words and sonnets, and festoons of boughs were
+<span class="pagenum"><a id="Page_67" name="Page_67">[Pg 67]</a></span> hung upon them, as is done in churches for festivals, men
+saying that the fa�ade was more like that of a temple than of a
+palace; so that Baccio was like to go out of his mind. However,
+knowing that he had imitated good examples, and that his work was
+sound, he regained his peace of mind. It is true that the cornice of
+the whole palace proved, as has been said in another place, to be too
+large; but in every other respect the work has always been much
+extolled.</p>
+
+<p>For Lanfredino Lanfredini he erected a house on the bank of the Arno,
+between the Ponte a S. Trinit� and the Ponte alla Carraja; and on the
+Piazza de' Mozzi he began the house of the Nasi, which looks out upon
+the sandy shore of the Arno, but did not finish it. For Taddeo, of the
+Taddei family, he built a house that was held to be very beautiful and
+commodious. For Pier Francesco Borgherini he made the designs of the
+house that he built in Borgo S. Apostolo, in which he caused ornaments
+for the doors and most beautiful chimney-pieces to be executed at
+great expense, and made for the adornment of one chamber, in
+particular, coffers of walnut-wood covered with little boys carved
+with supreme diligence. Such a work it would now be impossible to
+execute with such perfection as he gave to it. He also prepared the
+design for the villa that Borgherini caused to be built on the hill of
+Bellosguardo, which was very beautiful and commodious, and erected at
+vast expense. For Giovan Maria Benintendi he executed an antechamber,
+with an ornamental frame for some scenes painted by excellent masters,
+which was a rare thing. The same Baccio made the model of the Church
+of S. Giuseppe near S. Nofri, and directed the construction of the
+door, which was his last work. He also caused to be built of masonry
+the campanile of S. Spirito in Florence, which was left unfinished,
+and is now being completed by order of Duke Cosimo after the original
+design of Baccio; and he likewise erected the campanile of S. Miniato
+sul Monte, which was battered by the artillery of the camp, but never
+destroyed, on which account it gained no less fame for the affront
+that it offered to the enemy than for the beauty and excellence with
+which Baccio had caused it to be built and carried to completion.</p>
+
+<p>Next, having been appointed on account of his abilities, and because
+<span class="pagenum"><a id="Page_68" name="Page_68">[Pg 68]</a></span> he was much beloved by the citizens, as architect to S.
+Maria del Fiore, Baccio gave the design for constructing the gallery
+that encircles the cupola. This part of the work Filippo Brunelleschi,
+being overtaken by death, had not been able to execute; and although
+he had made designs even for this, they had been lost or destroyed
+through the negligence of those in charge of the building. Baccio,
+then, having made the design and model for this gallery, carried into
+execution all the part that is to be seen facing the Canto de'
+Bischeri. But Michelagnolo Buonarroti, on his return from Rome,
+perceiving that in carrying out this work they were cutting away the
+toothings that Filippo Brunelleschi, not without a purpose, had left
+projecting, made such a clamour that the work was stopped; saying that
+it seemed to him that Baccio had made a cage for crickets, that a pile
+so vast required something grander and executed with more design, art,
+and grace than appeared to him to be displayed by Baccio's design, and
+that he himself would show how it should be done. Michelagnolo having
+therefore made a model, the matter was disputed at great length before
+Cardinal Giulio de' Medici by many craftsmen and competent citizens;
+and in the end neither the one model nor the other was carried into
+execution. Baccio's design was censured in many respects, not that it
+was not a well-proportioned work of its kind, but because it was too
+insignificant in comparison with the size of the structure; and for
+these reasons that gallery has never been brought to completion.</p>
+
+<p>Baccio afterwards gave his attention to executing the pavement of S.
+Maria del Fiore, and to his other buildings, which were not a few, for
+he had under his particular charge all the principal monasteries and
+convents of Florence, and many houses of citizens, both within and
+without the city. Finally, when near the age of eighty-three, but
+still of good and sound judgment, he passed to a better life in 1543,
+leaving three sons, Giuliano, Filippo, and Domenico, who had him
+buried in S. Lorenzo.</p>
+
+<p>Of these sons, who all gave their attention after the death of Baccio
+to the art of carving and working in wood, Giuliano, who was the
+second, was the one who applied himself with the greatest zeal to
+architecture <span class="pagenum"><a id="Page_69" name="Page_69">[Pg 69]</a></span> both during his father's lifetime and
+afterwards; wherefore, by favour of Duke Cosimo, he succeeded to his
+father's place as architect to S. Maria del Fiore, and continued not
+only all that Baccio had begun in that temple, but also all the other
+buildings that had remained unfinished at his death. At that time
+Messer Baldassarre Turini da Pescia was intending to place a
+panel-picture by the hand of Raffaello da Urbino in the principal
+church of Pescia, of which he was Provost, and to erect an ornament of
+stone, or rather, an entire chapel, around it, and also a tomb; and
+Giuliano executed all this after his own designs and models, and also
+restored for the same patron his house at Pescia, making in it many
+beautiful and useful improvements. For Messer Francesco Campana,
+formerly First Secretary to Duke Alessandro, and afterwards to Duke
+Cosimo de' Medici, the same Giuliano built at Montughi, without
+Florence, beside the church, a house which is small but very ornate,
+and so well situated, that it commands from its slight elevation a
+view of the whole city of Florence and the surrounding plain. And a
+most beautiful and commodious house was built at Colle, the native
+place of that same Campana, from the design of Giuliano, who shortly
+afterwards began for Messer Ugolino Grifoni, Lord of Altopascio, a
+palace at San Miniato al Tedesco, which was a magnificent work.</p>
+
+<p>For Ser Giovanni Conti, one of the secretaries of the Lord Duke
+Cosimo, he made many useful and beautiful improvements in his house at
+Florence; although it is true that in the two ground-floor windows,
+supported by knee-shaped brackets, which open out upon the street,
+Giuliano departed from his usual method, and so cut them up with
+projections, little brackets, and off-sets, that they inclined rather
+to the German manner than to the true and good manner of ancient or
+modern times. Works of architecture, without a doubt, must first be
+massive, solid, and simple, and then enriched by grace of design and
+by variety of subject in the composition, without, however, disturbing
+by poverty or by excess of ornamentation the order of the architecture
+or the impression produced on a competent judge.</p>
+
+<p>Meanwhile Baccio Bandinelli, having returned from Rome, where he had
+finished the tombs of Leo and Clement, persuaded the Lord Duke Cosimo,
+then a young man, to make at the head of the Great Hall of the
+<span class="pagenum"><a id="Page_70" name="Page_70">[Pg 70]</a></span> Ducal Palace a fa�ade full of columns and niches, with a
+range of fine marble statues; and this fa�ade was to have windows of
+marble and grey-stone looking out upon the Piazza. The Duke having
+resolved to have this done, Bandinelli set his hand to making the
+design; but finding that the hall, as has been related in the Life of
+Cronaca, was out of square, and having never given attention to
+architecture, which he considered an art of little value, marvelling
+and even laughing at those who gave their attention to it, he was
+forced, on recognizing the difficulty of this work, to confer with
+Giuliano with regard to his model, and to beseech him that he, as an
+architect, should direct the work. And so all the stone-cutters and
+carvers of S. Maria del Fiore were set to work, and a beginning was
+made with the structure. Bandinelli had resolved, with the advice of
+Giuliano, to let the work remain out of square, following in part the
+course of the wall. It came to pass, therefore, that he was forced to
+make all the stones irregular in shape, preparing them with great
+labour by means of the pifferello, which is the instrument otherwise
+called the bevel-square; and this made the work so clumsy, that, as
+will be related in the Life of Bandinelli, it has been difficult to
+bring it to such a form as might be in harmony with the rest. Such a
+thing would not have happened if Bandinelli had possessed as much
+knowledge in architecture as he did in sculpture; not to mention that
+the great niches in the side-walls at each end proved to be squat, and
+that the one in the centre was not without defect, as will be told in
+the Life of that same Bandinelli. This work, after having been pursued
+for ten years, was abandoned, and so it remained for some time. It is
+true that the profiled stones as well as the columns, both of Fossato
+stone and of marble, were wrought with the greatest diligence by the
+stone-cutters and carvers under the care of Giuliano, and were
+afterwards so well built in that it would not be possible to find any
+masonry better put together, all the stones being accurately measured.
+In this respect Giuliano may be celebrated as most excellent; and the
+work, as will be related in the proper place, was finished in five
+months, with an addition, by Giorgio Vasari of Arezzo.</p>
+
+<p>Giuliano, meanwhile, not neglecting his workshop, was giving his
+attention, together with his brothers, to the execution of many
+carvings <span class="pagenum"><a id="Page_71" name="Page_71">[Pg 71]</a></span> and works in wood, and also to pressing on the
+making of the pavement of S. Maria del Fiore; and since he was
+superintendent and architect of that building, he was requested by the
+same Bandinelli to make designs and models of wood, after some
+fantasies of figures and other ornaments of his own, for the
+high-altar of that same S. Maria del Fiore, which was to be
+constructed of marble; which Giuliano did most willingly, being a good
+and kindly person and one who delighted in architecture as much as
+Bandinelli despised it, and being also won over by the lavish promises
+of profit and honour that Bandinelli made him. Setting to work,
+therefore, on that model, Giuliano made it much after the simple
+pattern formerly designed by Brunelleschi, save that he enriched it by
+doubling both the columns and the arch above. And when he had brought
+it to completion, and the model, together with many designs, had been
+carried by Bandinelli to Duke Cosimo, his most illustrious Excellency
+resolved in his regal mind to execute not only the altar, but also the
+ornament of marble that surrounds the choir, following its original
+octagonal shape, with all those rich adornments with which it has
+since been carried out, in keeping with the grandeur and magnificence
+of that temple. Giuliano, therefore, with the assistance of
+Bandinelli, made a beginning with that choir, without altering
+anything save the principal entrance, which is opposite to the
+above-mentioned altar; for which reason he wished that it should be
+exactly similar to that altar, with the same arch and decorations. He
+also made two other similar arches, which unite with the entrance and
+the altar in forming a cross; and these were for two pulpits, which
+the old choir also had, serving for music and other ceremonies of the
+choir and of the altar. In this choir, around the eight faces,
+Giuliano made an ornament of the Ionic Order, and placed at every
+corner a pilaster bent in the middle, and one on every face; and since
+each pilaster so narrowed that the extension-lines of its side-faces
+met in the centre of the choir, from inside it looked narrow and bent
+in, and from outside broad and pointed. This invention was not much
+extolled, nor can it be commended as beautiful by any man of judgment;
+and for a work of such cost, in a place so celebrated, Bandinelli, if
+he despised architecture, or had no knowledge of it, should have
+availed himself of someone living at that time with <span class="pagenum"><a id="Page_72" name="Page_72">[Pg 72]</a></span> the
+knowledge and ability to do better. Giuliano deserves to be excused in
+the matter, because he did all that he could, which was not a little;
+but it is very certain that one who has not strong powers of design
+and invention in himself, will always be too poor in grace and
+judgment to bring to perfection great works of architecture.</p>
+
+<p>Giuliano made for Filippo Strozzi a couch of walnut-wood, which is now
+at Citt� di Castello, in the house of the heirs of Signor Alessandro
+Vitelli. For an altar-piece which Giorgio Vasari painted for the
+high-altar of the Abbey of Camaldoli in the Casentino, he made a very
+rich and beautiful frame, after the design of Giorgio; and he carved
+another ornamental frame for a large altar-piece that the same Giorgio
+executed for the Church of S. Agostino in Monte Sansovino. The same
+Giuliano made another beautiful frame for another altar-piece by the
+hand of Vasari, which is in the Abbey of Classi, a seat of the Monks
+of Camaldoli, at Ravenna. He also executed the frames for the pictures
+by the hand of the same Giorgio of Arezzo that are in the refectory of
+the Monks of the Abbey of S. Fiore at Arezzo; and in the Vescovado in
+the same city, behind the high-altar, he made a most beautiful choir
+of walnut-wood, after the design of Giorgio, which provided for the
+bringing forward of the altar. And, finally, a short time before his
+death, he made the rich and beautiful Ciborium of the most Holy
+Sacrament for the high-altar of the Nunziata, with the two Angels of
+wood, in full-relief, which are on either side of it. This was the
+last work that he executed, and he passed to a better life in the year
+1555.</p>
+
+<p>Nor was Domenico, the brother of that Giuliano, inferior to him in
+judgment, seeing that, besides carving much better in wood, he was
+also very ingenious in matters of architecture, as may be seen from
+the house that was built for Bastiano da Montaguto in the Via de'
+Servi after his design, wherein there are also many works in wood by
+Domenico's own hand. The same master executed for Agostino del Nero,
+in the Piazza de' Mozzi, the buildings that form the street-corner and
+a very beautiful terrace for that house of the Nasi formerly begun by
+his father Baccio. And it is the common belief that, if he had not
+died so young, he would have surpassed by a great measure both his
+father and his brother Giuliano.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="vicentino" id="vicentino"></a><span class="pagenum"><a id="Page_73" name="Page_73">[Pg 73]</a></span> VALERIO VICENTINO,
+  GIOVANNI DA CASTEL
+  BOLOGNESE, MATTEO
+  DAL NASSARO OF VERONA,
+  AND OTHER EXCELLENT
+  ENGRAVERS OF CAMEOS
+  AND GEMS</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_vicentino" id="life_of_vicentino"></a><span class="pagenum"><a id="Page_75" name="Page_75">[Pg 75]</a></span> LIVES OF VALERIO VICENTINO, GIOVANNI DA CASTEL BOLOGNESE,
+MATTEO DAL NASSARO OF VERONA, AND OTHER EXCELLENT ENGRAVERS OF CAMEOS
+AND GEMS</h2>
+
+
+<p>Since the Greeks were such divine masters in the engraving of Oriental
+stones and so perfect in the cutting of cameos, it seems to me certain
+that I should commit no slight error were I to pass over in silence
+those of our own age who have imitated those marvellous intellects;
+although among our moderns, so it is said, there have been none who in
+this present and happy age have surpassed the ancients in delicacy and
+design, save perchance those of whom we are about to give an account.
+But before making a beginning, it is proper for me to discourse
+briefly on this art of engraving hard stones and gems, which was lost,
+together with the other arts of design, after the ruin of Greece and
+Rome. Of this work, whether engraved in intaglio or in relief, we have
+seen examples discovered daily among the ruins of Rome, such as
+cameos, cornelians, sardonyxes, and other most excellent intagli; but
+for many and many a year the art remained lost, there being no one who
+gave attention to it, and even if any work was done, it was not in
+such a manner as to be worthy to be taken into account. So far as is
+known, it is not found that anyone began to do good work or to attain
+to excellence until the time of Pope Martin V and Pope Paul II; after
+which the art continued to grow little by little down to the time of
+Lorenzo de' Medici, the Magnificent, who greatly delighted in the
+engraved cameos of the ancients. Lorenzo and his son Piero collected a
+great quantity of these, particularly chalcedonies, cornelians, and
+other kinds of the choicest engraved stones, which contained various
+fanciful designs; and in consequence of <span class="pagenum"><a id="Page_76" name="Page_76">[Pg 76]</a></span> this, wishing to
+establish the art in their own city, they summoned thither masters
+from various countries, who, besides restoring those stones, brought
+to them other works which were at that time rare.</p>
+
+<p>By these masters, at the instance of the Magnificent Lorenzo, this art
+of engraving in intaglio was taught to a young Florentine called
+Giovanni delle Corniole,<a id="FNanchor12" name="FNanchor12"></a><a href="#Footnote12" title="Go to footnote 12" class="fnanchor">[12]</a> who received that surname because he
+engraved them excellently well, of which we have testimony in the
+great numbers of them by his hand that are to be seen, both great and
+small, but particularly in a large one, which was a very choice
+intaglio, wherein he made the portrait of Fra Girolamo Savonarola, who
+was adored in Florence in his day on account of his preaching. A rival
+of Giovanni was Domenico de' Cammei,<a id="FNanchor13" name="FNanchor13"></a><a href="#Footnote13" title="Go to footnote 13" class="fnanchor">[13]</a> a Milanese, who, living at
+the same time as Duke Lodovico, Il Moro, made a portrait of him in
+intaglio on a balas-ruby greater than a giulio, which was an exquisite
+thing and one of the best works in intaglio that had been seen
+executed by a modern master. This art afterwards rose to even greater
+excellence in the pontificate of Pope Leo X, through the talents and
+labours of Pier Maria da Pescia, who was a most faithful imitator of
+the works of the ancients; and he had a rival in Michelino, who was no
+less able than Pier Maria in works both great and small, and was held
+to be a graceful master.</p>
+
+<p>These men opened the way in this art, which is so difficult, for
+engraving in intaglio is truly working in the dark, since the
+craftsman can use nothing but impressions of wax, as spectacles, as it
+were, wherewith to see from time to time what he is doing. And finally
+they brought it to such a condition that Giovanni da Castel Bolognese,
+Valerio Vicentino, Matteo dal Nassaro, and others, were able to
+execute the many beautiful works of which we are about to make
+mention.</p>
+
+<p>Let me begin, then, by saying that Giovanni Bernardi of Castel
+Bolognese, who worked in his youth in the service of Duke Alfonso of
+Ferrara, made for him, in the three years of honourable service that
+he gave him, many little works, of which there is no need to give any
+description. Of his larger works the first was an intaglio on a piece
+of crystal, in which he represented the whole of the action of Bastia,
+which <span class="pagenum"><a id="Page_77" name="Page_77">[Pg 77]</a></span> was very beautiful; and then he executed the portrait
+of that Duke in a steel die for the purpose of making medals, with the
+Taking of Jesus Christ by the Multitude on the reverse. Afterwards,
+urged by Giovio, he went to Rome, and obtained by favour of Cardinal
+Ippolito de' Medici and Cardinal Giovanni Salviati the privilege of
+taking a portrait of Clement VII, from which he made a die for medals,
+which was very beautiful, with Joseph revealing himself to his
+brethren on the reverse; and for this he was rewarded by His Holiness
+with the gift of a Mazza, an office which he afterwards sold in the
+time of Paul III, receiving two hundred crowns for it. For the same
+Clement he executed figures of the four Evangelists on four round
+crystals, which were much extolled, and gained for him the favour and
+friendship of many prelates, and in particular the good-will of
+Salviati and of the above-mentioned Cardinal Ippolito de' Medici, that
+sole refuge for men of talent, whose portrait he made on steel medals,
+besides executing for him on crystal the Presentation of the Daughter
+of Darius to Alexander the Great.</p>
+
+<p>After this, when Charles V went to Bologna to be crowned, Giovanni
+made a portrait of him in steel, from which he struck a medal of gold.
+This he carried straightway to the Emperor, who gave him a hundred
+pistoles of gold, and sent to inquire whether he would go with him to
+Spain; but Giovanni refused, saying that he could not leave the
+service of Clement and of Cardinal Ippolito, for whom he had begun
+some work that was still unfinished.</p>
+
+<p>Having returned to Rome, Giovanni executed for the same Cardinal de'
+Medici a Rape of the Sabines, which was very beautiful. And the
+Cardinal, knowing himself to be much indebted to him for all these
+things, rewarded him with a vast number of gifts and courtesies; but
+the greatest of all was this, that the Cardinal, when departing for
+France in the midst of a company of many lords and gentlemen, turned
+to Giovanni, who was there among the rest, and, taking from his own
+neck a little chain to which was attached a cameo worth more than six
+hundred crowns, he gave it to him, telling him that he should keep it
+until his return, and intending to bestow upon him afterwards such a
+recompense as he knew to be due to the talent of Giovanni.</p>
+
+<p><span class="pagenum"><a id="Page_78" name="Page_78">[Pg 78]</a></span> On the death of the Cardinal, that cameo fell into the hands
+of Cardinal Farnese, for whom Giovanni afterwards executed many works
+in crystal, and in particular a Christ Crucified for a Cross, with a
+God the Father above, Our Lady and S. John at the sides, and the
+Magdalene at the foot; and in a triangle at the base of the Cross he
+made three scenes of the Passion of Christ, one in each angle. For two
+candelabra of silver he engraved six round crystals. In the first is
+the Centurion praying Christ that He should heal his son, in the
+second the Pool of Bethesda, in the third the Transfiguration on Mount
+Tabor, in the fourth the Miracle of the five loaves and two fishes, in
+the fifth the scene of Christ driving the traders from the Temple, and
+in the last the Raising of Lazarus; and all were exquisite. The same
+Cardinal Farnese afterwards desired to have a very rich casket made of
+silver, and had the work executed by Manno, a Florentine goldsmith, of
+whom there will be an account in another place; but he entrusted all
+the compartments of crystal to Giovanni, who made them all full of
+scenes, with marble in half-relief; and he made figures of silver and
+ornaments in the round, and all with such diligence, that no other
+work of that kind was ever carried to such perfection. On the body of
+this casket are the following scenes, engraved in ovals with
+marvellous art by the hand of Giovanni: The Chase of Meleager after
+the Calydonian Boar, the Followers of Bacchus, a naval battle,
+Hercules in combat with the Amazons, and other most beautiful
+fantasies of the Cardinal, who caused finished designs of them to be
+executed by Perino del Vaga and other masters. Giovanni then executed
+on a crystal the triumph of the taking of Goletta, and the War of
+Tunis on another. For the same Cardinal he engraved, likewise on
+crystal, the Birth of Christ and the scenes when He prays in the
+Garden; when He is taken by the Jews; when He is led before Annas,
+Herod, and Pilate; when He is scourged and then crowned with thorns;
+when He carries the Cross; when He is nailed upon it and raised on
+high; and, finally, His divine and glorious Resurrection. All these
+works were not only very beautiful, but also executed with such
+rapidity, that every man was struck with astonishment.</p>
+
+<div class="figcenter">
+<a name="img017" id="img017"></a>
+<img src="images/img017-tb.jpg" width="400" height="467" alt="Cassetta Farnese." title="">
+<p class="caption">CASSETTA FARNESE<br>
+(<i>After</i> Giovanni da Castel Bolognese (Giovanni Bernardi).<br> <i>Naples:
+Museo Nazionale</i>)<br>
+<i>Brogi</i>
+<br><span class="link"><a href="images/img017.jpg">View larger image</a></span></p>
+</div>
+
+<p>Michelagnolo had made for the above-mentioned Cardinal de' Medici
+<span class="pagenum"><a id="Page_79" name="Page_79">[Pg 79]</a></span> a drawing, which I forgot to mention before, of a Tityus
+whose heart was being devoured by a vulture; and Giovanni engraved
+this beautifully on crystal. And he did the same with another drawing
+by Buonarroti, in which Phaethon, not being able to manage the chariot
+of the Sun, has fallen into the Po, and his weeping sisters are
+transformed into trees.</p>
+
+<p>Giovanni executed a portrait of Madama Margherita of Austria, daughter
+of the Emperor Charles V, who had been the wife of Duke Alessandro de'
+Medici, and was then the consort of Duke Ottavio Farnese; and this he
+did in competition with Valerio Vicentino. For these works executed
+for Cardinal Farnese, he received from that lord a reward in the form
+of the office of Giannizzero, from which he drew a good sum of money;
+and, in addition, he was so beloved by that Cardinal that he obtained
+a great number of other favours from him, nor did the Cardinal ever
+pass through Faenza, where Giovanni had built a most commodious house,
+without going to take up his quarters with him. Having thus settled at
+Faenza, in order to rest after a life of much labour in the world,
+Giovanni remained there ever afterwards; and his first wife, by whom
+he had not had children, being dead, he took a second. By her he had
+two sons and a daughter; and with them he lived in contentment, being
+well provided with landed property and other revenues, which yielded
+him more than four hundred crowns, until he came to the age of sixty,
+when he rendered up his soul to God on the day of Pentecost, in the
+year 1555.</p>
+
+<p>Matteo dal Nassaro, who was born in Verona, and was the son of Jacopo
+dal Nassaro, a shoemaker, gave much attention in his early childhood
+not only to design, but also to music, in which he became excellent,
+having had as his masters in that study Marco Carr� and Il
+Tromboncino, both Veronese, who were then in the service of the
+Marquis of Mantua. In matters of intaglio he was much assisted by two
+Veronese of honourable family, with whom he was continually
+associated. One of these was Niccol� Avanzi, who, working privately in
+Rome, executed cameos, cornelians, and other stones, which were taken
+to various Princes; and there are persons who remember to have seen a
+lapis-lazuli by his hand, three fingers in breadth, containing the
+<span class="pagenum"><a id="Page_80" name="Page_80">[Pg 80]</a></span> Nativity of Christ, with many figures, which was sold as a
+choice work to the Duchess of Urbino. The other was Galeazzo Mondella,
+who, besides engraving gems, drew very beautifully.</p>
+
+<p>After Matteo had learned from these two masters all that they knew, it
+chanced that there fell into his hands a beautiful piece of green
+jasper, marked with red spots, as the good pieces are; and he engraved
+in it a Deposition from the Cross with such diligence, that he made
+the wounds come in those parts of the jasper that were spotted with
+the colour of blood, which caused that work to be a very rare one, and
+brought him much commendation. That jasper was sold by Matteo to the
+Marchioness Isabella d'Este.</p>
+
+<p>He then went to France, taking with him many works by his own hand
+which might serve to introduce him to the Court of King Francis I; and
+when he had been presented to that Sovereign, who always held in
+estimation every manner of man of talent, the King, after taking many
+of the stones engraved by him, received him into his service and
+ordained him a good salary; and he held Matteo dear no less because he
+was an excellent musician and could play very well upon the lute, than
+for his profession of engraving stones. Of a truth, there is nothing
+that does more to kindle men's minds with love for the arts than to
+see them appreciated and rewarded by Princes and noblemen, as has
+always been done in the past, and is done more than ever at the
+present day, by the illustrious House of Medici, and as was also done
+by that truly magnanimous Sovereign, King Francis.</p>
+
+<p>Matteo, thus employed in the service of that King, executed many rare
+works, not only for His Majesty, but also for almost all the most
+noble lords and barons of the Court, of whom there was scarcely one
+who did not have some work by his hand, since it was much the custom
+at that time to wear cameos and other suchlike gems on the neck and in
+the cap. For the King he made an altar-piece for the altar of the
+chapel which His Majesty always took with him on his journeys; and
+this was full of figures of gold, partly in the round and partly in
+half-relief, with many engraved gems distributed over the limbs of
+those figures. He also engraved many pieces of crystal in intaglio,
+impressions <span class="pagenum"><a id="Page_81" name="Page_81">[Pg 81]</a></span> of which in sulphur and gesso are to be seen in
+many places, and particularly in Verona, where there are marvellous
+representations of all the planets, and a Venus with a Cupid that has
+the back turned, which could not be more beautiful. In a very fine
+chalcedony, found in a river, Matteo engraved divinely well the head
+of a Deianira almost in full-relief, wearing the lion's skin, the
+surface being tawny in colour; and he turned to such good advantage a
+vein of red that was in that stone, representing with it the inner
+side of the lion's skin at its junction with the head, that the skin
+had the appearance of one newly flayed. Another spot of colour he used
+for the hair, and the white for the face and breast, and all with
+admirable mastery. This head came into the possession of King Francis,
+together with the other things; and there is an impression of it at
+the present day in Verona, which belongs to the goldsmith Zoppo, who
+was Matteo's disciple.</p>
+
+<p>Matteo was a man of great spirit and generosity, insomuch that he
+would rather have given his works away than sold them for a paltry
+price. Wherefore when a baron, for whom he had made a cameo of some
+value, wished to pay him a wretched sum for it, Matteo besought him
+straitly that he should accept it as a present. To this the other
+would not consent, and yet wished to have it for the same miserable
+price; whereupon Matteo, flying into a rage, crushed it to powder with
+a hammer in his presence. For the same King Matteo executed many
+cartoons for tapestries, and with these, to please His Majesty, he was
+obliged to go to Flanders, and to stay there until they had been woven
+in silk and gold; which being finished and taken to France, they were
+held to be very beautiful. Finally, Matteo returned to his own
+country, as almost all men do, taking with him many rare things from
+those foreign parts, and in particular some landscapes on canvas
+painted in Flanders in oils and in gouache, and executed by very able
+hands, which are still preserved and treasured in Verona, in memory of
+him, by Signor Luigi and Signor Girolamo Stoppi. Having returned to
+Verona, Matteo took up his abode in a cave hollowed out under a rocky
+cliff, above which is the garden of the Frati Ingiesuati&mdash;a place
+which, besides being very warm in winter and very cool in summer,
+commands a most beautiful <span class="pagenum"><a id="Page_82" name="Page_82">[Pg 82]</a></span> view. But he was not able to enjoy
+that habitation, thus contrived after his own fancy, as long as he
+would have liked, for King Francis, as soon as he had been released
+from his captivity, sent a special messenger to recall Matteo to
+France, and to pay him his salary even for all the time that he had
+been in Verona; and when he had arrived there, the King made him
+master of dies for the Mint. Taking a wife in France, therefore,
+Matteo settled down to live in those parts, since such was the
+pleasure of the King his master. By that wife he had some children,
+but all so unlike himself that he had little satisfaction from them.</p>
+
+<p>Matteo was so gentle and courteous, that he welcomed with
+extraordinary warmth anyone who arrived in France, not only from his
+own city of Verona, but from every part of Lombardy. His dearest
+friend in those regions was Paolo Emilio of Verona, who wrote the
+history of France in the Latin tongue. Matteo taught many disciples,
+among them a fellow-Veronese, the brother of Domenico Brusciasorzi,
+two of his nephews, who went to Flanders, and many other Italians and
+Frenchmen, of whom there is no need to make mention. And finally he
+died, not long after the death of King Francis of France.</p>
+
+<p>But to come at length to the marvellous art of Valerio Vicentino, of
+whom we have now to speak: this master executed so many works, both
+great and small, either in intaglio or in relief, and all with such a
+finish and such facility, that it is a thing incredible. If Nature had
+made Valerio a good master of design, even as she made him most
+excellent in engraving, in which he executed his works with
+extraordinary patience, diligence, and rapidity, he would not merely
+have equalled the ancients, as he did, but would have surpassed them
+by a great measure; and even so he had such judgment, that he always
+availed himself in his works of the designs of others or of the
+intagli of the ancients.</p>
+
+<div class="figcenter">
+<a name="img018" id="img018"></a>
+<img src="images/img018-tb.jpg" width="450" height="308" alt="Casket of Rock Crystal." title="">
+<p class="caption">CASKET OF ROCK CRYSTAL<br>
+(<i>After</i> Valerio Vincentino (Valerio Belli).<br> <i>Florence; Uffizi,
+Cabinet of Gems</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img018.jpg">View larger image</a></span></p>
+</div>
+
+<p>Valerio fashioned for Pope Clement VII a casket entirely of crystal,
+wrought with admirable mastery, for which he received two thousand
+crowns of gold from that Pontiff in return for his labour. In those
+crystals Valerio engraved the whole Passion of Jesus Christ, after the
+designs of others; and that casket was afterwards presented by Pope
+Clement to King Francis at Nice, at the time when his niece went to be
+<span class="pagenum"><a id="Page_83" name="Page_83">[Pg 83]</a></span> married to the Duke of Orleans, who afterwards became King
+Henry. For the same Pope Valerio made some most beautiful paxes, and a
+divine cross of crystal, and likewise dies for striking medals,
+containing the portrait of Pope Clement, with very beautiful reverses;
+and through him that art produced in his day many masters, both from
+Milan and from other parts, who had grown to such a number before the
+sack of Rome, that it was a marvel. He made the medals of the twelve
+Emperors, with their reverses, copying the most beautiful antiques,
+with a great number of Greek medals; and he engraved so many other
+works in crystal, that the shops of the goldsmiths, or rather, the
+whole world, may be seen to be full of impressions taken in gesso,
+sulphur, or other compositions, from the intagli in which he made
+scenes, figures, or heads. He had, indeed, a skill of hand so
+extraordinary, that there was never anyone in his profession who
+executed more works than Valerio.</p>
+
+<p>He also fashioned many vases of crystal for Pope Clement, who
+presented some to various Princes, and others were placed in the
+Church of S. Lorenzo at Florence, together with many vases that were
+formerly in the Palace of the Medici and had belonged to the elder
+Lorenzo, the Magnificent, and to other members of that most
+illustrious family, that they might serve to contain the relics of
+many Saints, which that Pontiff presented to that church in memory of
+himself. It would not be possible to find anything more varied than
+the curves of those vases, some of which are of sardonyx, agate,
+amethyst, and lapis-lazuli, and some of plasma, heliotrope, jasper,
+crystal, and cornelian, so that in point of value or beauty nothing
+more could be desired. For Pope Paul III he made a cross and two
+candelabra, likewise of crystal, engraved with scenes of the Passion
+of Jesus Christ in various compartments; with a vast number of stones,
+both great and small, of which it would take too long to make mention.
+And in the collection of Cardinal Farnese may be seen many things by
+the hand of Valerio, who left no fewer finished works than did the
+above-named Giovanni. At the age of seventy-eight he performed
+miracles, so sure were his eye and hand; and he taught his art to a
+daughter of his own, who works very well. He so delighted to lay his
+hands on antiquities in marble, impressions in gesso of works
+<span class="pagenum"><a id="Page_84" name="Page_84">[Pg 84]</a></span> both ancient and modern, and drawings and pictures by rare
+masters, that he shrank from no expense; wherefore his house at
+Vicenza is adorned by such an abundance of various things, that it is
+a marvel. It is clearly evident that when a man bears love to art, it
+never leaves him until he is in the grave; whence he gains praise and
+his reward during his lifetime, and makes himself immortal after
+death. Valerio was well remunerated for his labours, and received
+offices and many benefits from those Princes whom he served; and thus
+those who survived him are able, thanks to him, to maintain an
+honourable state. And in the year 1546, when, by reason of the
+infirmities that old age brings in its train, he could no longer
+attend to his art, or even live, he rendered up his soul to God.</p>
+
+<p>At Parma, in times past, lived Marmita, who gave his attention for a
+period to painting, and then turned to intaglio, in which he imitated
+the ancients very closely. Many most beautiful works by his hand are
+to be seen, and he taught the art to a son of his own, called
+Lodovico, who lived for a long time in Rome with Cardinal Giovanni de'
+Salviati. Lodovico executed for that Cardinal four ovals of crystal
+engraved with figures of great excellence, which were placed on a very
+beautiful casket of silver that was afterwards presented to the most
+illustrious Signora Leonora of Toledo, Duchess of Florence. He made,
+among many other works, a cameo with a most beautiful head of
+Socrates, and he was a great master at counterfeiting ancient medals,
+from which he gained extraordinary advantage.</p>
+
+<p>There followed, in Florence, Domenico di Polo, a Florentine and an
+excellent master of intaglio, who was the disciple of Giovanni delle
+Corniole, of whom we have spoken. In our own day this Domenico
+executed a divine portrait of Duke Alessandro de' Medici, from which
+he made dies in steel and most beautiful medals, with a reverse
+containing a Florence. He also made a portrait of Duke Cosimo in the
+first year after his election to the government of Florence, with the
+sign of Capricorn on the reverse; and many other little works in
+intaglio, of which there is no need to make record. He died at the age
+of sixty-five.</p>
+
+<div class="figcenter">
+<a name="img019" id="img019"></a>
+<img src="images/img019-tb.jpg" width="400" height="537" alt="Medals." title="">
+<p class="caption center">MEDALS<br>
+(<i>London: British Museum</i>)</p>
+
+<p class="center">1. POPE JULIUS III<br>
+(<i>After</i> Alessandro Cesati)</p>
+
+<span class="floatleft">2. PIETRO BEMBO</span>
+<p class="left60">3. POPE CLEMENT VII</p>
+<p class="center">(<i>After</i> Benvenuto Cellini)</p>
+
+<br><span class="link"><a href="images/img019.jpg">View larger image</a></span>
+</div>
+
+<div class="figcenter">
+<a name="img020" id="img020"></a>
+<img src="images/img020-tb.jpg" width="400" height="491" alt="Medals." title="">
+<p class="caption center">MEDALS<br>
+(<i>London: British Museum</i>)<p>
+
+<span class="floatleft">1. IPPOLITO D'ESTE</span>
+<p class="left60">2. TITIAN</p>
+<span class="floatleft">3. MARGARET, DUCHESS OF MANTUA</span>
+<p class="left60">4. LUCREZIA DE' MEDICI</p>
+<p class="center">(<i>After</i> Pastorino of Siena)</p>
+
+<span class="floatleft">5. BENEDETTO VARCHI</span>
+<p class="left60">6. COSIMO DE' MEDICI</p>
+<p class="center">(<i>After</i> Domenico Poggini)</p>
+
+<br><span class="link"><a href="images/img020.jpg">View larger image</a></span>
+</div>
+
+<p>Domenico, Valerio, Marmita, and Giovanni da Castel Bolognese
+<span class="pagenum"><a id="Page_85" name="Page_85">[Pg 85]</a></span> being dead, there remained many who have surpassed them
+by a great measure; one in Venice, for example, being Luigi Anichini
+of Ferrara, who, with the delicacy of his engraving and the sharpness
+of his finish, has produced works that are marvellous. But far beyond
+all others in grace, excellence, perfection, and versatility, has
+soared Alessandro Cesati, surnamed Il Greco, who has executed cameos
+in relief and gems in intaglio in so beautiful a manner, as well as
+dies of steel in incavo, and has used the burin with such supreme
+diligence and with such mastery over the most delicate refinements of
+his art, that nothing better could be imagined. Whoever wishes to be
+amazed by his miraculous powers, should study a medal that he made for
+Pope Paul III, with his portrait on one side, which has all the
+appearance of life, and on the reverse Alexander the Great, who has
+thrown himself at the feet of the High-Priest of Jerusalem, and is
+doing him homage&mdash;figures which are so marvellous that it would not be
+possible to do anything better. And Michelagnolo Buonarroti himself,
+looking at them in the presence of Giorgio Vasari, said that the hour
+of death had come upon the art, for nothing better could ever be seen.
+This Alessandro made the medal of Pope Julius III for the holy year of
+1550, with a reverse showing the prisoners that were released in the
+days of the ancients at times of jubilee, which was a rare and truly
+beautiful medal; with many other dies and portraits for the Mint of
+Rome, which he kept busily employed for many years. He executed
+portraits of Pier Luigi Farnese, Duke of Castro, and his son, Duke
+Ottavio; and he made a portrait of Cardinal Farnese in a medal, a very
+choice work, the head being of gold and the ground of silver. The same
+master engraved for Cardinal Farnese in intaglio, on a cornelian
+larger than a giulio, a head of King Henry of France, which has been
+considered in point of design, grace, excellence, and perfection of
+finish, one of the best modern intagli that have ever been seen. There
+may also be seen many other stones engraved by his hand, in the form
+of cameos; truly perfect is a nude woman wrought with great art, and
+another in which is a lion, and likewise one of a boy, with many small
+ones, of which there is no need to speak; but that which surpassed all
+the others was the head of the Athenian Phocion, which is marvellous,
+and the most beautiful cameo that is to be seen.</p>
+
+<p><span class="pagenum"><a id="Page_86" name="Page_86">[Pg 86]</a></span> A master who gives his attention to cameos at the present day
+is Giovanni Antonio de' Rossi, an excellent craftsman of Milan, who,
+in addition to the various beautiful works that he has engraved in
+relief and in intaglio, has executed for the most illustrious Duke
+Cosimo de' Medici a very large cameo, one-third of a braccio in height
+and the same in width, in which he has cut two figures from the waist
+upwards&mdash;namely, His Excellency and the most illustrious Duchess
+Leonora, his consort, who are both holding with their hands a
+medallion containing a Florence, and beside them are portraits from
+life of the Prince Don Francesco, Don Giovanni the Cardinal, Don
+Garzia, Don Ernando, and Don Pietro, together with Donna Isabella and
+Donna Lucrezia, all their children. It would not be possible to find a
+more amazing or a larger work in cameo than this; and since it
+surpasses all the other cameos and smaller works that he has made, I
+shall make no further mention of them, for they are all to be seen.</p>
+
+<p>Cosimo da Trezzo, also, has executed many works worthy of praise in
+this profession, and has won much favour on account of his rare gifts
+from Philip, the great Catholic King of Spain, who retains him about
+his person, honouring and rewarding him in return for his ability in
+his vocation of engraving in intaglio and in relief. He has no equal
+in making portraits from life; and in other kinds of work, as well as
+in that, his talent is extraordinary.</p>
+
+<p>Of the Milanese Filippo Negrolo, who worked at chasing arms of iron
+with foliage and figures, I shall say nothing, since copper-engravings
+of his works, which have given him very great fame, may be seen about.
+By Gasparo and Girolamo Misuroni, engravers of Milan, have been seen
+most beautiful vases and tazze of crystal. For Duke Cosimo, in
+particular, they have executed two that are marvellous; besides which,
+they have made out of a piece of heliotrope a vase extraordinary in
+size and admirable for its engraving, and also a large vase of
+lapis-lazuli, which deserves infinite praise. Jacopo da Trezzo
+practises the same profession in Milan; and these men, in truth, have
+brought great beauty and facility to this art. Many masters could I
+mention who, in executing in incavo heads and reverses for medals,
+have equalled and even surpassed the ancients; as, for example,
+Benvenuto Cellini, who, during the time when <span class="pagenum"><a id="Page_87" name="Page_87">[Pg 87]</a></span> he exercised
+the goldsmith's art in Rome under Pope Clement, made two medals with a
+head of Pope Clement that is a living likeness, and on the reverse of
+one a figure of Peace that has bound Fury and is burning her arms, and
+on the other Moses striking the rock and causing water to flow to
+quench the thirst of his people: beyond which it is not possible to go
+in that art. And the same might be said of the coins and medals that
+Benvenuto afterwards made for Duke Alessandro in Florence.</p>
+
+<p>Of the Chevalier, Leone Aretino, who has done equally well in the same
+art, and of the works that he has made and still continues to make,
+there will be an account in another place.</p>
+
+<p>The Roman Pietro Paolo Galeotto, also, has executed for Duke Cosimo,
+as he still does, medals with portraits of that lord, dies for coins,
+and works in tarsia, imitating the methods of Maestro Salvestro, a
+most excellent master, who produced marvellous works in that
+profession at Rome.</p>
+
+<p>Pastorino da Siena, likewise, has executed so many heads from life,
+that he may be said to have made portraits of every kind of person in
+the whole world, great nobles, followers of the arts, and many people
+of low degree. He discovered a kind of hard stucco for making
+portraits, wherewith he gave them the colouring of nature, with the
+tints of the beard, hair, and flesh, so that they had the appearance
+of life itself; but he deserves much more praise for his work in
+steel, in which he has made excellent dies for medals.</p>
+
+<p>It would take too long if I were to speak of all those who execute
+portrait-medals of wax, seeing that every goldsmith at the present day
+makes them, and a number of gentlemen have given their attention to
+this, and still do so; such as Giovan Battista Sozzini at Siena, Rosso
+de' Giugni at Florence, and very many others, of whom I shall not now
+say more. And, to bring this account to conclusion, I return to the
+steel-engravers, of whom one is Girolamo Fagiuoli of Bologna, a master
+of chasing and of copper-engraving, and another, at Florence, is
+Domenico Poggini, who has made, as he still does, dies for the Mint,
+with medals of Duke Cosimo, and who also executes statues of marble,
+imitating, in so far as he is able, the rarest and most excellent
+masters who have ever produced choice works in these professions.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="antonio" id="antonio"></a><span class="pagenum"><a id="Page_89" name="Page_89">[Pg 89]</a></span> MARC' ANTONIO BOLOGNESE AND OTHER ENGRAVERS OF PRINTS</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_antonio" id="life_of_antonio"></a><span class="pagenum"><a id="Page_91" name="Page_91">[Pg 91]</a></span> LIVES OF MARC' ANTONIO BOLOGNESE AND OF OTHER ENGRAVERS OF
+PRINTS</h2>
+
+
+<p>Seeing that in the Treatise on the Technique of Painting there was
+little said of copper-plate engraving, since it was enough at that
+time to describe the method of engraving silver with the burin, which
+is a square tool of iron, cut on the slant, with a sharp point, I
+shall use the occasion of this Life to say as much on that subject as
+I may consider to be sufficient. The beginning of print-engraving,
+then, came from the Florentine Maso Finiguerra, about the year of our
+salvation 1460; for of all the works which that master engraved in
+silver with designs to be filled up with niello, he took impressions
+in clay, over which he poured melted sulphur, which reproduced the
+lines of the design; and these, when filled with smoke-black mixed
+with oil, produced the same effect as the silver. He also did the same
+with damped paper and with the same tint, going over the whole with a
+round and smooth roller, which not only gave the designs the
+appearance of prints, but they also came out as if drawn with the pen.
+This master was followed by Baccio Baldini, a goldsmith of Florence,
+who, not having much power of design, took all that he did from the
+invention and design of Sandro Botticelli. And this method, coming to
+the knowledge of Andrea Mantegna in Rome, was the reason that he made
+a beginning with engraving many of his works, as was said in his Life.</p>
+
+<p>This invention having afterwards passed into Flanders, a certain
+Martin, who was held to be an excellent painter in Antwerp at that
+time, executed many works, and sent to Italy a great number of printed
+designs, which were all signed in the following manner: "M.C." The
+first of these were the Five Foolish Virgins with their lamps
+extinguished, <span class="pagenum"><a id="Page_92" name="Page_92">[Pg 92]</a></span> the Five Wise Virgins with their lamps
+burning, and a Christ Crucified, with S. John and the Madonna at the
+foot of the Cross, which was so good an engraving, that Gherardo, the
+Florentine illuminator, set himself to copy it with the burin, and
+succeeded very well; but he went no further with this, for he did not
+live long. Martin then published four round engravings of the four
+Evangelists, and Jesus Christ with the twelve Apostles, in small
+sheets, Veronica with six Saints, of the same size, and some coats of
+arms of German noblemen, supported by men, both naked and clothed, and
+also by women. He published, likewise, a S. George slaying the Dragon,
+a Christ standing before Pilate, who is washing his hands, and a
+Passing of Our Lady, with all the Apostles, a work of some size, which
+was one of the best designs that this master ever engraved. In another
+he represented S. Anthony beaten by Devils, and carried through the
+air by a vast number of them in the most varied and bizarre forms that
+could possibly be imagined; which sheet so pleased Michelagnolo, when
+he was a mere lad, that he set himself to colour it.</p>
+
+<div class="figcenter">
+<a name="img021" id="img021"></a>
+<img src="images/img021-tb.jpg" width="400" height="412" alt="Christ and the Virgin enthroned." title="">
+<p class="caption">CHRIST AND THE VIRGIN ENTHRONED<br>
+(<i>After the engraving by</i> Martin Schongauer.<br> <i>London: British Museum,
+B. 71</i>)<br>
+<i>M.S.</i>
+<br><span class="link"><a href="images/img021.jpg">View larger image</a></span></p>
+</div>
+
+<p>After this Martin, Albrecht D�rer began to give attention to prints of
+the same kind at Antwerp, but with more design and better judgment,
+and with more beautiful invention, seeking to imitate the life and to
+draw near to the Italian manners, which he always held in much
+account. And thus, while still quite young, he executed many works
+which were considered as beautiful as those of Martin; and he engraved
+them with his own hand, signing them with his name. In the year 1503
+he published a little Madonna, in which he surpassed both Martin and
+his own self; and afterwards many other sheets with horses, two in
+each sheet, taken from nature and very beautiful. In another he
+depicted the Prodigal Son, in the guise of a peasant, kneeling with
+his hands clasped and gazing up to Heaven, while some swine are eating
+from a trough; and in this work are some most beautiful huts after the
+manner of German cottages. He engraved a little S. Sebastian, bound,
+with the arms upraised; and a Madonna seated with the Child in her
+arms, with the light from a window falling upon her, a small work,
+than which there is nothing better to be seen. He also made a Flemish
+woman on horseback, with a groom at her feet; and on a larger
+copper-plate he engraved <span class="pagenum"><a id="Page_93" name="Page_93">[Pg 93]</a></span> a nymph being carried away by a
+sea-monster, while some other nymphs are bathing. On a plate of the
+same size he engraved with supreme delicacy of workmanship, attaining
+to the final perfection of this art, a Diana beating a nymph, who has
+fled for protection to the bosom of a satyr; in which sheet Albrecht
+sought to prove that he was able to make nudes.</p>
+
+<div class="figcenter">
+<a name="img022" id="img022"></a>
+<img src="images/img022-tb.jpg" width="400" height="578" alt="Hercules." title="">
+<p class="caption">HERCULES<br>
+(<i>After the engraving by</i> Albrecht D�rer.<br> <i>London: British Museum, B.
+73</i>)<br>
+<i>M.S.</i>
+<br><span class="link"><a href="images/img022.jpg">View larger image</a></span></p>
+</div>
+
+<p>But although those masters were extolled at that time in those
+countries, in ours their works are commended only for the diligent
+execution of the engraving. I am willing, indeed, to believe that
+Albrecht was perhaps not able to do better because, not having any
+better models, he drew, when he had to make nudes, from one or other
+of his assistants, who must have had bad figures, as Germans generally
+have when naked, although one sees many from those parts who are fine
+men when in their clothes. In various little printed sheets he
+executed figures of peasant men and women in different Flemish
+costumes, some playing on the bagpipes and dancing, some selling fowls
+and suchlike things, and others in many other attitudes. He also drew
+a man sleeping in a bathroom who has Venus near him, leading him into
+temptation in a dream, while Love is diverting himself by mounting on
+stilts, and the Devil blows into his ears with a pair of bellows. And
+he engraved two different figures of S. Christopher carrying the
+Infant Christ, both very beautiful, and executed with much diligence
+in the close detail of the hair and in every other respect.</p>
+
+<div class="figcenter">
+<a name="img023" id="img023"></a>
+<img src="images/img023-tb.jpg" width="400" height="575" alt="Christ taking Leave of His Mother." title="">
+<p class="caption">CHRIST TAKING LEAVE OF HIS MOTHER<br>
+(<i>After the woodcut by</i> Albrecht D�rer.<br> <i>London: British Museum, B.
+92</i>)<br>
+<i>M.S.</i>
+<br><span class="link"><a href="images/img023.jpg">View larger image</a></span></p>
+</div>
+
+<p>After these works, perceiving how much time he consumed in engraving
+on copper, and happening to have in his possession a great abundance
+of subjects drawn in various ways, he set himself to making woodcuts,
+a method of working in which those who have the greatest powers of
+design find the widest field wherein to display their ability in its
+perfection. And in the year 1510 he published two little prints in
+this manner, in one of which is the Beheading of S. John, and in the
+other the scene of the head of the same S. John being presented in a
+charger to Herod, who is seated at table; with other sheets of S.
+Christopher, S. Sixtus the Pope, S. Stephen, and S. Laurence. Then,
+having seen that this method of working was much easier than engraving
+on copper, he <span class="pagenum"><a id="Page_94" name="Page_94">[Pg 94]</a></span> pursued it and executed a S. Gregory chanting
+the Mass, accompanied by the deacon and sub-deacon. And, growing in
+courage, in the year 1510 he represented on a sheet of royal folio
+part of the Passion of Christ&mdash;that is, he executed four pieces, with
+the intention of afterwards finishing the whole, these four being the
+Last Supper, the Taking of Christ by Night in the Garden, His Descent
+into the Limbo of Hell in order to deliver the Holy Fathers, and His
+glorious Resurrection. That second piece he also painted in a very
+beautiful little picture in oils, which is now at Florence, in the
+possession of Signor Bernardetto de' Medici. As for the eight other
+parts, although they were afterwards executed and printed with the
+signature of Albrecht, to us it does not seem probable that they are
+the work of his hand, seeing that they are poor stuff, and bear no
+resemblance to his manner, either in the heads, or in the draperies,
+or in any other respect. Wherefore it is believed that they were
+executed after his death, for the sake of gain, by other persons, who
+did not scruple to father them on Albrecht. That this is true is also
+proved by the circumstance that in the year 1511 he represented the
+whole life of Our Lady in twenty sheets of the same size, executing it
+so well that it would not be possible, whether in invention, in the
+composition of the perspective-views, in the buildings, in the
+costumes, or in the heads of old and young, to do better. Of a truth,
+if this man, so able, so diligent, and so versatile, had had Tuscany
+instead of Flanders for his country, and had been able to study the
+treasures of Rome, as we ourselves have done, he would have been the
+best painter of our land, even as he was the rarest and most
+celebrated that has ever appeared among the Flemings. In the same
+year, continuing to give expression to his fantasies, Albrecht
+resolved to execute fifteen woodcuts of the same size, representing
+the terrible vision that S. John the Evangelist described in his
+Apocalypse on the Isle of Patmos. And so, setting his hand to the
+work, with his extravagant imagination, so well suited to such a
+subject, he depicted all those things both of heaven and of earth so
+beautifully, that it was a marvel, and with such a variety of forms in
+those animals and monsters, that it was a great light to many of our
+craftsmen, who have since availed themselves of the vast abundance
+<span class="pagenum"><a id="Page_95" name="Page_95">[Pg 95]</a></span> of his beautiful fantasies and inventions. By the hand of
+the same master, also, is a woodcut that is to be seen of a nude
+Christ, who has round Him the Mysteries of His Passion, and is weeping
+for our sins, with His hands to His face; and this, for a small work,
+is not otherwise than worthy of praise.</p>
+
+<p>Then, having grown both in power and in courage, as he saw that his
+works were prized, Albrecht executed some copper-plates that
+astonished the world. He also set himself to make an engraving, for
+printing on a sheet of half-folio, of a figure of Melancholy, with all
+the instruments that reduce those who use them, or rather, all
+mankind, to a melancholy humour; and in this he succeeded so well,
+that it would not be possible to do more delicate engraving with the
+burin. He executed three small plates of Our Lady, all different one
+from another, and most subtle in engraving. But it would take too long
+if I were to try to enumerate all the works that issued from
+Albrecht's hand; let it be enough for the present to tell that, having
+drawn a Passion of Christ in thirty-six parts, and having engraved
+these, he made an agreement with Marc' Antonio Bolognese that they
+should publish the sheets in company; and thus, arriving in Venice,
+this work was the reason that marvellous prints of the same kind were
+afterwards executed in Italy, as will be related below.</p>
+
+<p>While Francesco Francia was working at his painting in Bologna, there
+was among his many disciples a young man called Marc' Antonio, who,
+being more gifted than the others, was much brought forward by him,
+and, from having been many years with Francia and greatly beloved by
+him, acquired the surname of De' Franci. This Marc' Antonio, who was
+more able in design than his master, handled the burin with facility
+and grace, and executed in niello girdles and many other things much
+in favour at that time, which were very beautiful, for the reason that
+he was indeed most excellent in that profession. Having then been
+seized, as happens to many, with a desire to go about the world and
+see new things and the methods of other craftsmen, with the gracious
+leave of Francia he went off to Venice, where he was well received by
+the craftsmen of that city. About the same time there arrived in
+Venice some <span class="pagenum"><a id="Page_96" name="Page_96">[Pg 96]</a></span> Flemings with many copper-plate engravings and
+woodcuts by Albrecht D�rer, which were seen by Marc' Antonio on the
+Piazza di S. Marco; and he was so amazed at the manner and method of
+the work of Albrecht, that he spent on those sheets almost all the
+money that he had brought from Bologna. Among other things, he bought
+the Passion of Jesus Christ, which had been engraved on thirty-six
+wood-blocks and printed not long before on sheets of quarter-folio by
+the same Albrecht. This work began with the Sin of Adam and the scene
+of the Angel expelling him from Paradise, and continued down to the
+Descent of the Holy Spirit.</p>
+
+<p>Marc' Antonio, having considered what honour and profit might be
+acquired by one who should apply himself to that art in Italy, formed
+the determination to give his attention to it with all possible
+assiduity and diligence. He thus began to copy those engravings by
+Albrecht D�rer, studying the manner of each stroke and every other
+detail of the prints that he had bought, which were held in such
+estimation on account of their novelty and their beauty, that everyone
+sought to have some. Having then counterfeited on copper, with
+engraving as strong as that of the woodcuts that Albrecht had
+executed, the whole of the said Life and Passion of Christ in
+thirty-six parts, he added to these the signature that Albrecht used
+for all his works, which was "A.D.," and they proved to be so similar
+in manner, that, no one knowing that they had been executed by Marc'
+Antonio, they were ascribed to Albrecht, and were bought and sold as
+works by his hand. News of this was sent in writing to Albrecht, who
+was in Flanders, together with one of the counterfeit Passions
+executed by Marc' Antonio; at which he flew into such a rage that he
+left Flanders and went to Venice, where he appeared before the
+Signoria and laid a complaint against Marc' Antonio. But he could
+obtain no other satisfaction but this, that Marc' Antonio should no
+longer use the name or the above-mentioned signature of Albrecht on
+his works.</p>
+
+<div class="figcenter">
+<a name="img024" id="img024"></a>
+<img src="images/img024-tb.jpg" width="400" height="518" alt="S. Jerome in his Study." title="">
+<p class="caption">S. JEROME IN HIS STUDY<br>
+(<i>After the engraving by</i> Albrecht D�rer.<br> <i>London: British Museum, B.
+60</i>)<br>
+<i>M.S.</i>
+<br><span class="link"><a href="images/img024.jpg">View larger image</a></span></p>
+</div>
+
+<p>After this affair, Marc' Antonio went off to Rome, where he gave his
+whole attention to design; and Albrecht returned to Flanders, where he
+found that another rival had already begun to execute many most
+delicate engravings in competition with him. This was Lucas of
+<span class="pagenum"><a id="Page_97" name="Page_97">[Pg 97]</a></span> Holland,<a id="FNanchor14" name="FNanchor14"></a><a href="#Footnote14" title="Go to footnote 14" class="fnanchor">[14]</a> who, although he was not as fine a master of
+design as Albrecht, was yet in many respects his equal with the burin.
+Among the many large and beautiful works that Lucas executed, the
+first were two in 1509, round in shape, in one of which is Christ
+bearing the Cross, and in the other His Crucifixion. Afterwards he
+published a Samson, a David on horseback, and a S. Peter Martyr, with
+his tormentors; and then he made a copper-plate engraving of Saul
+seated with the young David playing in his presence. And not long
+after, having made a great advance, he executed a very large plate
+with the most delicate engraving, of Virgil suspended from the window
+in the basket, with some heads and figures so marvellous, that they
+were the reason that Albrecht, growing more subtle in power through
+this competition, produced some printed sheets of such excellence,
+that nothing better could be done. In these, wishing to display his
+ability, Albrecht made an armed man on horseback, representing Human
+Strength, which is so well finished, that one can see the lustre of
+the arms and of the black horse's coat, which is a difficult thing to
+reproduce in design. This stalwart horseman had Death, hour-glass in
+hand, beside him, and the Devil behind. There was also a long-haired
+dog, executed with the most subtle delicacy that can possibly be
+achieved in engraving. In the year 1512 there issued from the hand of
+the same master sixteen little scenes of the Passion of Jesus Christ,
+engraved so well on copper, that there are no little figures to be
+seen that are more beautiful, sweet, and graceful, nor any that are
+stronger in relief.</p>
+
+<p>Spurred likewise by rivalry, the same Lucas of Holland executed twelve
+similar plates, very beautiful, and yet not so perfect in engraving
+and design; and, in addition to these, a S. George who is comforting
+the Maiden, who is weeping because she is destined to be devoured by
+the Dragon; and also a Solomon, who is worshipping idols; the Baptism
+of Christ; Pyramus and Thisbe; and Ahasuerus with Queen Esther
+kneeling before him. Albrecht, on his part, not wishing to be
+surpassed by Lucas either in the number or in the excellence of his
+works, engraved a nude figure on some clouds, and a Temperance with
+marvellous wings, holding <span class="pagenum"><a id="Page_98" name="Page_98">[Pg 98]</a></span> a cup of gold and a bridle, with a
+most delicate little landscape; and then a S. Eustachio kneeling
+before the stag, which has the Crucifix between its horns, a sheet
+which is amazing, and particularly for the beauty of some dogs in
+various attitudes, which could not be more perfect. Among the many
+children of various kinds that he made for the decoration of arms and
+devices, he engraved some who are holding a shield, wherein is a Death
+with a cock for crest, the feathers of which are rendered in such
+detail, that it would be impossible to execute anything more delicate
+with the burin.</p>
+
+<p>Finally, he published the sheet with S. Jerome in the habit of a
+Cardinal, writing, with the Lion sleeping at his feet. In this work
+Albrecht represented a room with windows of glass, through which
+stream the rays of the sun, falling on the place where the Saint sits
+writing, with an effect so natural, that it is a marvel; besides
+which, there are books, timepieces, writings, and so many other
+things, that nothing more and nothing better could be done in this
+field of art. Not long afterwards, in the year 1523, he executed a
+Christ with the twelve Apostles, in little figures, which was almost
+the last of his works. There may also be seen prints of many heads
+taken from life by him, such as that of Erasmus of Rotterdam, that of
+Cardinal Albrecht of Brandenburg, Elector of the Empire, and also his
+own. Nor, with all the engravings that he produced, did he ever
+abandon painting; nay, he was always executing panels, canvases, and
+other paintings, all excellent, and, what is more, he left many
+writings on matters connected with engraving, painting, perspective,
+and architecture.</p>
+
+<div class="figcenter">
+<a name="img025" id="img025"></a>
+<img src="images/img025-tb.jpg" width="500" height="317" alt="The Ecce Homo of 1610." title="">
+<p class="caption">THE <i>ECCE HOMO</i> OF 1610<br>
+(<i>After the engraving by</i> Lucas van Leyden.<br> <i>London: British Museum</i>)<br>
+<i>M.S.</i>
+<br><span class="link"><a href="images/img025.jpg">View larger image</a></span></p>
+</div>
+
+<p>But to return to the subject of engraving: the works of Albrecht D�rer
+induced Lucas of Holland to follow in his steps to the best of his
+power. After the works already mentioned, Lucas engraved on copper
+four scenes from the life of Joseph, and also the four Evangelists,
+the three Angels who appeared to Abraham in the Valley of Mamre,
+Susannah in the Bath, David praying, Mordecai riding in Triumph on
+Horseback, Lot made drunk by his Daughters, the Creation of Adam and
+Eve, God commanding them that they shall not eat of the Fruit from the
+Tree that He points out to them, and Cain killing his brother Abel;
+all which <span class="pagenum"><a id="Page_99" name="Page_99">[Pg 99]</a></span> sheets were published in the year 1529. But that
+which did more than anything else to bring renown and fame to Lucas,
+was a large sheet in which he represented the Crucifixion of Jesus
+Christ; with another wherein Pilate is showing Him to the people,
+saying, "Ecce Homo!" These sheets, which are large, and contain a
+great number of figures, are held to be excellent; as are, likewise,
+one with a Conversion of S. Paul, and another showing him being led,
+blind, into Damascus. And let these works suffice to prove that Lucas
+may be numbered among those who have handled the burin with ability.</p>
+
+<p>The scenes of Lucas are very happy in composition, being executed with
+such clearness and so free from confusion, that it seems certain that
+the action represented could not have taken place in any other way;
+and they are arranged more in accordance with the rules of art than
+those of Albrecht. Besides this, it is evident that he used a wise
+discretion in the engraving of his works, for the reason that all
+those parts which recede little by little into the distance are less
+strongly defined in proportion as they are lost to view, even as
+natural objects become less clear to the eye when seen from afar.
+Indeed, he executed them with such thoughtful care, and made them so
+soft and well blended, that they would not be better in colour; and
+his judicious methods have opened the eyes of many painters. The same
+master engraved many little plates: various figures of Our Lady, the
+twelve Apostles with Christ, many Saints, both male and female; arms
+and helmet-crests, and other suchlike things. Very beautiful is a
+peasant who is having a tooth drawn, and is feeling such pain, that he
+does not notice that meanwhile a woman is robbing his purse. All these
+works of Albrecht and Lucas have brought it about that many other
+Flemings and Germans after them have printed similar sheets of great
+beauty.</p>
+
+<p>But returning to Marc' Antonio: having arrived in Rome, he engraved on
+copper a most lovely drawing by Raffaello da Urbino, wherein was the
+Roman Lucretia killing herself, which he executed with such diligence
+and in so beautiful a manner, that Raffaello, to whom it was
+straightway carried by some friends, began to think of publishing in
+engravings some designs of works by his hand, and then a drawing that
+<span class="pagenum"><a id="Page_100" name="Page_100">[Pg 100]</a></span> he had formerly made of the Judgment of Paris, wherein, to
+please himself, he had drawn the Chariot of the Sun, the nymphs of the
+woods, those of the fountains, and those of the rivers, with vases,
+the helms of ships, and other beautiful things of fancy all around;
+and when he had made up his mind, these were engraved by Marc' Antonio
+in such a manner as amazed all Rome. After them was engraved the
+drawing of the Massacre of the Innocents, with most beautiful nudes,
+women and children, which was a rare work; and then the Neptune, with
+little stories of �neas around it, the beautiful Rape of Helen, also
+after a drawing by Raffaello, and another design in which may be seen
+the death of S. Felicita, who is being boiled in oil, while her sons
+are beheaded. These works acquired such fame for Marc' Antonio, that
+his engravings were held in much higher estimation, on account of
+their good design, than those of the Flemings; and the merchants made
+very large profits out of them.</p>
+
+<p>Raffaello had kept an assistant called Baviera for many years to grind
+his colours; and since this Baviera had a certain ability, Raffaello
+ordained that he should attend to the printing of the engravings
+executed by Marc' Antonio, to the end that all his compositions might
+thus be finished, and then sold in gross and in detail to all who
+desired them. And so, having set to work, they printed a vast number,
+which brought very great profit to Raffaello; and all the plates were
+signed by Marc' Antonio with the following signatures, "R.S." for the
+name of Raffaello Sanzio of Urbino, and "M.F." for that of Marc'
+Antonio. Among these works were a Venus embraced by Love, after a
+drawing by Raffaello, and a scene in which God the Father is blessing
+the seed of Abraham, with the handmaiden and two children. Next were
+engraved all the round pictures that Raffaello had painted in the
+apartments of the Papal Palace, such as the Universal Knowledge,
+Calliope with the musical instrument in her hand, Foresight, and
+Justice; and then, after a small drawing, the scene which Raffaello
+had painted in the same apartment, of Mount Parnassus, with Apollo,
+the Muses, and the Poets; and also that of �neas carrying Anchises on
+his back while Troy is burning, of which Raffaello had made the
+drawing in order to paint a little picture. <span class="pagenum"><a id="Page_101" name="Page_101">[Pg 101]</a></span> After this they
+engraved and printed another work of Raffaello, Galatea in a car drawn
+over the sea by Dolphins, with some Tritons who are carrying off a
+Nymph.</p>
+
+<p>These works finished, Marc' Antonio engraved many separate figures,
+likewise on copper, and after drawings by Raffaello; an Apollo with a
+lyre in his hand; a figure of Peace, to whom Love is offering an
+olive-branch; the three Theological and the four Moral Virtues, and a
+Jesus Christ with the twelve Apostles, of the same size; a half-folio
+plate of the Madonna that Raffaello had painted in the altar-piece of
+the Araceli, and likewise one of that which went to S. Domenico in
+Naples, with Our Lady, S. Jerome, the Angel Raphael, and Tobias; and a
+little plate of Our Lady seated on a chair and embracing the Infant
+Christ, who is half clothed, with many other figures of the Madonna
+copied from the pictures which Raffaello had painted for various
+persons. After these he engraved a young S. John the Baptist, seated
+in the desert, and then the picture which Raffaello executed for S.
+Giovanni in Monte, of S. Cecilia with other Saints, which was held to
+be a most beautiful sheet. When Raffaello had finished all the
+cartoons of the tapestries for the Papal Chapel, which were afterwards
+woven in silk and gold, with stories of S. Paul, S. Peter, and S.
+Stephen, Marc' Antonio engraved the Preaching of S. Paul, the Stoning
+of S. Stephen, and the Blind Man receiving his Sight; which plates,
+what with the invention of Raffaello, the grace of the design, and the
+diligent engraving of Marc' Antonio, were so beautiful, that there was
+nothing better to be seen. He then engraved, after the invention of
+the same Raffaello, a most beautiful Deposition from the Cross, with a
+Madonna in a swoon, who is marvellous; and not long afterwards a
+plate, which is very beautiful, of that picture by Raffaello which
+went to Palermo, of a Christ who is bearing the Cross, and also one of
+a drawing that Raffaello had executed of a Christ in the air, with Our
+Lady, S. John the Baptist, and S. Catharine kneeling on the ground,
+and S. Paul the Apostle standing, which was a large and very lovely
+engraving. This and the others, after becoming spoiled and almost worn
+out through being too much used, were carried away by Germans and
+others in the sack of Rome.</p>
+
+<p><span class="pagenum"><a id="Page_102" name="Page_102">[Pg 102]</a></span> The same Marc' Antonio engraved the portrait of Pope Clement
+VII in profile, with the face shaved, in the form of a medallion; one
+of the Emperor Charles V at the time when he was a young man, and
+another of him at a riper age; and also one of Ferdinand, King of the
+Romans, who afterwards succeeded Charles V as Emperor. He also made in
+Rome a portrait from life of Messer Pietro Aretino, a very famous
+poet, which was the most beautiful that Marc' Antonio ever executed;
+and, not long afterwards, portraits of the twelve ancient Emperors in
+medallions. Of these sheets Raffaello sent some into Flanders to
+Albrecht D�rer, who praised Marc' Antonio highly, and sent in return
+to Raffaello, in addition to many other sheets, his own portrait,
+which was held to be a miracle of beauty.</p>
+
+<p>Now, the fame of Marc' Antonio having grown very great, and the art of
+engraving having come into credit and repute, many disciples had
+placed themselves under him in order to learn it. And of their number,
+two who made great proficience were Marco da Ravenna, who signed his
+plates with the signature of Raffaello, "R.S.," and Agostino
+Viniziano, who signed his works in the following manner: "A.V." These
+two engraved and printed many designs by Raffaello, such as one of Our
+Lady with Christ lying dead at full length, and at His feet S. John,
+the Magdalene, Nicodemus, and the other Maries; and they engraved
+another plate of greater size, in which is a Madonna, with the arms
+outstretched and the eyes raised towards Heaven, in an attitude of
+supreme pity and sorrow, with Christ, in like manner, lying dead at
+full length.</p>
+
+<p>Agostino afterwards engraved a large plate of the Nativity, with the
+Shepherds and Angels about the hut, and God the Father above; and he
+executed many vases, both ancient and modern, and also a censer, or
+rather, two women with a vase perforated at the top. He engraved a
+plate with a man transformed into a wolf, who is stealing towards a
+bed in order to kill one who is sleeping in it. And he also executed
+one of Alexander with Roxana, to whom that Prince is presenting a
+royal crown, while some Loves are hovering about her and adorning her
+head, and others are playing with the arms of Alexander.</p>
+
+<div class="figcenter">
+<a name="img026" id="img026"></a>
+<img src="images/img026-tb.jpg" width="350" height="567" alt="The Death of Lucretia." title="">
+<p class="caption">THE DEATH OF LUCRETIA<br>
+(<i>After the engraving by</i> Marcantonio Bolognese.<br> <i>London: British
+Museum, B. 192</i>)<br>
+<i>M.S.</i>
+<br><span class="link"><a href="images/img026.jpg">View larger image</a></span></p>
+</div>
+
+<p>The same masters together engraved the Last Supper of Christ
+<span class="pagenum"><a id="Page_103" name="Page_103">[Pg 103]</a></span> with the twelve Apostles, on a plate of some size, and an
+Annunciation, all after the designs of Raffaello; and then two stories
+of the Marriage of Psyche, which had been painted by Raffaello not
+long before. In the end, Agostino and the above-mentioned Marco
+between them engraved almost all the works that Raffaello ever drew or
+painted, and made prints of them; and also many of the pictures
+painted by Giulio Romano, after copies drawn for that purpose. And to
+the end that there might remain scarcely a single work of Raffaello
+that had not been engraved by them, they finally made engravings of
+the scenes that Giulio had painted in the Loggie after the designs of
+Raffaello.</p>
+
+<p>There may still be seen some of the first plates, with the signature
+"M.R." for Marco Ravignano, and others with the signature "A.V." for
+Agostino Viniziano, re-engraved by others after them, such as the
+Creation of the World, and God forming the Animals; the Sacrifices of
+Cain and Abel, and the Death of Abel; Abraham sacrificing Isaac;
+Noah's Ark, the Deluge, and the Animals afterwards issuing from the
+Ark; the Passage of the Red Sea; the Delivery of the Laws from Mount
+Sinai through Moses, and the Manna; David slaying Goliath, already
+engraved by Marc' Antonio; Solomon building the Temple; the Judgment
+of the same Solomon between the two women, and the Visit of the Queen
+of Sheba; and, from the New Testament, the Nativity and the
+Resurrection of Christ, and the Descent of the Holy Spirit. All these
+were engraved and printed during the lifetime of Raffaello.</p>
+
+<p>After the death of Raffaello, Marco and Agostino separated, and
+Agostino was retained by Baccio Bandinelli, the Florentine sculptor,
+who caused him to engrave after his design an anatomical figure that
+he had formed out of lean bodies and dead men's bones; and then a
+Cleopatra. Both these were held to be very good plates. Whereupon,
+growing in courage, Baccio drew, and caused Agostino to engrave, a
+large plate&mdash;one of the largest, indeed, that had ever been engraved
+up to that time&mdash;full of women clothed, and of naked men who are
+slaughtering the little innocents by command of King Herod.</p>
+
+<p>Marc' Antonio, meanwhile, continuing to work at engraving, executed
+some plates with small figures of the twelve Apostles, in various
+<span class="pagenum"><a id="Page_104" name="Page_104">[Pg 104]</a></span> manners, and many Saints, both male and female, to the end
+that the poor painters who were weak in design might be able to avail
+themselves of these in their need. He also engraved a nude young man,
+who has a lion at his feet, and is seeking to furl a large banner,
+which is swollen out by the wind in a direction contrary to his
+purpose; another who is carrying a pedestal on his back; and a little
+S. Jerome who is meditating on death, placing a finger in the hollow
+of a skull that he has in his hand, the invention and design of which
+were by Raffaello. Then he executed a figure of Justice, which he
+copied from the tapestries of the Chapel; and afterwards an Aurora,
+drawn by two horses, on which the Hours are placing bridles. He also
+copied the Three Graces from the antique; and he engraved a scene of
+Our Lady ascending the steps of the Temple.</p>
+
+<p>After these things, Giulio Romano, who in his modesty would never have
+any of his works engraved during the lifetime of his master Raffaello,
+lest he should seem to wish to compete with him, caused Marc' Antonio,
+after the death of Raffaello, to engrave two most beautiful battles of
+horsemen on plates of some size, and all the stories of Venus, Apollo,
+and Hyacinthus, which he had painted in the bathroom that is at the
+villa of Messer Baldassarre Turini da Pescia. And he did the same with
+the four stories of the Magdalene and the four Evangelists that are in
+the vaulting of the chapel of the Trinit�, which were executed for a
+courtezan, although the chapel now belongs to Messer Agnolo Massimi.
+By the same master was drawn and reproduced in engraving a very
+beautiful ancient sarcophagus containing a lion-hunt, which was
+formerly at Maiano, and is now in the court of S. Pietro; as well as
+one of the ancient scenes in marble that are under the Arch of
+Constantine; and, finally, many scenes that Raffaello had designed for
+the corridor and Loggie of the Palace, which have since been engraved
+once more by Tommaso Barlacchi, together with those of the tapestries
+that Raffaello executed for the public Consistory.</p>
+
+<div class="figcenter">
+<a name="img027" id="img027"></a>
+<img src="images/img027-tb.jpg" width="500" height="384" alt="The Martyrdom of S. Lawrence." title="">
+<p class="caption">THE MARTYRDOM OF S. LAWRENCE<br>
+(<i>Engraved after Bandinelli by</i> Marcantonio Bolognese.<br> <i>London:
+British Museum</i>)<br>
+<i>M.S.</i>
+<br><span class="link"><a href="images/img027.jpg">View larger image</a></span></p>
+</div>
+
+<p>After this, Giulio Romano caused Marc' Antonio to engrave twenty
+plates showing all the various ways, attitudes, and positions in which
+licentious men have intercourse with women; and, what was worse, for
+each plate Messer Pietro Aretino wrote a most indecent sonnet,
+insomuch <span class="pagenum"><a id="Page_105" name="Page_105">[Pg 105]</a></span> that I know not which was the greater, the
+offence to the eye from the drawings of Giulio, or the outrage to the
+ear from the words of Aretino. This work was much censured by Pope
+Clement; and if, when it was published, Giulio had not already left
+for Mantua, he would have been sharply punished for it by the anger of
+the Pope. And since some of these sheets were found in places where
+they were least expected, not only were they prohibited, but Marc'
+Antonio was taken and thrown into prison; and he would have fared very
+badly if Cardinal de' Medici and Baccio Bandinelli, who was then at
+Rome in the service of the Pope, had not obtained his release. Of a
+truth, the gifts of God should not be employed, as they very often
+are, in things wholly abominable, which are an outrage to the world.</p>
+
+<p>Released from prison, Marc' Antonio finished engraving for Baccio
+Bandinelli a large plate that he had previously begun, with a great
+number of nude figures engaged in roasting S. Laurence on the
+gridiron, which was held to be truly beautiful, and was indeed
+engraved with incredible diligence, although Bandinelli, complaining
+unjustly of Marc' Antonio to the Pope while that master was executing
+it, said that he was committing many errors. But for this sort of
+gratitude Bandinelli received the reward that his lack of courtesy
+deserved, for Marc' Antonio, having heard the whole story, and having
+finished the plate, went, without Baccio being aware of it, to the
+Pope, who took infinite delight in the arts of design; and he showed
+him first the original drawing by Bandinelli, and then the printed
+engraving, from which the Pope recognized that Marc' Antonio not only
+had committed no errors, but had even corrected with great judgment
+many committed by Bandinelli, which were of no small importance, and
+had shown more knowledge and craftsmanship in his engraving than had
+Baccio in his drawing. Wherefore the Pope commended him greatly and
+ever afterwards received him with favour; and it is believed that he
+might have done much for him, but the sack of Rome supervening, Marc'
+Antonio became little less than a beggar, seeing that, besides losing
+all his property, he was forced to disburse a good ransom in order to
+escape from the hands of the Spaniards. Which done, he departed from
+Rome, never to return; <span class="pagenum"><a id="Page_106" name="Page_106">[Pg 106]</a></span> and there are few works to be seen
+which were executed by him after that time. Our arts are much indebted
+to Marc' Antonio, in that he made a beginning with engraving in Italy,
+to the advantage and profit of art and to the convenience of her
+followers, in consequence of which others have since executed the
+works that will be described hereafter.</p>
+
+<p>Now Agostino Viniziano, of whom we have already spoken, came to
+Florence, after the circumstances described above, with the intention
+of attaching himself to Andrea del Sarto, who was held to be about the
+best painter in Italy after Raffaello. And so Andrea, persuaded by
+this Agostino to have his works engraved, made a drawing of a Dead
+Christ supported by three Angels; but since the attempt did not
+succeed exactly according to his fancy, he would never again allow any
+work of his to be engraved. After his death, however, certain persons
+published engravings of the Visitation of S. Elizabeth and of the
+Baptism of the people by S. John, taken from the work in chiaroscuro
+that Andrea painted in the Scalzo at Florence. Marco da Ravenna,
+likewise, in addition to the works already mentioned, which he
+executed in company with Agostino, also engraved many others by
+himself, which are all good and worthy of praise, and are known by his
+signature, which has been described above. Many others, also, have
+there been after these, who have worked very well at engraving, and
+have brought it about that every country has been able to see and
+enjoy the honoured labours of the most excellent masters.</p>
+
+<p>Nor has there been wanting one who has had the enterprise to execute
+with wood-blocks prints that possess the appearance of having been
+made with the brush after the manner of chiaroscuro, which is an
+ingenious and difficult thing. This was Ugo da Carpi, who, although he
+was a mediocre painter, was nevertheless a man of most subtle wit in
+strange and fanciful inventions. He it was, as has been related in the
+thirtieth chapter of the Treatise on Technique, who first attempted,
+and that with the happiest result, to work with two blocks, one of
+which he used for hatching the shadows, in the manner of a
+copper-plate, and with the other he made the tint of colour, cutting
+deeply with the strokes of the engraving, and leaving the lights so
+bright, that when the impression <span class="pagenum"><a id="Page_107" name="Page_107">[Pg 107]</a></span> was pulled off they
+appeared to have been heightened with lead-white. Ugo executed in this
+manner, after a design drawn by Raffaello in chiaroscuro, a woodcut in
+which is a Sibyl seated who is reading, with a clothed child giving
+her light with a torch. Having succeeded in this, Ugo took heart and
+attempted to make prints with wood-blocks of three tints. The first
+gave the shadow; the second, which was lighter in tone, made the
+middle tint, and the third, cut deeply, gave the higher lights of the
+ground and left the white of the paper. And the result of this, also,
+was so good, that he executed a woodcut of �neas carrying Anchises on
+his back, while Troy is burning. He then made a Deposition from the
+Cross, and the story of Simon Magus, which had been used by Raffaello
+for the tapestries of the above-mentioned Chapel; and likewise David
+slaying Goliath, and the Flight of the Philistines, of which Raffaello
+had prepared the design in order to paint it in the Papal Loggie. And
+after many other works in chiaroscuro, he executed in the same manner
+a Venus, with many Loves playing about her.</p>
+
+<p>Now since, as I have said, he was a painter, I must not omit to tell
+that he painted in oils, without using a brush, but with his fingers,
+and partly, also, with other bizarre instruments of his own, an
+altar-piece which is on the altar of the Volto Santo in Rome. Upon
+this altar-piece, being one morning with Michelagnolo at that altar to
+hear Mass, I saw an inscription saying that Ugo da Carpi had painted
+it without a brush; and I laughed and showed the inscription to
+Michelagnolo, who answered, also with a laugh, that it would have been
+better if he had used a brush, for then he might have done it in a
+better manner.</p>
+
+<p>The method of executing these two kinds of woodcuts, in imitation of
+chiaroscuro, thus invented by Ugo da Carpi, was the reason that, many
+following in his steps, a great number of most beautiful prints were
+produced by others. For after him Baldassarre Peruzzi, the painter of
+Siena, made a similar woodcut in chiaroscuro, which was very
+beautiful, of Hercules driving Avarice, a figure laden with vases of
+gold and silver, from Mount Parnassus, on which are the Muses in
+various lovely attitudes. And Francesco Parmigiano engraved a Diogenes
+for a sheet of royal folio laid open, which was a finer print than any
+that Ugo ever <span class="pagenum"><a id="Page_108" name="Page_108">[Pg 108]</a></span> produced. The same Parmigiano, having shown
+the method of making prints from three blocks to Antonio da Trento,
+caused him to execute a large sheet in chiaroscuro of the Beheading of
+S. Peter and S. Paul. And afterwards he executed another, but with two
+blocks only, of the Tiburtine Sibyl showing the Infant Christ in the
+lap of the Virgin to the Emperor Octavian; a nude man seated, who has
+his back turned in a beautiful attitude; and likewise an oval print of
+the Madonna lying down, with many others by his hand that may be seen
+in various places, printed after his death by Joannicolo Vicentino.
+But the most beautiful were executed later by Domenico Beccafumi of
+Siena, after the death of Parmigiano, as will be related at greater
+length in the Life of Domenico.</p>
+
+<p>Not otherwise than worthy of praise, also, is the method that has been
+invented of making engravings more easily than with the burin,
+although they do not come out so clear&mdash;that is, with aquafortis,
+first laying on the copper a coat of wax, varnish, or oil-colour, and
+then drawing the design with an iron instrument that has a sharp point
+to cut through the wax, varnish, or colour, whichever it may be, after
+which one pours over it the aquafortis, which eats into the copper in
+such a manner that it leaves the lines of the design hollow, and
+impressions can be taken from it. With this method Francesco
+Parmigiano executed many little things, which are full of grace, such
+as the Nativity of Christ, a Dead Christ with the Maries weeping over
+Him, and one of the tapestries executed for the Chapel after the
+designs of Raffaello, with many other works.</p>
+
+<p>After these masters, fifty sheets with varied and beautiful landscapes
+were produced by Battista, a painter of Vicenza, and Battista del Moro
+of Verona. In Flanders, Hieronymus Cock has executed engravings of the
+liberal arts; and in Rome, engravings have been done of the Visitation
+in the Pace, painted by Fra Sebastiano Viniziano, of that by Francesco
+Salviati in the Misericordia, and of the Feast of Testaccio; besides
+many works that have been engraved in Venice by the painter Battista
+Franco, and by many other masters.</p>
+
+<p>But to return to the simple copper-plate engravings; after Marc'
+Antonio had executed the many works that have been mentioned above,
+<span class="pagenum"><a id="Page_109" name="Page_109">[Pg 109]</a></span> Rosso arrived in Rome, and Baviera persuaded him that he
+should have some of his works engraved; wherefore he commissioned Gian
+Jacopo Caraglio of Verona, who was one of the most skilful craftsmen
+of that day, and who sought with all diligence to imitate Marc'
+Antonio, to engrave a lean anatomical figure of his own, which holds a
+death's head in the hand, and is seated on a serpent, while a swan is
+singing. This plate succeeded so well, that the same Rosso afterwards
+caused engravings to be made, on plates of considerable size, of some
+of the Labours of Hercules: the Slaying of the Hydra, the Combat with
+Cerberus, the Killing of Cacus, the Breaking of the Bull's Horns, the
+Battle with the Centaurs, and the Centaur Nessus carrying off
+Deianira. And these plates proved to be so beautiful and so well
+engraved, that the same Jacopo executed, likewise after the design of
+Rosso, the story of the daughters of Pierus, who, for seeking to
+contend with the Muses and to sing in competition with them, were
+transformed into crows.</p>
+
+<p>Baviera having then caused Rosso to draw twenty Gods in niches, with
+their attributes, for a book, these were engraved by Gian Jacopo
+Caraglio in a very beautiful and graceful manner; and also, not long
+afterwards, their Transformations; but of these Rosso did not make the
+drawings, save only of two, for he had a difference with Baviera, and
+Baviera had ten of them executed by Perino del Vaga. The two by Rosso
+were the Rape of Proserpine and the Transformation of Philyra into a
+horse; and all were engraved with such diligence by Caraglio, that
+they have always been prized. Caraglio afterwards began for Rosso the
+Rape of the Sabines, which would have been a very rare work, but, the
+sack of Rome supervening, it could not be finished, for Rosso went
+away, and the plates were all lost. And although this work has since
+come into the hands of the printers, it has proved a miserable
+failure, for the engraving has been done by one who had no knowledge
+of the art, and thought only of making money.</p>
+
+<p>After this, Caraglio engraved for Francesco Parmigiano a plate of the
+Marriage of Our Lady, and other works by the same master; and then
+another plate for Tiziano Vecelli, which was very beautiful, of a
+Nativity that Tiziano had formerly painted. This Gian Jacopo Caraglio,
+after <span class="pagenum"><a id="Page_110" name="Page_110">[Pg 110]</a></span> having executed many copper-plates, being an ingenious
+spirit, gave his attention to engraving cameos and crystals, in which
+he became no less excellent than he had been in the engraving of
+copper-plates. And since then, having entered the service of the King
+of Poland, he has occupied himself no longer with engraving on copper,
+now in his opinion a mean art, but with the cutting of gems, with
+working in incavo, and with architecture; for which having been richly
+rewarded by the liberality of that King, he has spent large sums in
+investments in the territory of Parma, in order to be able to retire
+in his old age to the enjoyment of his native country among his
+friends and disciples, after the labours of so many years.</p>
+
+<p>After these masters came another excellent copper-plate engraver,
+Lamberto Suave,<a id="FNanchor15" name="FNanchor15"></a><a href="#Footnote15" title="Go to footnote 15" class="fnanchor">[15]</a> by whose hand are thirteen plates of Christ and
+the twelve Apostles, in which the execution of the engraving is
+perfect in its delicacy. If Lamberto had possessed a more thorough
+mastery of design in addition to the industry, patience, and diligence
+that he showed in all other points, he would have been marvellous in
+every respect; as may be perceived clearly from a little sheet of S.
+Paul writing, and from a larger sheet with the story of the Raising of
+Lazarus, in which there are most beautiful things to be seen. Worthy
+of note, in particular, are the hollow rock in the cavern which he
+represented as the burial-place of Lazarus, and the light that falls
+upon some figures, all of which is executed with beautiful and
+fanciful invention.</p>
+
+<p>No little ability, likewise, has been shown in this profession by
+Giovan Battista Mantovano, a disciple of Giulio Romano; among other
+works, in a Madonna who has the Child in her arms and the moon under
+her feet, and in some very beautiful heads with helmet-crests after
+the antique; in two sheets, in which are a captain of mercenaries on
+foot and one on horseback, and also in a sheet wherein is a Mars in
+armour, who is seated upon a bed, while Venus gazes on a Cupid whom
+she is suckling, which has in it much that is good. Very fanciful,
+also, are two large sheets by the hand of the same master, in which is
+the Burning of Troy, executed with extraordinary invention, design,
+and grace. <span class="pagenum"><a id="Page_111" name="Page_111">[Pg 111]</a></span> These and many other sheets by the same hand are
+signed with the letters "J.B.M."</p>
+
+<p>And no less excellent than any of those mentioned above has been Enea
+Vico of Parma, who engraved the well-known copper-plate of the Rape of
+Helen by Rosso, and also another plate after the design of the same
+painter, of Vulcan with some Loves, who are fashioning arrows at his
+forge, while the Cyclopes are also at work, which was truly a most
+beautiful engraving. He executed the Leda of Michelagnolo on another,
+and also an Annunciation after the design of Tiziano, the story of
+Judith that Michelagnolo painted in the Chapel, the portrait of Duke
+Cosimo de' Medici as a young man, in full armour, after the drawing by
+Bandinelli, and likewise the portrait of Bandinelli himself; and then
+the Contest of Cupid and Apollo in the presence of all the Gods. And
+if Enea had been maintained and rewarded for his labours by
+Bandinelli, he would have engraved many other beautiful plates for
+him. Afterwards, Francesco, a prot�g� of the Salviati, and an
+excellent painter, being in Florence, and assisted by the liberality
+of Duke Cosimo, commissioned Enea to engrave the large plate of the
+Conversion of S. Paul, full of horses and soldiers, which was held to
+be very beautiful, and gave Enea a great name. The same Enea then
+executed the portrait of Signor Giovanni de' Medici, father of Duke
+Cosimo, with an ornament full of figures. He engraved, also, the
+portrait of the Emperor Charles V, with an ornament covered with
+appropriate Victories and trophies, for which he was rewarded by His
+Majesty and praised by all; and on another plate, very well engraved,
+he represented the victory that the Emperor gained on the Elbe. For
+Doni he executed some heads from nature in the manner of medallions,
+with beautiful ornaments: King Henry of France, Cardinal Bembo, Messer
+Lodovico Ariosto, the Florentine Gello, Messer Lodovico Domenichi,
+Signora Laura Terracina, Messer Cipriano Morosino, and Doni himself.
+He also engraved for Don Giulio Clovio, a most excellent illuminator,
+a plate of a S. George on horseback who is slaying the Dragon, in
+which, although it was, one might say, one of the first works that he
+engraved, he acquitted himself very well.</p>
+
+<p>Afterwards, being a man of lofty genius, and desiring to pass on to
+<span class="pagenum"><a id="Page_112" name="Page_112">[Pg 112]</a></span> greater and more honourable undertakings, Enea applied
+himself to the study of antiquities, and in particular of ancient
+medals, of which he has published several books in engraving, wherein
+are the true effigies of many Emperors and their wives, with every
+kind of inscription and reverse that could bring all who delight in
+them to a clear understanding of their stories; for which he has
+rightly won great praise, as he still does. And those who have found
+fault with him for his books of medals have been in the wrong, for
+whoever shall consider the labours that he has performed, and how
+useful and beautiful these are, must perforce excuse him, even though
+he may have erred in a few matters of little importance; and such
+errors, which are not committed save from faulty information, from a
+too ready credulity, or from having opinions differing from others
+with some show of reason, are worthy to be excused, seeing that
+Aristotle, Pliny, and many others have been guilty of the like.</p>
+
+<p>Enea also designed to the common satisfaction and benefit of all
+mankind fifty costumes of different nations, such as were worn by men
+and women, peasants and citizens, in Italy, in France, in Spain, in
+Portugal, in England, in Flanders, and in other parts of the world;
+which was an ingenious work, both fanciful and beautiful. He executed,
+also, a genealogical tree of all the Emperors, which was a thing of
+great beauty. And finally, after much toil and travailing, he now
+lives in repose under the shadow of Alfonso II, Duke of Ferrara, for
+whom he has made a genealogical tree of all the Marquises and Dukes of
+the House of Este. For all these works and many others that he has
+executed, as he still continues to do, I have thought it right to make
+this honourable record of him among so many other men of the arts.</p>
+
+<p>Many others have occupied themselves with copper-plate engraving, who,
+although they have not attained to such perfection, have none the less
+benefited the world with their labours, by bringing many scenes and
+other works of excellent masters into the light of day, and by thus
+giving the means of seeing the various inventions and manners of the
+painters to those who are not able to go to the places where the
+principal works are, and conveying to the ultramontanes a knowledge of
+many things that they did not know. And although many plates have been
+<span class="pagenum"><a id="Page_113" name="Page_113">[Pg 113]</a></span> badly executed through the avarice of the printers, eager
+more for gain than for honour, yet in certain others, besides those
+that have been mentioned, there may be seen something of the good; as
+in the large design of the Last Judgment of Michelagnolo Buonarroti on
+the front wall of the Papal Chapel, engraved by Giorgio Mantovano, and
+in the engravings by Giovan Battista de' Cavalieri of the Crucifixion
+of S. Peter and the Conversion of S. Paul painted in the Pauline
+Chapel at Rome. This Giovan Battista has also executed copper-plate
+engravings, besides other designs, of the Meditation of S. John the
+Baptist, of the Deposition from the Cross that Daniello Ricciarelli of
+Volterra painted in a chapel in the Trinit� at Rome, of a Madonna with
+many Angels, and of a vast number of other works. Moreover, many
+things taken from Michelagnolo have been engraved by others at the
+commission of Antonio Lanferri, who has employed printers for the same
+purpose. These have published books of all the kinds of fishes, and
+also the Phaethon, the Tityus, the Ganymede, the Archers, the
+Bacchanalia, the Dream, the Piet�, and the Crucifix, all done by
+Michelagnolo for the Marchioness of Pescara; and, in addition, the
+four Prophets of the Chapel and other scenes and drawings have been
+engraved and published, but executed so badly, that I think it well to
+be silent as to the names of those engravers and printers.</p>
+
+<p>But I must not be silent about the above-mentioned Antonio Lanferri
+and Tommaso Barlacchi, for they, as well as others, have employed many
+young men to engrave plates after original drawings by the hands of a
+vast number of masters, insomuch that it is better to say nothing of
+these works, lest it should become wearisome. And in this manner have
+been published, among other plates, grotesques, ancient temples,
+cornices, bases, capitals, and many other suchlike things, with all
+their measurements.</p>
+
+<p>Seeing everything reduced to a miserable manner, and moved by
+compassion, Sebastiano Serlio, an architect of Bologna, has engraved
+on wood and copper two books of architecture, in which, among other
+things, are thirty doors of the Rustic Order, and twenty in a more
+delicate style; which book is dedicated to King Henry of France.
+Antonio <span class="pagenum"><a id="Page_114" name="Page_114">[Pg 114]</a></span> L'Abacco, likewise, has published plates in a
+beautiful manner of all the notable antiquities of Rome, with their
+measurements, executed with great mastery and with very subtle
+engraving by ... Perugino. Nor has less been accomplished in this
+field by the architect Jacopo Barozzo of Vignola, who in a book of
+copper-plate engravings has shown with simple rules how to enlarge or
+to diminish in due proportion every part of the five Orders of
+Architecture, a work most useful in that art, for which we are much
+indebted to him; even as we are to Giovanni Cugini<a id="FNanchor16" name="FNanchor16"></a><a href="#Footnote16" title="Go to footnote 16" class="fnanchor">[16]</a> of Paris for
+his engravings and writings on architecture.</p>
+
+<p>In Rome, besides the masters named above, Niccol� Beatricio<a id="FNanchor17" name="FNanchor17"></a><a href="#Footnote17" title="Go to footnote 17" class="fnanchor">[17]</a> of
+Lorraine has given so much attention to engraving with the burin, that
+he has executed many plates worthy of praise; such as two pieces of
+sarcophagi with battles of horsemen, engraved on copper, and other
+plates full of various animals very well executed, and a scene showing
+the Widow's Daughter being restored to life by Jesus Christ, engraved
+in a bold manner from the design of Girolamo Mosciano, a painter of
+Brescia. The same master has engraved an Annunciation from a drawing
+by the hand of Michelagnolo, and has also executed prints of the
+Navicella of mosaic that Giotto made in the portico of S. Pietro.</p>
+
+<p>From Venice, likewise, have come many most beautiful engravings on
+wood and on copper; on wood, after Tiziano, many landscapes, a
+Nativity of Christ, a S. Jerome, and a S. Francis; and on copper the
+Tantalus, the Adonis, and many other plates, which have been engraved
+by Giulio Bonasone of Bologna, together with some others by Raffaello,
+by Giulio Romano, by Parmigiano, and by all the other masters whose
+drawings he has been able to obtain. And Battista Franco, a painter of
+Venice, has engraved, partly with the burin and partly with
+aquafortis, many works by the hands of various masters, such as the
+Nativity of Christ, the Adoration of the Magi, the Preaching of S.
+Peter, some plates from the Acts of the Apostles, and many stories
+from the Old Testament. So far, indeed, has this practice of making
+prints been carried, that those who make a profession of it keep
+draughtsmen continually employed in copying every beautiful work as it
+appears, and <span class="pagenum"><a id="Page_115" name="Page_115">[Pg 115]</a></span> put it into prints. Wherefore there came from
+France, after the death of Rosso, engravings of all the work by his
+hand that could be found, such as Clelia with the Sabine women passing
+the river; some masks after the manner of the Fates, executed for King
+Francis; a bizarre Annunciation; a Dance of ten women; and King
+Francis advancing alone into the Temple of Jupiter, leaving behind him
+Ignorance and other similar figures, which were executed during the
+lifetime of Rosso by the copper-plate engraver Renato.<a id="FNanchor18" name="FNanchor18"></a><a href="#Footnote18" title="Go to footnote 18" class="fnanchor">[18]</a> And many
+more have been drawn and engraved since Rosso's death; among many
+other works, all the stories of Ulysses, and, to say nothing of the
+rest, vases, chandeliers, candelabra, salt-cellars, and a vast number
+of other suchlike things made in silver after designs of Rosso.</p>
+
+<p>Luca Penni, also, has published engravings of two Satyrs giving drink
+to a Bacchus, a Leda taking the arrows from the quiver of a Cupid,
+Susannah in the Bath, and many other plates copied from the designs of
+the same Rosso and of Francesco Primaticcio of Bologna, now Abbot of
+S. Martin in France. And among these engravings are the Judgment of
+Paris, Abraham sacrificing Isaac, a Madonna, Christ marrying S.
+Catharine, Jove changing Callisto into a bear, the Council of the
+Gods, Penelope weaving with her women, and other things without
+number, engraved on wood, and executed for the most part with the
+burin; by reason of which the wits of the craftsmen have become very
+subtle, insomuch that little figures have been engraved so well, that
+it would not be possible to give them greater delicacy. And who can
+see without marvelling the works of Francesco Marcolini of Forl�? Who,
+besides other things, printed the book of the Garden of Thoughts from
+wood-blocks, placing at the beginning an astrologer's sphere and a
+head of himself after the design of Giuseppe Porta of Castelnuovo
+della Garfagnana; in which book are various fanciful figures, such as
+Fate, Envy, Calamity, Timidity, Praise, and many others of the same
+kind, which were held to be most beautiful. Not otherwise than
+praiseworthy, also, were the figures that Gabriele Giolito, a printer
+of books, placed in the Orlando Furioso, for they were executed in a
+beautiful manner <span class="pagenum"><a id="Page_116" name="Page_116">[Pg 116]</a></span> of engraving. And even such, likewise, were
+the eleven large anatomical plates that were done by Andrea Vessalio
+after the drawings of Johann of Calcar, a most excellent Flemish
+painter, which were afterwards copied on smaller sheets and engraved
+on copper by Valverde, who wrote on anatomy after Vessalio.</p>
+
+<p>Next, among the many plates that have issued from the hands of
+Flemings within the last ten years, very beautiful are some drawn by
+one Michele,<a id="FNanchor19" name="FNanchor19"></a><a href="#Footnote19" title="Go to footnote 19" class="fnanchor">[19]</a> a painter, who worked for many years in two chapels
+that are in the Church of the Germans at Rome. These plates contain
+the story of Moses and the Serpents, and thirty-two stories of Psyche
+and Love, which are held to be most beautiful. Hieronymus Cock, also a
+Fleming, has engraved a large plate after the invention and design of
+Martin Heemskerk, of Delilah cutting off the locks of Samson; and not
+far away is the Temple of the Philistines, in which, the towers having
+fallen, one sees ruin and destruction in the dead, and terror in the
+living, who are taking to flight. The same master has executed in
+three smaller plates the Creation of Adam and Eve, the Eating of the
+Fruit, and the Angel driving them out of Paradise; and in four other
+plates of the same size, in the first the Devil imprinting avarice and
+ambition into the heart of man, and in the others all the passions
+that result from those two. There may also be seen twenty-seven plates
+of the same size by his hand, with stories from the Old Testament
+after the expulsion of Adam from Paradise, drawn by Martin in a bold,
+well-practised, and most resolute manner, which is very similar to the
+Italian. Hieronymus afterwards engraved six round plates with the
+history of Susannah, and twenty-three other stories from the Old
+Testament, similar to those of Abraham already mentioned&mdash;namely, six
+plates with the story of David, eight plates with that of Solomon,
+four with that of Balaam, and five with those of Judith and Susannah.
+And from the New Testament he engraved twenty-nine plates, beginning
+with the Annunciation of the Virgin, and continuing down to the whole
+Passion and Death of Jesus Christ. He also engraved, after the
+drawings of the same Martin, the seven Works of Mercy, and the story
+of the rich Lazarus and the poor Lazarus, and <span class="pagenum"><a id="Page_117" name="Page_117">[Pg 117]</a></span> four plates
+with the Parable of the Samaritan wounded by thieves, with four other
+plates of the Parable of the Talents, written by S. Matthew in his
+eighteenth chapter.</p>
+
+<p>At the time when Hans Liefrinck executed in competition with him ten
+plates of the Life and Death of S. John the Baptist, he engraved the
+Twelve Tribes on an equal number of plates; Reuben upon a hog,
+representing Sensuality; Simeon with a sword as a symbol of Homicide;
+and in like manner the other heads of Tribes with attributes
+appropriate to the nature of each. He then executed ten plates,
+engraved with greater delicacy, with the stories and acts of David,
+from the time of his being anointed by Samuel to his going before
+Saul; and he engraved six other plates with the story of how Amnon
+became enamoured of his sister Tamar and ravished her, and the death
+of that same Amnon. And not long afterwards he executed ten plates of
+similar size with the history of Job; and from thirteen chapters of
+the Proverbs of Solomon he drew subjects for five plates of the same
+kind. He also engraved the story of the Magi; and then, on six plates,
+the Parable that is in the twelfth chapter of S. Matthew, of those who
+for various reasons refused to go to the King's Feast, and of him who
+went without having a wedding-garment; and six plates of equal size
+with some of the acts of the Apostles. And in eight similar plates he
+engraved figures of women of perfect excellence, in various costumes:
+six from the Old Testament&mdash;Jael, Ruth, Abigail, Judith, Esther, and
+Susannah; and two from the New&mdash;Mary the Virgin, Mother of Jesus
+Christ, and Mary Magdalene.</p>
+
+<p>After these works he carried out the engraving of the Triumphs of
+Patience in six plates, with various things of fancy. In the first, in
+a chariot, is Patience, who has in her hand a standard, on which is a
+rose among thorns. In the second may be seen a burning heart, beaten
+by three hammers, upon an anvil; and the chariot of this second plate
+is drawn by two figures&mdash;namely, by Desire, who has wings upon the
+shoulders, and by Hope, who has an anchor in the hand, and behind them
+Fortune, with her wheel broken, is led as a prisoner. In the next
+plate is Christ on a chariot, with the standard of the Cross and of
+His Passion, with the Evangelists at the corners in the form of
+animals; and <span class="pagenum"><a id="Page_118" name="Page_118">[Pg 118]</a></span> this chariot is drawn by two lambs, and has
+behind it four prisoners&mdash;the Devil, the World, or rather, the Flesh,
+Sin, and Death. In another Triumph is Isaac, nude, upon a camel; on
+the banner that he holds in his hand are a pair of prisoner's irons;
+and behind him is drawn the altar with the ram, the knife, and the
+fire. In the next plate he made Joseph riding in triumph on an ox
+crowned with ears of corn and fruits, with a standard on which is a
+bee-hive; and the prisoners that are led behind him are Anger and
+Envy, who are devouring a heart. He engraved in another Triumph David
+on a lion, with the harp, and with a standard in his hand, on which is
+a bit; and behind him is Saul as a prisoner, and Shimei, with his
+tongue protruding. In another plate is Tobias riding in triumph on an
+ass, and holding in his hand a banner, on which is a fountain; and
+behind him Poverty and Blindness, bound, are led as prisoners. And in
+the last of the six Triumphs is S. Stephen the Proto-martyr, who is
+riding in triumph on an elephant, and has a standard with a figure of
+Charity; and the prisoners behind him are his persecutors. All these
+were inventions full of fancy, and very ingenious; and they were all
+engraved by Hieronymus Cock, whose hand is very bold, sure, and
+resolute.</p>
+
+<p>The same master engraved a plate of Fraud and Avarice, fantastic and
+beautiful, and another very lovely plate of a Feast of Bacchanals,
+with children dancing. On another he represented Moses passing across
+the Red Sea, according as it had been painted by Agnolo Bronzino, a
+painter of Florence, in the upper chapel in the Palace of the Duke of
+Florence; and in competition with him, also after the design of
+Bronzino, Giorgio Mantovano engraved a Nativity of Jesus Christ, which
+was very beautiful. After these works, Hieronymus engraved twelve
+plates of the victories, battles, and deeds of arms of Charles V, for
+him who was the inventor of the subjects; and for Verese, a painter
+and a great master of perspective in those parts, twenty plates with
+various buildings. For Hieronymus Bosch he executed a plate of S.
+Martin, with a barque full of Devils in the most bizarre forms. And he
+made another of an alchemist who loses all his possessions, distilling
+away his brains and consuming all that he has in various ways,
+insomuch that in the end he takes refuge <span class="pagenum"><a id="Page_119" name="Page_119">[Pg 119]</a></span> in the hospital
+with his wife and children; which plate was designed for him by a
+painter, who caused him to engrave the Seven Mortal Sins, with Demons
+of various forms, which was a fantastic and laughable work. He also
+engraved a Last Judgment; an old man who is seeking with a lantern for
+peace among the wares of the world, and finds it not; likewise a great
+fish that is devouring some little fishes; a figure of Carnival
+enjoying the pleasures of the table with many others, and driving Lent
+away, and another of Lent driving away Carnival; and so many other
+whimsical and fantastic inventions, that it would be wearisome to
+attempt to speak of them all.</p>
+
+<p>Many other Flemings have imitated the manner of Albrecht D�rer with
+the greatest care and subtlety, as may be seen from their engravings,
+and in particular from those of ...<a id="FNanchor20" name="FNanchor20"></a><a href="#Footnote20" title="Go to footnote 20" class="fnanchor">[20]</a> who has engraved in little
+figures four stories of the Creation of Adam, four of the lives of
+Abraham and of Lot, and four others of Susannah, which are very
+beautiful. In like manner, G... P...<a id="FNanchor21" name="FNanchor21"></a><a href="#Footnote21" title="Go to footnote 21" class="fnanchor">[21]</a> has engraved the Seven Works
+of Mercy in seven small round plates, eight stories taken from the
+Books of Kings, Regulus placed in the barrel filled with nails, and an
+Artemisia, which is a plate of great beauty. J... B...<a id="FNanchor22" name="FNanchor22"></a><a href="#Footnote22" title="Go to footnote 22" class="fnanchor">[22]</a> has
+executed figures of the four Evangelists, which are so small that it
+seems scarcely possible that he could have done them; and also five
+other very fine plates, in the first of which is a Virgin drawn into
+the grave by Death in all the freshness of her youth, and in the
+second is Adam, in the third a peasant, in the fourth a Bishop, and in
+the fifth a Cardinal, each, like the Virgin, called by Death to his
+last account. And in some others are many Germans going on parties of
+pleasure with their wives, and some beautiful and fantastic Satyrs. By
+... are plates of the four Evangelists, engraved with great care, and
+no less beautiful than are twelve stories of the Prodigal Son executed
+with much diligence by the hand of M.... And, finally, Franz Floris, a
+painter famous in those parts, has produced a great number of works
+and drawings which have since been engraved, for the most part by
+Hieronymus Cock, such as ten plates of the Labours of Hercules, a
+large plate with all the activities of the life of man, another
+<span class="pagenum"><a id="Page_120" name="Page_120">[Pg 120]</a></span> with the Horatii and Curiatii engaged in combat in the
+lists, the Judgment of Solomon, and the Battle between Hercules and
+the Pygmies. The same master, also, has engraved a Cain who has killed
+Abel, over whose body Adam and Eve are weeping; an Abraham who is
+about to sacrifice Isaac on the altar, and a vast number of other
+plates, so full of variety and invention, that it is indeed marvellous
+to think of all that has been done in engravings on copper and wood.
+Lastly, it is enough to draw attention to the engravings of the
+portraits of the Painters, Sculptors, and Architects in this our book,
+which were drawn by Giorgio Vasari and his pupils, and engraved by
+Maestro Cristofano ...,<a id="FNanchor23" name="FNanchor23"></a><a href="#Footnote23" title="Go to footnote 23" class="fnanchor">[23]</a> who has executed in Venice, as he still
+continues to do, a vast number of works worthy of record.</p>
+
+<p>In conclusion, for all the assistance that the ultramontanes have
+received from seeing the various Italian manners by means of
+engravings, and that the Italians have received from having seen those
+of the ultramontanes and foreigners, thanks should be rendered, for
+the most part, to Marc' Antonio Bolognese, in that, besides the
+circumstance that he played a great part in the beginning of this
+profession, as has been related, there has not as yet been one who has
+much surpassed him, although some few have equalled him in certain
+points. This Marc' Antonio died at Bologna, not long after his
+departure from Rome. In our book are some drawings of Angels by his
+hand, done with the pen, and some other very beautiful sheets drawn
+from the apartments that Raffaello da Urbino painted. In one of these
+apartments Marc' Antonio, as a young man, was portrayed by Raffaello
+in one of those grooms who are carrying Pope Julius II, in that part
+where the High-Priest Onias is praying.</p>
+
+<p>And let this be the end of the Lives of Marc' Antonio Bolognese and of
+all the other engravers of prints mentioned above, of whom I have
+thought it right to give this long but necessary account, in order to
+satisfy not only the students of our arts, but also all those who
+delight in works of that kind.</p>
+
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="galloyoung" id="galloyoung"></a><span class="pagenum"><a id="Page_121" name="Page_121">[Pg 121]</a></span> ANTONIO DA SAN GALLO (THE YOUNGER)</h2>
+
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_galloyoung" id="life_of_galloyoung"></a><span class="pagenum"><a id="Page_123" name="Page_123">[Pg 123]</a></span> LIFE OF ANTONIO DA SAN GALLO (THE YOUNGER)</h2>
+
+<h3>ARCHITECT OF FLORENCE</h3>
+
+
+<p>How many great and illustrious Princes, abounding with infinite
+wealth, would leave behind them a name renowned and glorious, if they
+possessed, together with their store of the goods of Fortune, a mind
+filled with grandeur and inclined to those things that not only
+embellish the world, but also confer vast benefit and advantage on the
+whole race of men! And what works can or should Princes and great
+persons undertake more readily than noble and magnificent buildings
+and edifices, both on account of the many kinds of men that are
+employed upon them in the making, and because, when made, they endure
+almost to eternity? For of all the costly enterprises that the ancient
+Romans executed at the time when they were at the supreme height of
+their greatness, what else is there left to us save those remains of
+buildings, the everlasting glory of the Roman name, which we revere as
+sacred things and strive to imitate as the sole patterns of the
+highest beauty? And how much these considerations occupied the minds
+of certain Princes who lived in the time of the Florentine architect,
+Antonio da San Gallo, will now be seen clearly in the Life of him that
+we are about to write.</p>
+
+<p>Antonio, then, was the son of Bartolommeo Picconi of Mugello, a maker
+of casks; and after having learned the joiner's craft in his boyhood,
+hearing that his uncle, Giuliano da San Gallo, was working at Rome in
+company with his brother Antonio, he set out from Florence for that
+city. And there, having devoted himself to the matters of the art of
+architecture with the greatest possible zeal, and pursuing that art,
+he gave promise of those achievements that we see in such abundance
+throughout all Italy, in the vast number of works executed by him at
+<span class="pagenum"><a id="Page_124" name="Page_124">[Pg 124]</a></span> a more mature age. Now it happened that Giuliano was forced
+by the torment that he suffered from the stone to return to Florence;
+and Antonio, having become known to the architect Bramante of Castel
+Durante, began to give assistance to that master, who, being old and
+crippled in the hands by palsy, was not able to work as before in the
+preparation of his designs. And these Antonio executed with such
+accuracy and precision that Bramante, finding that they were correct
+and true in all their measurements, was constrained to leave to him
+the charge of a great number of works that he had on his hands, only
+giving him the order that he desired and all the inventions and
+compositions that were to be used in each work. In these he found
+himself served by Antonio with so much judgment, diligence, and
+expedition, that in the year 1512 he gave him the charge of the
+corridor that was to lead to the ditches of the Castello di S. Angelo;
+for which he began to receive a salary of ten crowns a month; but the
+death of Julius II then took place, and the work was left unfinished.
+However, the circumstance that Antonio had already acquired a name as
+a person of ability in architecture, and one who had a very good
+manner in matters of building, was the reason that Alessandro, who was
+first Cardinal Farnese, and afterwards Pope Paul III, conceived the
+idea of commissioning him to restore the old palace in the Campo di
+Fiore, in which he lived with his family; and for that work Antonio,
+desiring to grow in reputation, made several designs in different
+manners. Among which, one that was arranged with two apartments was
+that which pleased his very reverend Highness, who, having two sons,
+Signor Pier Luigi and Signor Ranuccio, thought that he would leave
+them well accommodated by such a building. And, a beginning having
+been made with that work, a certain portion was constructed regularly
+every year.</p>
+
+<p>At this time a church dedicated to S. Maria di Loreto was being built
+at the Macello de' Corbi, near the Column of Trajan, in Rome, and it
+was brought to perfection by Antonio, with decorations of great
+beauty. After this, Messer Marchionne Baldassini caused a palace to be
+erected from the model and under the direction of Antonio, near S.
+Agostino, which is arranged in such a manner that, small though it may
+be, it <span class="pagenum"><a id="Page_125" name="Page_125">[Pg 125]</a></span> is held to be, as indeed it is, the finest and most
+convenient dwelling in Rome; and in it the staircases, the court, the
+loggie, the doors, and the chimney-pieces, are all executed with
+consummate grace. With which Messer Marchionne being very well
+satisfied, he determined that Perino del Vaga, the Florentine painter,
+should decorate one of the halls in colour, with scenes and other
+figures, as will be related in his Life; which decorations have given
+it infinite grace and beauty. And near the Torre di Nona Antonio
+directed and finished the building of the house of the Centelli, which
+is small, but very convenient.</p>
+
+<p>No long time passed before he went to Gradoli, a place in the
+dominions of the very reverend Cardinal Farnese, where he caused a
+most beautiful and commodious palace to be erected for that Cardinal.
+On that journey he did a work of great utility in restoring the
+fortress of Capo di Monte, which he surrounded with low and
+well-shaped walls; and at the same time he made the design of the
+fortress of Caprarola. And the very reverend Monsignor Farnese,
+finding himself served by Antonio in all these works in a manner so
+satisfactory, was constrained to wish him well, and, coming to love
+him more and more, he showed him favour in his every enterprise
+whenever he was able. After this, Cardinal Alborense, wishing to leave
+a memorial of himself in the church of his nation, caused a chapel of
+marble, with a tomb for himself, to be erected and brought to
+completion by Antonio in S. Jacopo degli Spagnuoli; which chapel, as
+has been related, was all painted in the spaces between the pilasters
+by Pellegrino da Modena, and on the altar stood a most beautiful S.
+James of marble executed by Jacopo Sansovino. This is a work of
+architecture that is held to be truly worthy of the highest praise,
+since the marble ceiling is divided very beautifully into octagonal
+compartments. Nor was it long before M. Bartolommeo Ferratino, for his
+own convenience and for the benefit of his friends, and also in order
+to leave an honourable and enduring memorial of himself, commissioned
+Antonio to build a palace on the Piazza d' Amelia, which is a
+beautiful and most imposing work; whereby Antonio acquired no little
+fame and profit. During this time Antonio di Monte, Cardinal of Santa
+Prassedia, was in Rome, and he desired that the same architect
+<span class="pagenum"><a id="Page_126" name="Page_126">[Pg 126]</a></span> should build for him the palace that he afterwards occupied,
+looking out upon the Agone, where there is the statue of Maestro
+Pasquino; and in the centre, which looks over the Piazza, he wished to
+erect a tower. This was planned and brought to completion for him by
+Antonio with a most beautiful composition of pilasters and windows
+from the first floor to the third&mdash;a good and graceful design; and it
+was adorned both within and without by Francesco dell' Indaco with
+figures and scenes in terretta. And Antonio having meanwhile become
+the devoted servant of the Cardinal of Arimini, that lord caused him
+to erect a palace at Tolentino in the March, for which, in addition to
+the rewards that Antonio received, the Cardinal ever afterwards held
+himself indebted to him.</p>
+
+<p>While these matters were in progress, and the fame of Antonio was
+growing and spreading abroad, it happened that old age and various
+infirmities made Bramante a citizen of the other world; at which three
+architects were appointed straightway by Pope Leo for the building of
+S. Pietro&mdash;Raffaello da Urbino, Giuliano da San Gallo, the uncle of
+Antonio, and Fra Giocondo of Verona. But no long time passed before
+Fra Giocondo departed from Rome, and Giuliano, being old, received
+leave to return to Florence. Whereupon Antonio, who was in the service
+of the very reverend Cardinal Farnese, besought him very straitly that
+he should make supplication to Pope Leo, to the end that he might
+grant the place of his uncle Giuliano to him, which proved to be a
+thing very easy to obtain, first because of the abilities of Antonio,
+which were worthy of that place, and then by reason of the cordial
+relations between the Pope and the very reverend Cardinal Farnese. And
+thus, in company with Raffaello da Urbino, he continued that building,
+but coldly enough.</p>
+
+<p>The Pope then went to Civit� Vecchia, in order to fortify it, and in
+his company were many lords; among others, Giovan Paolo Baglioni and
+Signor Vitello, and such persons of ability as Pietro Navarra and
+Antonio Marchissi, the architect for fortifications at that time, who
+had come from Naples at the command of the Pope. Discussions arising
+as to the fortification of that place, many and various were the
+opinions about this, one man making one design, and another a
+different one; <span class="pagenum"><a id="Page_127" name="Page_127">[Pg 127]</a></span> but among so many, Antonio displayed before
+them a plan which was approved by the Pope and by those lords and
+architects as superior to all the others in strength and beauty and in
+the handsome and useful character of its arrangements; wherefore
+Antonio came into very great credit with the Court. After this, the
+genius of Antonio repaired a great mischief brought about in the
+following manner: Raffaello da Urbino, in executing the Papal Loggie
+and the apartments that are over the foundations, had left many empty
+spaces in the masonry in order to oblige some friends, to the serious
+damage of the whole building, by reason of the great weight that had
+to be supported above them; and the edifice was already beginning to
+show signs of falling, on account of the weight being too great for
+the walls. And it would certainly have fallen down but for the genius
+of Antonio, who filled up those little chambers with the aid of props
+and beams, and refounded the whole fabric, thus making it as firm and
+solid as it had ever been in the beginning.</p>
+
+<p>Meanwhile the Florentine colony had begun their church in the Strada
+Giulia, behind the Banchi, from the design of Jacopo Sansovino. But
+they had chosen a site that extended too far into the river, so that,
+compelled by necessity, they spent twelve thousand crowns on
+foundations in the water, which were executed in a very secure and
+beautiful manner by Antonio, who found the way after Jacopo had failed
+to discover it; and several braccia of the edifice were built over the
+water. Antonio made a model so excellent, that, if the work had been
+carried to completion, it would have been something stupendous.
+Nevertheless, it was a great error, giving proof of little judgment,
+on the part of those who were at that time the heads of that colony in
+Rome, for they should never have allowed the architects to found so
+large a church in so terrible a river, for the sake of gaining twenty
+braccia of length, and to throw away so many thousands of crowns on
+foundations, only to be compelled to contend with that river for ever;
+particularly because, by bringing that church forward and giving it
+another form, they might have built it on solid ground, and, what is
+more, might have carried the whole to completion with almost the same
+expense. And if they <span class="pagenum"><a id="Page_128" name="Page_128">[Pg 128]</a></span> trusted in the riches of the merchants
+of that colony, it was seen afterwards how fallacious such a hope was,
+for in all the years that the pontificate was held by Leo and Clement
+of the Medici family, by Julius III, and by Marcellus, who all came
+from Florentine territory, although the last-named lived but a short
+time, and for all the greatness of so many Cardinals and the riches of
+so many merchants, it remained, as it still does, in the same
+condition in which it was left by our San Gallo. It is clear,
+therefore, that architects and those who cause buildings to be erected
+should look well to the end and to every matter, before setting their
+hands to works of importance.</p>
+
+<p>But to return to Antonio: the fortress of Monte Fiascone had been
+formerly built by Pope Urban, and he restored it at the commission of
+the Pope, who took him to those parts one summer in his train. And at
+the request of Cardinal Farnese he built two little temples on the
+island of Visentina in the Lake of Bolsena, one of which was
+constructed as an octagon without and round within, and the other was
+square on the outer side and octagonal on the inner, with four niches
+in the walls at the corners, one to each; which two little temples,
+executed in so beautiful a manner, bore testimony to the skill with
+which Antonio was able to give variety to the details of architecture.
+While these temples were building, Antonio returned to Rome, where he
+made a beginning with the Palace of the Bishop of Cervia, which was
+afterwards left unfinished, on the Canto di S. Lucia, where the new
+Mint stands. He built the Church of S. Maria di Monferrato, which is
+held to be very beautiful, near the Corte Savella, and likewise the
+house of one Marrano, which is behind the Cibo Palace, near the houses
+of the Massimi.</p>
+
+<p>Meanwhile Leo died, and with him all the fine and noble arts, which
+had been restored to life by him and by his predecessor, Julius II;
+and his successor was Adrian VI, in whose pontificate all arts and
+talents were so crushed down, that, if the government of the Apostolic
+Seat had remained long in his hands, that fate would have come upon
+Rome under his rule which fell upon her on another occasion, when all
+the statues saved from the destruction of the Goths, both the good and
+the bad, were condemned to be burned. Adrian, perhaps in imitation of
+<span class="pagenum"><a id="Page_129" name="Page_129">[Pg 129]</a></span> the Pontiffs of those former times, had already begun to
+speak of intending to throw to the ground the Chapel of the divine
+Michelagnolo, saying that it was a bagnio of nudes; and he despised
+all good pictures and statues, calling them vanities of the world, and
+shameful and abominable things, which circumstance was the reason that
+not only Antonio, but all the other beautiful intellects were kept
+idle, insomuch that, not to mention other works, scarcely anything was
+done in the time of that Pontiff on the building of S. Pietro, to
+which at least he should have been friendly, since he wished to prove
+himself so much the enemy of worldly things.</p>
+
+<p>For that reason, therefore, attending under that Pontiff to works of
+no great importance, Antonio restored the aisles of the Church of S.
+Jacopo degli Spagnuoli, and furnished the fa�ade with most beautiful
+windows. He also caused a tabernacle of travertine to be constructed
+for the Imagine di Ponte, which, although small, is yet very graceful;
+and in it Perino del Vaga afterwards executed a beautiful little work
+in fresco.</p>
+
+<p>The poor arts had already come to an evil pass through the life of
+Adrian, when Heaven, moved to pity for them, resolved by the death of
+one to give new life to thousands; wherefore it removed him from the
+world and caused him to surrender his place to one who would fill that
+position more worthily and would govern the affairs of the world in a
+different spirit. And thus a new Pope was elected in Clement VII, who,
+being a man of generous mind, and desiring to follow in the steps of
+Leo and of the other members of his illustrious family who had
+preceded him, bethought himself that, even as he had created beautiful
+memorials of himself as Cardinal, so as Pope he should surpass all
+others in restoring and adorning buildings. That election, then,
+brought consolation to many men of talent, and infused a potent and
+heaven-sent breath of life in those ingenious but timid spirits who
+had sunk into abasement; and they, thus revived, afterwards executed
+the beautiful works that we see at the present day. And first, having
+been set to work at the commission of His Holiness, Antonio
+straightway reconstructed a court in front of the Loggie, which had
+been painted previously under <span class="pagenum"><a id="Page_130" name="Page_130">[Pg 130]</a></span> the direction of Raffaello, in
+the Palace; which court was a vast improvement in beauty and
+convenience, for it was formerly necessary to pass through certain
+narrow and tortuous ways, and Antonio, widening these and giving them
+better form, made them spacious and beautiful. But this part is not
+now in the condition in which Antonio left it, for Pope Julius III
+took away the columns of granite that were there, in order to adorn
+his villa with them, and altered everything. Antonio also executed the
+fa�ade of the old Mint of Rome, a work of great beauty and grace, in
+the Banchi, making a rounded corner, which is held to be a difficult
+and even miraculous thing; and in that work he placed the arms of the
+Pope. And he refounded the unfinished part of the Papal Loggie, which
+had remained incomplete at the death of Pope Leo, and had not been
+continued, or even touched, through the negligence of Adrian. And
+thus, at the desire of Clement, they were carried to their final
+completion.</p>
+
+<p>His Holiness then resolving to fortify Parma and Piacenza, after many
+designs and models had been made by various craftsmen, Antonio was
+sent to those places, and with him Giuliano Leno, the supervisor of
+those fortifications. When they had arrived there, Antonio having with
+him his pupil L'Abacco, Pier Francesco da Viterbo, a very able
+engineer, and the architect Michele San Michele of Verona, all of them
+together carried the designs of those fortifications into execution.
+Which done, the others remaining, Antonio returned to Rome, where Pope
+Clement, since the Palace was poorly supplied in the matter of
+apartments, ordained that Antonio should begin those in which the
+public consistories are held, above the Ferraria, which were executed
+in such a manner, that the Pontiff was well satisfied with them, and
+caused other apartments to be constructed above them for the
+Chamberlains of His Holiness. Over the ceilings of those apartments,
+likewise, Antonio made others which were very commodious&mdash;a work which
+was most dangerous, because it necessitated so much refounding. In
+this kind of work Antonio was in truth very able, seeing that his
+buildings never showed a crack; nor was there ever among the moderns
+any architect more cautious or more skilful in joining walls.</p>
+
+<p><span class="pagenum"><a id="Page_131" name="Page_131">[Pg 131]</a></span> In the time of Pope Paul II, the Church of the Madonna of
+Loreto, which was small, and had its roof immediately over brick piers
+of rustic work, had been refounded and brought to that size in which
+it may be seen at the present day, by means of the skill and genius of
+Giuliano da Maiano; and it had been continued from the outer
+string-course upwards by Sixtus IV and by others, as has been related;
+but finally, in the time of Clement, in the year 1526, without having
+previously shown the slightest sign of falling, it cracked in such a
+manner, that not only the arches of the tribune were in danger, but
+the whole church in many places, for the reason that the foundations
+were weak and wanting in depth. Wherefore Antonio was sent by the said
+Pope Clement to put right so great a mischief; and when he had arrived
+at Loreto, propping up the arches and fortifying the whole, like the
+resolute and judicious architect that he was, he refounded all the
+building, and, making the walls and pilasters thicker both within and
+without, he gave it a beautiful form, both as a whole and in its
+well-proportioned parts, and made it strong enough to be able to
+support any weight, however great. He adhered to one and the same
+order in the transepts and in the aisles of the church, making superb
+mouldings on the architraves, friezes, and cornices above the arches,
+and he rendered beautiful and well constructed in no common way the
+socles of the four great piers around the eight sides of the tribune
+which support the four arches&mdash;namely, three in the transepts, where
+the chapels are, and the larger one in the central nave. This work
+certainly deserves to be celebrated as the best that Antonio ever
+executed, and that not without sufficient reason, seeing that those
+who erect some new building, or raise one from the foundations, have
+the power to make it high or low, and to carry it to such perfection
+as they desire or are able to achieve, without being hindered by
+anything; which does not fall to the lot of him who has to rectify or
+restore works begun by others and brought to a sorry state either by
+the craftsman or by the circumstances of Fortune; whence it may be
+said that Antonio restored a dead thing to life, and did that which
+was scarcely possible. Having finished all this, he arranged that the
+church should be covered with lead, and gave directions for the
+execution of all that <span class="pagenum"><a id="Page_132" name="Page_132">[Pg 132]</a></span> still remained to do; and thus, by his
+means, that famous temple received a better form and more grace than
+it had possessed before, and the hope of a long-enduring life.</p>
+
+<p>He then returned to Rome, just after that city had been given over to
+sack; and the Pope was at Orvieto, where the Court was suffering very
+greatly from want of water. Thereupon, at the wish of the Pontiff,
+Antonio built in that city a well all of stone, twenty-five braccia
+wide, with two spiral staircases cut in the tufa, one above the other,
+following the curve of the well. By these two spiral staircases it is
+possible to descend to the bottom of the well, insomuch that the
+animals that go there for water, entering by one door, go down by one
+of the two staircases, and when they have come to the platform where
+they receive their load of water, they pass, without turning round,
+into the other branch of the spiral staircase, which winds above that
+of the descent, and emerge from the well by a different door, opposite
+to the other. This work, which was an ingenious, useful, and
+marvellously beautiful thing, was carried almost to completion before
+the death of Clement; and the mouth of the well, which alone remained
+to be executed, was finished by order of Pope Paul III, but not
+according to the directions drawn up by Clement with the advice of
+Antonio, who was much commended for so beautiful a work. Certain it is
+that the ancients never built a structure equal to this in workmanship
+or ingenuity, seeing, above all, that the central shaft is made in
+such a way that even down to the bottom it gives light by means of
+certain windows to the two staircases mentioned above.</p>
+
+<p>While this work was in progress, the same Antonio directed the
+construction of the fortress of Ancona, which in time was carried to
+completion. Afterwards, Pope Clement resolving, at the time when his
+nephew Alessandro de' Medici was Duke of Florence, to erect an
+impregnable fortress in that city, Signor Alessandro Vitelli, Pier
+Francesco da Viterbo, and Antonio laid out that castle, or rather,
+fortress, which is between the Porta al Prato and the Porta a S.
+Gallo, and caused it to be built with such rapidity, that no similar
+structure, whether ancient or modern, was ever completed so quickly.
+In a great tower, which was <span class="pagenum"><a id="Page_133" name="Page_133">[Pg 133]</a></span> the first to be founded, and was
+called the Toso, were placed many inscriptions and medals, with the
+most solemn pomp and ceremony; and this work is now celebrated over
+all the world, and is held to be impregnable.</p>
+
+<p>By order of Antonio were summoned to Loreto the sculptor Tribolo,
+Raffaello da Montelupo, Francesco da San Gallo, then a young man, and
+Simone Cioli, who finished the scenes of marble begun by Andrea
+Sansovino. To the same place Antonio summoned the Florentine Mosca, a
+most excellent carver of marble, who was then occupied, as will be
+related in his Life, with a chimney-piece of stone for the heirs of
+Pellegrino da Fossombrone, which proved to be a divine work of
+carving. This master, I say, at the entreaty of Antonio, made his way
+to Loreto, where he executed festoons that are absolutely divine.
+Thus, with rapidity and diligence, the ornamentation of that Chamber
+of Our Lady was completely finished, although Antonio had five works
+of importance on his hands at one and the same time, to all of which,
+notwithstanding that they were in different places, distant one from
+another, he gave his attention in such a manner that he never
+neglected any of them; for when at any time he could not conveniently
+be there in person, he availed himself of the assistance of his
+brother Battista. These five works were the above-mentioned Fortress
+of Florence, that of Ancona, the work at Loreto, the Apostolic Palace,
+and the well at Orvieto.</p>
+
+<p>After the death of Clement, when Cardinal Farnese was elected supreme
+Pontiff under the title of Paul III, Antonio, having been the friend
+of the Pope while he was a Cardinal, came into even greater credit;
+and His Holiness, having created his son, Signor Pier Luigi, Duke of
+Castro, sent Antonio to make the designs of the fortress which that
+Duke caused to be founded in that place; of the palace, called the
+Osteria, that is on the Piazza; and of the Mint, built of travertine
+after the manner of that in Rome, which is in the same place. Nor were
+these the only designs that Antonio made in that city, for he prepared
+many others of palaces and other buildings for various persons, both
+natives and strangers, who erected edifices of such cost that it would
+seem incredible to one who has not seen them, so ornate are they all,
+so commodious, <span class="pagenum"><a id="Page_134" name="Page_134">[Pg 134]</a></span> and built with so little regard for expense;
+which was done by many, without a doubt, in order to please the Pope,
+seeing that even by such means do many contrive to procure favours for
+themselves, flattering the humour of Princes; and this is a thing not
+otherwise than worthy of praise, for it contributes to the
+convenience, advantage, and pleasure of the whole world.</p>
+
+<p>Next, in the year in which the Emperor Charles V returned victorious
+from Tunis, most magnificent triumphal arches were erected to him in
+Messina, in Apulia, and in Naples, in honour of so great a victory;
+and since he was to come to Rome, Antonio, at the commission of the
+Pope, made a triumphal arch of wood at the Palace of S. Marco, of such
+a shape that it might serve for two streets, and so beautiful that a
+more superb or better proportioned work in wood has never been seen.
+And if in such a work splendid and costly marbles had been added to
+the industry, art, and diligence bestowed on its design and execution,
+it might have been deservedly numbered, on account of its statues,
+painted scenes, and other ornaments, among the Seven Wonders of the
+world. This arch, which was placed at the end of the corner turning
+into the principal Piazza, was of the Corinthian Order, with four
+round columns overlaid with silver on each side, and capitals carved
+in most beautiful foliage, completely overlaid with gold. There were
+very beautiful architraves, friezes, and cornices placed with
+projections over every column; and between each two columns were two
+painted scenes, insomuch that there were four scenes distributed over
+each side, which, with the two sides, made eight scenes altogether,
+containing, as will be described elsewhere in speaking of those who
+painted them, the deeds of the Emperor. In order to enhance this
+splendour, also, and to complete the pediment above that arch on each
+side, there were two figures in relief, each four braccia and a half
+in height, representing Rome, with two Emperors of the House of
+Austria on either side, those on the front part being Albrecht and
+Maximilian, and those on the other side Frederick and Rudolph. And
+upon the corners, likewise, were four prisoners, two on each side,
+with a great number of trophies, also in relief, and the arms of His
+Holiness and of His Majesty; which were all <span class="pagenum"><a id="Page_135" name="Page_135">[Pg 135]</a></span> executed under
+the direction of Antonio by excellent sculptors and by the best
+painters that there were in Rome at that time. And not only this arch
+was executed under the direction of Antonio, but also all the
+preparations for the festival that was held for the reception of so
+great and so invincible an Emperor.</p>
+
+<p>The same Antonio then set to work on the Fortress of Nepi for the
+aforesaid Duke of Castro, and on the fortification of the whole city,
+which is both beautiful and impregnable. He laid out many streets in
+the same city, and made for its citizens the designs of many houses
+and palaces. His Holiness then causing the bastions of Rome to be
+constructed, which are very strong, and the Porta di S. Spirito being
+included among those works, the latter was built with the direction
+and design of Antonio, with rustic decorations of travertine, in a
+very solid and beautiful manner, and so magnificent, that it equals
+the works of the ancients. After the death of Antonio, there were some
+who sought, moved more by envy than by any reasonable motive, and
+employing extraordinary means, to have this structure pulled down; but
+this was not allowed by those in power.</p>
+
+<p>Under the direction of the same architect was refounded almost the
+whole of the Apostolic Palace, which was in danger of ruin in many
+other parts besides those that have been mentioned; in particular, on
+one side, the Sistine Chapel, in which are the works of Michelagnolo,
+and likewise the fa�ade, which he did in such a way that not the
+slightest crack appeared&mdash;a work richer in danger than in honour. He
+enlarged the Great Hall of that same Sistine Chapel, making in two
+lunettes at the head of it those immense windows with their marvellous
+lights, and with compartments pushed up into the vaulting and wrought
+in stucco; all executed at great cost, and so well, that this hall may
+be considered the richest and the most beautiful that there had been
+in the world up to that time. And he added to it a staircase, by which
+it might be possible to go into S. Pietro, so commodious and so well
+built that nothing better, whether ancient or modern, has yet been
+seen; and likewise the Pauline Chapel, where the Sacrament has to be
+placed, which is a work of extraordinary charm, so beautiful and so
+well <span class="pagenum"><a id="Page_136" name="Page_136">[Pg 136]</a></span> proportioned and distributed, that through the grace
+that may be seen therein it appears to present itself to the eye with
+a festive smile.</p>
+
+<p>Antonio built the Fortress of Perugia, at the time when there was
+discord between the people of that city and the Pope; and that work,
+for which the houses of the Baglioni were thrown to the ground, was
+finished with marvellous rapidity, and proved to be very beautiful. He
+also built the Fortress of Ascoli, bringing it in a few days to such a
+condition that it could be held by a garrison, although the people of
+Ascoli and others did not think that it could be carried so far in
+many years; wherefore it happened that, when the garrison was placed
+in it so quickly, those people were struck with astonishment, and
+could scarce believe it. He also refounded his own house in the Strada
+Giulia at Rome, in order to protect himself from the floods that rise
+when the Tiber is swollen; and he not only began, but in great part
+completed, the palace that he occupied near S. Biagio, which now
+belongs to Cardinal Riccio of Montepulciano, who has finished it,
+adding most ornate apartments, and spending upon it vast sums in
+addition to what had been spent by Antonio, which was some thousands
+of crowns.</p>
+
+<p>But all that Antonio did to the benefit and advantage of the world is
+as nothing in comparison with the model of the venerable and
+stupendous fabric of S. Pietro at Rome, which, planned in the
+beginning by Bramante, he enlarged and rearranged with a new plan and
+in an extraordinary manner, giving it dignity and a well-proportioned
+composition, both as a whole and in its separate parts, as may be seen
+from the model made of wood by the hand of his disciple, Antonio
+L'Abacco, who carried it to absolute perfection. This model, which
+gave Antonio a very great name, was published in engraving after the
+death of Antonio da San Gallo, together with the ground-plan of the
+whole edifice, by the said Antonio L'Abacco, who wished to show in
+this way how great was the genius of San Gallo, and to make known to
+all men the opinion of that architect; for new plans had been proposed
+in opposition by Michelagnolo Buonarroti, and out of this change of
+plans many contentions afterwards arose, as will be related in the
+proper place. It appeared to Michelagnolo, and also to many others who
+saw the model of San <span class="pagenum"><a id="Page_137" name="Page_137">[Pg 137]</a></span> Gallo, and such parts as were carried
+into execution by him, that Antonio's composition was too much cut up
+by projections and by members which are too small, as are also the
+columns, the arches upon arches, and the cornices upon cornices.
+Besides this, it seems not to be approved that the two bell-towers in
+his plan, the four little tribunes, and the principal cupola, should
+have that ornament, or rather, garland of columns, many and small. In
+like manner, men did not much approve, nor do they now, of those
+innumerable pinnacles that are in it as a finish to the work; and it
+appears that in that model he imitated the style and manner of the
+Germans rather than the good manner of the ancients, which is now
+followed by the best architects. The above-mentioned model of S.
+Pietro was finished by L'Abacco a short time after the death of
+Antonio; and it was found that, in so far as appertained merely to the
+woodwork and the labour of the carpenters, it had cost four thousand
+one hundred and eighty-four crowns. In executing it, Antonio L'Abacco,
+who had charge of the work, acquitted himself very well, having a good
+knowledge of the matters of architecture, as is proved by the book of
+the buildings of Rome that he printed, which is very beautiful. This
+model, which is now to be found in the principal chapel of S. Pietro,
+is thirty-five palme<a id="FNanchor24" name="FNanchor24"></a><a href="#Footnote24" title="Go to footnote 24" class="fnanchor">[24]</a> in length, twenty-six in breadth, and twenty
+palme and a half in height; wherefore, according to the model, the
+work would have been one thousand and forty palme in length, or one
+hundred and four canne,<a id="FNanchor25" name="FNanchor25"></a><a href="#Footnote25" title="Go to footnote 25" class="fnanchor">[25]</a> and three hundred and sixty palme in
+breadth, or thirty-six canne, for the reason that the canna which is
+used in Rome, according to the measure of the masons, is equal to ten
+palme.</p>
+
+<p>For the making of this model and of many designs, there were assigned
+to Antonio by the Wardens of the building of S. Pietro fifteen hundred
+crowns, of which he received one thousand in cash; but the rest he
+never drew, for a short time after that work he passed to the other
+life. He strengthened the piers of the same Church of S. Pietro, to
+the end that the weight of the tribune might be supported securely;
+and he filled all the scattered parts of the foundations with solid
+material, and <span class="pagenum"><a id="Page_138" name="Page_138">[Pg 138]</a></span> made them so strong, that there is no reason
+to fear that the building may show any more cracks or threaten to
+fall, as it did in the time of Bramante. This masterly work, if it
+were above the ground instead of being hidden below, would amaze the
+boldest intellect. And for these reasons the name and fame of this
+admirable craftsman should always have a place among the rarest
+masters.</p>
+
+<p>We find that ever since the time of the ancient Romans the men of
+Terni and those of Narni have been deadly enemies with one another, as
+they still are, for the reason that the lake of the Marmora, becoming
+choked up at times, would do injury to one of those communities; and
+thus, when the people of Narni wished to release the waters, those of
+Terni would by no means consent to it. On that account there has
+always been a difference between them, whether the Pontiffs were
+governing Rome, or whether it was subject to the Emperors; and in the
+time of Cicero that orator was sent by the Senate to compose that
+difference, but it remained unsettled. Wherefore, after envoys had
+been sent to Pope Paul III in the year 1546 for the same purpose, he
+despatched Antonio to them to settle that dispute; and so, by his good
+judgment, it was resolved that the lake should have an outlet on the
+side where the wall is, and Antonio had it cut, although with the
+greatest difficulty. But it came to pass by reason of the heat, which
+was great, and other hardships, that Antonio, being now old and
+feeble, fell sick of a fever at Terni, and rendered up his spirit not
+long after; at which his friends and relatives felt infinite sorrow,
+and many buildings suffered, particularly the Palace of the Farnese
+family, near the Campo di Fiore.</p>
+
+<div class="figcenter">
+<a name="img028" id="img028"></a>
+<img src="images/img028-tb.jpg" width="500" height="348" alt="Palazzo Farnese." title="">
+<p class="caption">PALAZZO FARNESE<br>
+(<i>After</i> Antonio di San Gallo (<i>with</i> Michelangelo).<br> <i>Rome</i>.)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img028.jpg">View larger image</a></span></p>
+</div>
+
+<p>Pope Paul III, when he was Cardinal Alessandro Farnese, had carried
+that palace a considerable way towards completion, and had finished
+part of the first range of windows in the fa�ade and the inner hall,
+and had begun one side of the courtyard; but the building was yet not
+so far advanced that it could be seen in its perfection, when the
+Cardinal was elected Pontiff, and Antonio altered the whole of the
+original design, considering that he had to make a palace no longer
+for a Cardinal, but for a Pope. Having therefore pulled down some
+houses that were round it, and the old staircase, he rebuilt it with a
+more gentle <span class="pagenum"><a id="Page_139" name="Page_139">[Pg 139]</a></span> ascent, and increased the courtyard on every
+side and also the whole palace, making the halls greater in extent and
+the rooms more numerous and more magnificent, with very beautiful
+carved ceilings and many other ornaments. And he had already brought
+the fa�ade, with the second range of windows, to completion, and had
+only to add the great cornice that was to go right round the whole,
+when the Pope, who was a man of exalted mind and excellent judgment,
+desiring to have a cornice richer and more beautiful than any that
+there had ever been in any other palace whatsoever, resolved that, in
+addition to the designs that Antonio had made, all the best architects
+of Rome should each make one, after which he would choose the finest,
+but would nevertheless have it carried into execution by Antonio. And
+so one morning, while he was at table at the Belvedere, all those
+designs were brought before him in the presence of Antonio, the
+masters who had made them being Perino del Vaga, Fra Sebastiano del
+Piombo, Michelagnolo Buonarroti, and Giorgio Vasari, who was then a
+young man and in the service of Cardinal Farnese, at the commission of
+whom and of the Pope he had prepared for that cornice not one only,
+but two different designs. It is true that Buonarroti did not bring
+his own himself, but sent it by the same Giorgio Vasari, who had gone
+to show him his designs, to the end that he might express his opinion
+on them as a friend; whereupon Michelagnolo gave him his own design,
+asking that he should take it to the Pope and make his excuses for not
+going in person, on the ground that he was indisposed. And when all
+the designs had been presented to the Pope, his Holiness examined them
+for a long time, and praised them all as ingenious and very beautiful,
+but that of the divine Michelagnolo above all.</p>
+
+<p>Now all this did not happen without causing vexation to Antonio, who
+was not much pleased with this method of procedure on the part of the
+Pope, and who would have liked to do everything by himself. But even
+more was he displeased to see that the Pope held in great account one
+Jacomo Melighino of Ferrara, and made use of him as architect in the
+building of S. Pietro, although he showed neither power of design nor
+much judgment in his works, giving him the same salary as he paid to
+Antonio, on whom fell all the labour. And this happened <span class="pagenum"><a id="Page_140" name="Page_140">[Pg 140]</a></span>
+because this Melighino had been the faithful servant of the Pope for
+many years without any reward, and it pleased His Holiness to
+recompense him in that way; not to mention that he had charge of the
+Belvedere and of some other buildings belonging to the Pope.</p>
+
+<p>After the Pope, therefore, had seen all the designs mentioned above,
+he said, perchance to try Antonio: "These are all beautiful, but it
+would not be amiss for us to see another that our Melighino has made."
+At which Antonio, feeling some resentment, and believing that the Pope
+was making fun of him, replied: "Holy Father, Melighino is but an
+architect in jest." Which hearing, the Pope, who was seated, turned
+towards Antonio, and, bowing his head almost to the ground, answered:
+"Antonio, it is our wish that Melighino should be an architect in
+earnest, as you may see from his salary." Having said this, he
+dismissed the company and went away; and by these words he meant to
+show that it is very often by Princes rather than by their own merits
+that men are brought to the greatness that they desire. The cornice
+was afterwards executed by Michelagnolo, who reconstructed the whole
+of that palace almost in another form, as will be related in his Life.</p>
+
+<p>After the death of Antonio there remained alive his brother Battista
+Gobbo, a person of ability, who spent all his time on the buildings of
+Antonio, although the latter did not behave very well towards him.
+This Battista did not live many years after Antonio, and at his death
+he left all his possessions to the Florentine Company of the
+Misericordia in Rome, on the condition that the men of that Company
+should cause to be printed a book of Observations on Vitruvius that he
+had written. That book has never come into the light of day, but it is
+believed to be a good work, for he had a very fine knowledge of the
+matters of his art, and was a man of excellent judgment, and he was
+also upright and true.</p>
+
+<p>But returning to Antonio: having died at Terni, he was taken to Rome
+and carried to the grave with the greatest pomp, followed by all the
+craftsmen of design and by many others; and then, at the instance of
+the Wardens of S. Pietro, his body was placed in a tomb near the
+Chapel of Pope Sixtus in S. Pietro, with the following epitaph:</p>
+
+<p class="center">
+     <span class="pagenum"><a id="Page_141" name="Page_141">[Pg 141]</a></span> <span class="smcap">ANTONIO SANCTI GALLI FLORENTINO, URBE MUNIENDA AC PUB.<br>
+     OPERIBUS, PR�CIPUEQUE D. PETRI TEMPLO ORNAN. ARCHITECTORUM FACILE<br>
+     PRINCIPI, DUM VELINI LACUS EMISSIONEM PARAT, PAULO PONT. MAX.<br>
+     AUCTORE, INTERAMN� INTEMPESTIVE EXTINCTO, ISABELLA DETA UXOR<br>
+     M&OElig;STISS. POSUIT 1546, III. CALEND. OCTOBRIS.</span></p>
+
+<p>And in truth Antonio, who was a most excellent architect, deserves to
+be celebrated and extolled, as his works clearly demonstrate, no less
+than any other architect, whether ancient or modern.</p>
+
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="romano" id="romano"></a><span class="pagenum"><a id="Page_143" name="Page_143">[Pg 143]</a></span> GIULIO ROMANO</h2>
+
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_romano" id="life_of_romano"></a><span class="pagenum"><a id="Page_145" name="Page_145">[Pg 145]</a></span> LIFE OF GIULIO ROMANO</h2>
+
+<h3>PAINTER</h3>
+
+
+<p>Among his many, or rather innumerable, disciples, the greater number
+of whom became able masters, Raffaello da Urbino had not one who
+imitated him more closely in manner, invention, design, and colouring,
+than did Giulio Romano, nor one who was better grounded, more bold,
+resolute, prolific, and versatile, or more fanciful and varied than
+Giulio; not to mention for the present that he was very pleasant in
+his conversation, gay, amiable, gracious, and supremely excellent in
+character. These qualities were the reason that he was so beloved by
+Raffaello, that, if he had been his son, he could not have loved him
+more; wherefore it came to pass that Raffaello always made use of him
+in his most important works, and, in particular, in executing the
+Papal Loggie for Leo X; for after Raffaello had made the designs for
+the architecture, the decorations, and the scenes, he caused Giulio to
+paint many of the pictures there, among which are the Creation of Adam
+and Eve, that of the animals, the Building of Noah's Ark, his
+Sacrifice, and many other works, which are known by the manner, such
+as the one in which the daughter of Pharaoh, with her ladies, finds
+Moses in the little ark, which had been cast adrift on the river by
+the Hebrews&mdash;a work that is marvellous on account of a very well
+executed landscape. Giulio also assisted Raffaello in painting many
+things in that apartment of the Borgia Tower which contains the
+Burning of the Borgo, more particularly the base, which is painted in
+the colour of bronze, with the Countess Matilda, King Pepin,
+Charlemagne, Godfrey de Bouillon, King of Jerusalem, and other
+benefactors of the Church&mdash;all excellent figures; and prints of a part
+of this scene, taken from a drawing by the hand of Giulio, <span class="pagenum"><a id="Page_146" name="Page_146">[Pg 146]</a></span>
+were published not long since. The same Giulio also executed the
+greater part of the scenes in fresco that are in the Loggia of
+Agostino Chigi; and he worked in oils on a very beautiful picture of
+S. Elizabeth, which was painted by Raffaello and sent to King Francis
+of France, together with another picture, of S. Margaret, painted
+almost entirely by Giulio after the design of Raffaello, who sent to
+the same King the portrait of the Vice-Queen of Naples, wherein
+Raffaello did nothing but the likeness of the head from life, and the
+rest was finished by Giulio. These works, which were very dear to that
+King, are still in the King's Chapel at Fontainebleau in France.</p>
+
+<p>Working in this manner in the service of his master Raffaello, and
+learning the most difficult secrets of art, which were taught to him
+by Raffaello himself with extraordinary lovingness, before a long time
+had passed Giulio knew very well how to draw in perspective, take the
+measurements of buildings, and execute ground-plans; and Raffaello,
+designing and sketching at times inventions after his own fancy, would
+afterwards have them drawn on a larger scale, with the proper
+measurements, by Giulio, in order to make use of them in his works of
+architecture. And Giulio, beginning to delight in that art, gave his
+attention to it in such a manner, that he afterwards practised it and
+became a most excellent master. At his death, Raffaello left as his
+heirs Giulio and Giovan Francesco, called Il Fattore, on the condition
+that they should finish the works begun by him; and they carried the
+greater part of these to completion with honour.</p>
+
+<div class="figcenter">
+<a name="img029" id="img029"></a>
+<img src="images/img029-tb.jpg" width="400" height="503" alt="The Battle of Constantine." title="">
+<p class="caption">THE BATTLE OF CONSTANTINE<br>
+(<i>Detail, after the fresco by</i> Giulio Romano.<br> <i>Rome: The Vatican</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img029.jpg">View larger image</a></span></p>
+</div>
+
+<p>Now Cardinal Giulio de' Medici, who afterwards became Pope Clement
+VII, took a site under Monte Mario at Rome, in which, besides a
+beautiful view, there were running waters, with some woods on the
+banks and a lovely plain which, running along the Tiber as far as the
+Ponte Molle, formed on either side a wide expanse of meadowland that
+extended almost to the Porta di S. Pietro; and on the highest point of
+the bank, where there was a level space, he proposed to build a palace
+with all the best and most beautiful conveniences and adornments that
+could be desired in the form of apartments, loggie, gardens,
+fountains, groves, and other things. Of all this he gave the charge to
+Giulio, who, undertaking <span class="pagenum"><a id="Page_147" name="Page_147">[Pg 147]</a></span> it willingly, and setting his
+hand to the work, brought that palace, which was then called the Vigna
+de' Medici, and is now known as the Villa Madama, to that condition
+which will be described below. Accommodating himself, then, to the
+nature of the site and the wishes of the Cardinal, he made the fa�ade
+in the form of a semicircle, after the manner of a theatre, with a
+design of niches and windows of the Ionic Order; which was so
+excellent, that many believe that Raffaello made the first sketch for
+it, and that the work was afterwards pursued and carried to completion
+by Giulio. The same Giulio painted many pictures in the chambers and
+elsewhere; in particular, in a very beautiful loggia beyond the first
+entrance vestibule, which is adorned all around with niches large and
+small, wherein are great numbers of ancient statues; and among these
+was a Jupiter, a rare work, which was afterwards sent by the Farnese
+family to King Francis of France, with many other most beautiful
+statues. In addition to those niches, the said loggia is all wrought
+in stucco and has the walls and ceilings all painted with grotesques
+by the hand of Giovanni da Udine. At the head of this loggia Giulio
+painted in fresco an immense Polyphemus with a vast number of children
+and little satyrs playing about him, for which he gained much praise,
+even as he did for all the designs and works that he executed for that
+place, which he adorned with fish-ponds, pavements, rustic fountains,
+groves, and other suchlike things, all most beautiful and carried out
+with fine order and judgment.</p>
+
+<p>It is true that, the death of Leo supervening, for a time this work
+was carried no further, for when a new Pontiff had been elected in
+Adrian, and Cardinal de' Medici had returned to Florence, it was
+abandoned, together with all the public works begun by Adrian's
+predecessor. During this time Giulio and Giovan Francesco brought to
+completion many things that had been left unfinished by Raffaello, and
+they were preparing to carry into execution some of the cartoons that
+he had made for the pictures of the Great Hall of the Palace&mdash;in which
+he had begun to paint four stories from the life of the Emperor
+Constantine, and had, when he died, covered one wall with the proper
+mixture for painting in oils&mdash;when they saw that Adrian, being a man
+who took no delight in <span class="pagenum"><a id="Page_148" name="Page_148">[Pg 148]</a></span> pictures, sculptures, or in any other
+good thing, had no wish that the Hall should be finished. Driven to
+despair, therefore, Giulio and Giovan Francesco, and with them Perino
+del Vaga, Giovanni da Udine, Sebastiano Viniziano, and all the other
+excellent craftsmen, were almost like to die of hunger during the
+lifetime of Adrian. But by the will of God, while the Court,
+accustomed to the magnificence of Leo, was all in dismay, and all the
+best craftsmen, perceiving that no art was prized any longer, were
+beginning to consider where they might take refuge, Adrian died, and
+Cardinal Giulio de' Medici was elected Supreme Pontiff under the name
+of Clement VII; and with him all the arts of design, together with the
+other arts, were restored to life in one day. Giulio and Giovan
+Francesco, full of joy, set themselves straightway by order of the
+Pope to finish the above-mentioned Hall of Constantine, and threw to
+the ground the preparation that had been laid on one wall for painting
+in oils; but they left untouched two figures that they had painted
+previously in oils, which serve as adornments to certain Popes; and
+these were a Justice and another similar figure.</p>
+
+<p>The distribution of this Hall, which is low, had been designed with
+much judgment by Raffaello, who had placed at the corners, over all
+the doors, large niches with ornaments in the form of little boys
+holding various devices of Leo, such as lilies, diamonds, plumes, and
+other emblems of the House of Medici. In the niches were seated some
+Popes in pontificals, each with a canopy in his niche; and round those
+Popes were some little boys in the form of little angels, holding
+books and other appropriate things in their hands. And each Pope had
+on either side of him a Virtue, chosen according to his merits; thus,
+the Apostle Peter had Religion on one side and Charity, or rather
+Piety, on the other, and so all the others had similar Virtues; and
+the said Popes were Damasus I, Alexander I, Leo III, Gregory,
+Sylvester, and some others. All these figures were so well placed in
+position and executed by Giulio, who painted all the best parts of
+this work in fresco, that it is clear that he endured much labour and
+took great pains with them; as may also be seen from a drawing of S.
+Sylvester, which was designed very well by his own hand, and is
+perhaps a much more graceful work than the painted figure. <span class="pagenum"><a id="Page_149" name="Page_149">[Pg 149]</a></span>
+It may be affirmed, indeed, that Giulio always expressed his
+conceptions better in drawings than in finished work or in paintings,
+for in the former may be seen more vivacity, boldness, and feeling;
+and this may have happened because he made a drawing in an hour, in
+all the heat and glow of working, whereas on paintings he spent
+months, and even years, so that, growing weary of them, and losing
+that keen and ardent love that one has at the beginning of a work, it
+is no marvel that he did not give them that absolute perfection that
+is to be seen in his drawings.</p>
+
+<p>But to return to the stories: Giulio painted on one of the walls
+Constantine making an address to his soldiers; while in the air, in a
+splendour of light, appears the Sign of the Cross, with some little
+boys, and letters that run thus: "In hoc signo vinces." And there is a
+dwarf at the feet of Constantine, placing a helmet on his head, who is
+executed with great art. Next, on the largest wall, there is the
+battle of horsemen which took place at the Ponte Molle, in which
+Constantine routed Maxentius. This work is worthy of the highest
+praise, on account of the dead and wounded that may be seen in it, and
+the various extravagant attitudes of the foot-soldiers and horsemen
+who are fighting in groups, all painted with great spirit; not to
+mention that there are many portraits from life. And if this scene
+were not too much darkened and loaded with blacks, which Giulio always
+delighted to use in colouring, it would be altogether perfect; but
+this takes away much of its grace and beauty. In the same scene he
+painted the whole landscape of Monte Mario, and the River Tiber, in
+which Maxentius, who is on horseback, proud and terrible, is drowning.
+In short, Giulio acquitted himself in such a manner in this work, that
+it has been a great light to all who have painted battle-pieces of
+that kind since his day. He himself learned so much from the ancient
+columns of Trajan and Antoninus that are in Rome, that he made much
+use of this knowledge for the costumes of soldiers, armour, ensigns,
+bastions, palisades, battering-rams, and all the other instruments of
+war that are painted throughout the whole of that Hall. And beneath
+these scenes, right round, he painted many things in the colour of
+bronze, which are all beautiful and worthy of praise.</p>
+
+<p>On another wall he painted S. Sylvester the Pope baptizing
+Constantine, <span class="pagenum"><a id="Page_150" name="Page_150">[Pg 150]</a></span> representing there the very bath made by
+Constantine himself, which is at S. Giovanni Laterano at the present
+day; and he made a portrait from life of Pope Clement in the S.
+Sylvester who is baptizing, with some assistants in their vestments,
+and a crowd of people. Among the many attendants of the Pope of whom
+he painted portraits there, also from life, was the Cavalierino, who
+was very influential with His Holiness at that time, and Messer
+Niccol� Vespucci, a Knight of Rhodes. And below this, on the base, he
+painted a scene with figures in imitation of bronze, of Constantine
+causing the Church of S. Pietro to be built at Rome, in allusion to
+Pope Clement. There he made portraits of the architect Bramante and of
+Giuliano Lemi,<a id="FNanchor26" name="FNanchor26"></a><a href="#Footnote26" title="Go to footnote 26" class="fnanchor">[26]</a> holding the design of the ground-plan of the said
+church, and this scene is very beautiful.</p>
+
+<p>On the fourth wall, above the chimney-piece of that Hall, he depicted
+in perspective the Church of S. Pietro at Rome, with the Pope's throne
+exactly as it appears when His Holiness chants the Pontifical Mass;
+the body of Cardinals and all the other prelates of the Court; the
+chapel of singers and musicians; and the Pope seated, represented as
+S. Sylvester, with Constantine kneeling at his feet and presenting to
+him a figure of Rome made of gold in the manner of those that are on
+the ancient medals, by which Giulio intended to signify the dowry
+which that Constantine gave to the Roman Church. In this scene Giulio
+painted many women kneeling there to see that ceremony, who are very
+beautiful; a beggar asking for alms; a little boy amusing himself by
+riding on a dog; and the Lancers of the Papal Guard, who are making
+the people give way and stand back, as is the custom. And among many
+portraits that are in this work may be seen portraits from life of
+Giulio himself, the painter; of Count Baldassarre Castiglioni, the
+author of the "Cortigiano," and very much his friend; of Pontano and
+Marullo; and of many other men of letters and courtiers. Right round
+the Hall and between the windows Giulio painted many devices and
+poetical compositions, which were pleasing and fanciful; and
+everything was much to the satisfaction of the Pope, who rewarded him
+liberally for his labours.</p>
+
+<p>While this Hall was being painted, Giulio and Giovan Francesco,
+<span class="pagenum"><a id="Page_151" name="Page_151">[Pg 151]</a></span> although they could not meet the demands of their friends
+even in part, executed an altar-piece with the Assumption of Our Lady,
+a very beautiful work, which was sent to Perugia and placed in the
+Convent of the Nuns of Monteluci. Then, having withdrawn to work by
+himself, Giulio painted a picture of Our Lady, with a cat that was so
+natural that it appeared to be truly alive; whence that picture was
+called the Picture of the Cat. In another picture, of great size, he
+painted a Christ being scourged at the Column, which was placed on the
+altar of the Church of S. Prassedia at Rome. And not long after this,
+M. Giovan Matteo Giberti, who was then Datary to Pope Clement, and
+afterwards became Bishop of Verona, commissioned Giulio, who was his
+very familiar friend, to make the design for some rooms that were
+built of brick near the gate of the Papal Palace, looking out upon the
+Piazza of S. Pietro, and serving for the accommodation of the
+trumpeters who blow their trumpets when the Cardinals go to the
+Consistory, with a most commodious flight of steps, which can be
+ascended on horseback as well as on foot. For the same M. Giovan
+Matteo he painted an altar-piece of the Stoning of S. Stephen, which
+M. Giovan Matteo sent to a benefice of his own, called S. Stefano, in
+Genoa. In this altar-piece, which is most beautiful in invention,
+grace, and composition, the young Saul may be seen seated on the
+garments of S. Stephen while the Jews are stoning him; and, in a word,
+Giulio never painted a more beautiful work than this, so fierce are
+the attitudes of the persecutors and so well expressed the patience of
+Stephen, who appears to be truly seeing Jesus Christ on the right hand
+of the Father in the Heaven, which is painted divinely well. This
+work, together with the benefice, M. Giovan Matteo gave to the Monks
+of Monte Oliveto, who have turned the place into a monastery.</p>
+
+<p>The same Giulio executed at the commission of the German Jacob Fugger,
+for a chapel that is in S. Maria de Anima at Rome, a most lovely
+altar-piece in oils, in which are the Madonna, S. Anne, S. Joseph, S.
+James, S. John as a little boy kneeling, and S. Mark the Evangelist
+with a lion at his feet, which is lying down with a book, its hair
+curving in accordance with its position, which was a beautiful
+consideration, and difficult to <span class="pagenum"><a id="Page_152" name="Page_152">[Pg 152]</a></span> execute; not to mention that
+the same lion has short wings on its shoulders, with feathers so soft
+and plumy, that it seems almost incredible that the hand of a
+craftsman could have been able to imitate nature so closely. Besides
+this, he painted there a building that curves in a circular form after
+the manner of a theatre, with some statues so beautiful and so well
+placed that there is nothing better to be seen. Among other figures
+there is a woman who is spinning and gazing at a hen with some
+chickens, than which nothing could be more natural; and above Our Lady
+are some little boys, very graceful and well painted, who are
+upholding a canopy. And if this picture, also, had not been so heavily
+loaded with black, by reason of which it has become very dark, it
+would certainly have been much better; but this blackness has brought
+it about that the greater part of the work that is in it is lost or
+destroyed, and that because black, even when fortified with varnish,
+is the ruin of all that is good, always having in it a certain
+desiccative quality, whether it be made from charcoal, burnt ivory,
+smoke-black, or burnt paper.</p>
+
+<p>Among the many disciples that Giulio had while he was executing these
+works, such as Bartolommeo da Castiglione, Tommaso Papacello of
+Cortona, and Benedetto Pagni of Pescia, those of whom he made the most
+particular use were Giovanni da Lione and Raffaello dal Colle of Borgo
+a San Sepolcro, both of whom assisted him in the execution of many
+things in the Hall of Constantine and in the other works of which we
+have spoken. Wherefore I do not think it right to refrain from
+mentioning that these two, who were very dexterous in painting, and
+followed the manner of Giulio closely in carrying into execution the
+works that he designed for them, painted in colours after his design,
+near the old Mint in the Banchi, the escutcheon of Pope Clement VII,
+each of them doing one-half, with two terminal figures, one on either
+side of that escutcheon. And the same Raffaello, not long after,
+painted in fresco from a cartoon drawn by Giulio, in a lunette within
+the door of the Palace of Cardinal della Valle, a Madonna who is
+covering the Child, who is sleeping, with a piece of drapery, with S.
+Andrew the Apostle on one side and S. Nicholas on the other, which was
+held, with justice, to be an excellent picture.</p>
+
+<p><span class="pagenum"><a id="Page_153" name="Page_153">[Pg 153]</a></span> Giulio, meanwhile, being very intimate with Messer
+Baldassarre Turini da Pescia, built for him on Mount Janiculum, where
+there are some villas that have a most beautiful view, after making
+the design and model, a palace so graceful and so well appointed, from
+its having all the conveniences that could be desired in such a place,
+that it defies description. Moreover, the apartments were adorned not
+only with stucco, but also with paintings, for he himself painted
+there some stories of Numa Pompilius, who was buried on that spot; and
+in the bathroom of this palace, with the help of his young men, Giulio
+painted some stories of Venus, Love, Apollo, and Hyacinthus, which are
+all to be seen in engraving.</p>
+
+<p>After having separated himself completely from Giovan Francesco, he
+executed various architectural works in Rome, such as the design of
+the house of the Alberini in the Banchi (although some believe that
+the plan of this work came from Raffaello), and likewise a palace that
+may be seen at the present day on the Piazza della Dogana in Rome,
+which, being beautiful in design, has been reproduced in engraving.
+And for himself, on a corner of the Macello de' Corbi, where stood his
+own house, in which he was born, he made a beginning with a beautiful
+range of windows, which is a small thing, but very graceful.</p>
+
+<p>By reason of all these excellent qualities, Giulio, after the death of
+Raffaello, was celebrated as the best craftsman in Italy. And Count
+Baldassarre Castiglioni, who was then in Rome as ambassador from
+Federigo Gonzaga, Marquis of Mantua, and was much the friend, as has
+been related, of Giulio, having been commanded by his master the
+Marquis to send him an architect of whom he might avail himself for
+the necessities of his palace and of the city, the Marquis adding that
+he would particularly like to have Giulio&mdash;the Count, I say, so
+wrought upon him with entreaties and promises, that Giulio said that
+he would go, provided that he could do this with the leave of Pope
+Clement; which leave having been obtained, the Count, setting out for
+Mantua, from which he was then to go on behalf of the Pope to the
+Emperor, took Giulio with him; and having arrived there, he presented
+him to the Marquis, who, after welcoming him warmly, caused an
+honourably <span class="pagenum"><a id="Page_154" name="Page_154">[Pg 154]</a></span> appointed house to be given to him, together with
+a salary and also a good table for himself, for his disciple Benedetto
+Pagni, and for another young man who was in his service; and, what is
+more, the Marquis sent him several canne of velvet, satin, and other
+kinds of silk and cloth wherewith to clothe himself. Then, hearing
+that he had no horse to ride, he sent for a favourite horse of his
+own, called Luggieri, and presented it to him; and when Giulio had
+mounted upon it, they rode to a spot a bow-shot beyond the Porta di S.
+Bastiano, where His Excellency had a place with some stables, called
+the T�, standing in the middle of a meadow, in which he kept his stud
+of horses and mares. Arriving there, the Marquis said that he would
+like, without destroying the old walls, to have some sort of place
+arranged to which he might resort at times for dinner or supper, as a
+recreation.</p>
+
+<p>Giulio, having heard the will of the Marquis, and having examined the
+whole place, took a ground-plan of that site and set his hand to the
+work. Availing himself of the old walls, he made in the principal part
+the first hall that is to be seen at the present day as one enters,
+with the suite of rooms that are about it. And since the place has no
+living rock, and no quarries from which to excavate material for hewn
+and carved stone, such as are used in building by those who can obtain
+them, he made use of brick and baked stone, which he afterwards worked
+over with stucco; and with this material he made columns, bases,
+capitals, cornices, doors, windows, and other things, all with most
+beautiful proportions. And he executed the decorations of the vaults
+in a new and fantastic manner, with very handsome compartments, and
+with richly adorned recesses, which was the reason that the Marquis,
+after a beginning so humble, then resolved to have the whole of that
+building reconstructed in the form of a great palace.</p>
+
+<div class="figcenter">
+<a name="img030" id="img030"></a>
+<img src="images/img030-tb.jpg" width="500" height="343" alt="The Marriage Banquet of Cupid and Psyche." title="">
+<p class="caption">THE MARRIAGE BANQUET OF CUPID AND PSYCHE<br>
+(<i>After the fresco by</i> Giulio Romano.<br> <i>Mantua: Palazzo del T�</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img030.jpg">View larger image</a></span></p>
+</div>
+
+<p>Thereupon Giulio made a very beautiful model, all of rustic work both
+without and within the courtyard, which pleased that lord so much,
+that he assigned a good sum of money for the building; and after
+Giulio had engaged many masters, the work was quickly carried to
+completion. The form of the palace is as follows: The building is
+quadrangular, and has in the centre an open courtyard after the manner
+of a meadow, or rather, <span class="pagenum"><a id="Page_155" name="Page_155">[Pg 155]</a></span> of a piazza, into which open four
+entrances in the form of a cross. The first of these traverses
+straightway, or rather, passes, into a very large loggia, which opens
+by another into the garden, and two others lead into various
+apartments; and these are all adorned with stucco-work and paintings.
+In the hall to which the first entrance gives access the vaulting is
+wrought in various compartments and painted in fresco, and on the
+walls are portraits from life of all the favourite and most beautiful
+horses from the stud of the Marquis, together with the dogs of the
+same coat or marking as the horses, with their names; which were all
+designed by Giulio, and painted in fresco on the plaster by the
+painters Benedetto Pagni and Rinaldo Mantovano, his disciples, and so
+well, in truth, that they seem to be alive.</p>
+
+<p>From this hall one passes into a room which is at one corner of the
+palace, and has the vaulting most beautifully wrought with
+compartments in stucco-work and varied mouldings, touched in certain
+places with gold. These mouldings divide the surface into four
+octagons, which enclose a picture in the highest part of the vaulting,
+in which is Cupid marrying Psyche in the sight of Jove, who is on
+high, illumined by a dazzling celestial light, and in the presence of
+all the Gods. It would not be possible to find anything executed with
+more grace or better draughtsmanship than this scene, for Giulio
+foreshortened the figures so well, with a view to their being seen
+from below, that some of them, although they are scarcely one braccio
+in length, appear when seen from the ground to be three braccia high;
+and, in truth, they are wrought with marvellous art and ingenuity,
+Giulio having succeeded in so contriving them, that, besides seeming
+to be alive (so strong is the relief), they deceive the human eye with
+a most pleasing illusion. In the octagons are all the earlier stories
+of Psyche, showing the adversities that came upon her through the
+wrath of Venus, and all executed with the same beauty and perfection;
+in other angles are many Loves, as likewise in the windows, producing
+various effects in accordance with the spaces where they are; and the
+whole of the vaulting is painted in oils by the hands of the
+above-mentioned Benedetto and Rinaldo. The rest of the stories of
+Psyche are on the walls below, and these are the <span class="pagenum"><a id="Page_156" name="Page_156">[Pg 156]</a></span> largest. In
+one in fresco is Psyche in the bath; and the Loves are bathing her,
+and then wiping her dry with most beautiful gestures. In another part
+is Mercury preparing the banquet, while Psyche is bathing, with the
+Bacchantes sounding instruments; and there are the Graces adorning the
+table with flowers in a beautiful manner. There is also Silenus
+supported by Satyrs, with his ass, and a goat lying down, which has
+two children sucking at its udder; and in that company is Bacchus, who
+has two tigers at his feet, and stands leaning with one arm on the
+credence, on one side of which is a camel, and on the other an
+elephant. This credence, which is barrel-shaped, is adorned with
+festoons of verdure and flowers, and all covered with vines laden with
+bunches of grapes and leaves, under which are three rows of bizarre
+vases, basins, drinking-cups, tazze, goblets, and other things of that
+kind in various forms and fantastic shapes, and so lustrous, that they
+seem to be of real silver and gold, being counterfeited with a simple
+yellow and other colours, and that so well, that they bear witness to
+the extraordinary genius and art of Giulio, who proved in this part of
+the work that he was rich, versatile, and abundant in invention and
+craftsmanship. Not far away may be seen Psyche, who, surrounded by
+many women who are serving and attiring her, sees Ph&oelig;bus appearing
+in the distance among the hills in the chariot of the sun, which is
+drawn by four horses; while Zephyr is lying nude upon some clouds, and
+is blowing gentle breezes through a horn that he has in his mouth,
+which make the air round Psyche balmy and soft. These stories were
+engraved not many years since after the designs of Battista Franco of
+Venice, who copied them exactly as they were painted from the great
+cartoons of Giulio by Benedetto of Pescia and Rinaldo Mantovano, who
+carried into execution all the stories except the Bacchus, the
+Silenus, and the two children suckled by the goat; although it is true
+that the work was afterwards retouched almost all over by Giulio, so
+that it is very much as if it had been all painted by him. This
+method, which he learned from Raffaello, his instructor, is very
+useful to young men, who in this way obtain practice and thereby
+generally become excellent masters. And although some persuade
+themselves that they are greater than those who keep them at work,
+<span class="pagenum"><a id="Page_157" name="Page_157">[Pg 157]</a></span> such fellows, if their guide fails them before they are at
+the end, or if they are deprived of the design and directions for the
+work, learn that through having lost or abandoned that guidance too
+early they are wandering like blind men in an infinite sea of errors.</p>
+
+<p>But to return to the apartments of the T�; from that room of Psyche
+one passes into another full of double friezes with figures in
+low-relief, executed in stucco after the designs of Giulio by
+Francesco Primaticcio of Bologna, then a young man, and by Giovan
+Battista Mantovano, in which friezes are all the soldiers that are on
+Trajan's Column at Rome, wrought in a beautiful manner. And on the
+ceiling, or rather soffit, of an antechamber is painted in oils the
+scene when Icarus, having been taught by his father D�dalus, seeks to
+rise too high in his flight, and, after seeing the Sign of Cancer and
+the chariot of the sun, which is drawn by four horses in
+foreshortening, near the Sign of Leo, is left without his wings, the
+wax being consumed by the heat of the sun; and near this the same
+Icarus may be seen hurtling through the air, and almost falling upon
+those who gaze at him, his face dark with the shadow of death. This
+invention was so well conceived and imagined by Giulio, that it seems
+to be real and true, for in it one sees the fierce heat of the sun
+burning the wretched youth's wings, the flaming fire gives out smoke,
+and one almost hears the crackling of the burning plumes, while death
+may be seen carved in the face of Icarus, and in that of D�dalus the
+most bitter sorrow and agony. In our book of drawings by various
+painters is the original design of this very beautiful scene, by the
+hand of Giulio himself, who executed in the same place the stories of
+the twelve months of the year, showing all that is done in each of
+them in the arts most practised by mankind&mdash;paintings which are
+notable no less for their fantastic and delightful character and their
+beauty of invention than for the judgment and diligence with which
+they were executed.</p>
+
+<p>After passing the great loggia, which is adorned with stucco-work and
+with many arms and various other bizarre ornaments, one comes to some
+rooms filled with such a variety of fantasies, that the brain reels at
+the thought of them. For Giulio, who was very fanciful and ingenious,
+wishing to demonstrate his worth, resolved to make, at an <span class="pagenum"><a id="Page_158" name="Page_158">[Pg 158]</a></span>
+angle of the palace which formed a corner similar to that of the room
+of Psyche described above, an apartment the masonry of which should be
+in keeping with the painting, in order to deceive as much as possible
+all who might see it. He therefore had double foundations of great
+depth sunk at that corner, which was in a marshy place, and over that
+angle he constructed a large round room, with very thick walls, to the
+end that the four external angles of the masonry might be strong
+enough to be able to support a double vault, round after the manner of
+an oven. This done, he caused to be built at the corners right round
+the room, in the proper places, the doors, windows, and fireplace, all
+of rustic stones rough-hewn as if by chance, and, as it were,
+disjointed and awry, insomuch that they appeared to be really hanging
+over to one side and falling down. Having built this room in such
+strange fashion, he set himself to paint in it the most fantastic
+composition that he was able to invent&mdash;namely, Jove hurling his
+thunderbolts against the Giants. And so, depicting Heaven on the
+highest part of the vaulting, he placed there the throne of Jove,
+representing it as seen in foreshortening from below and from the
+front, within a round temple, supported by open columns of the Ionic
+Order, with his canopy over the centre of the throne, and with his
+eagle; and all was poised upon the clouds. Lower down he painted Jove
+in anger, slaying the proud Giants with his thunderbolts, and below
+him is Juno, assisting him; and around them are the Winds, with
+strange countenances, blowing towards the earth, while the Goddess Ops
+turns with her lions at the terrible noise of the thunder, as also do
+the other Gods and Goddesses, and Venus in particular, who is at the
+side of Mars; and Momus, with his arms outstretched, appears to fear
+that Heaven may be falling headlong down, and yet he stands
+motionless. The Graces, likewise, are standing filled with dread, and
+beside them, in like manner, the Hours. All the Deities, in short, are
+taking to flight with their chariots. The Moon, Saturn, and Janus are
+going towards the lightest of the clouds, in order to withdraw from
+that terrible uproar and turmoil, and the same does Neptune, who, with
+his dolphins, appears to be seeking to support himself on his trident.
+Pallas, with the nine Muses, stands wondering what <span class="pagenum"><a id="Page_159" name="Page_159">[Pg 159]</a></span> horrible
+thing this may be, and Pan, embracing a Nymph who is trembling with
+fear, seems to wish to save her from the glowing fires and the
+lightning-flashes with which the heavens are filled. Apollo stands in
+the chariot of the sun, and some of the Hours seem to be seeking to
+restrain the course of his horses. Bacchus and Silenus, with Satyrs
+and Nymphs, betray the greatest terror, and Vulcan, with his ponderous
+hammer on one shoulder, gazes towards Hercules, who is speaking of
+this event with Mercury, beside whom is Pomona all in dismay, as are
+also Vertumnus and all the other Gods dispersed throughout that
+Heaven, in which all the effects of fear are so well expressed, both
+in those who are standing and in those who are flying, that it is not
+possible, I do not say to see, but even to imagine a more beautiful
+fantasy in painting than this one.</p>
+
+<p>In the parts below, that is, on the walls that stand upright,
+underneath the end of the curve of the vaulting, are the Giants, some
+of whom, those below Jove, have upon their backs mountains and immense
+rocks which they support with their stout shoulders, in order to pile
+them up and thus ascend to Heaven, while their ruin is preparing, for
+Jove is thundering and the whole Heaven burning with anger against
+them; and it appears not only that the Gods are dismayed by the
+presumptuous boldness of the Giants, upon whom they are hurling
+mountains, but that the whole world is upside down and, as it were,
+come to its last day. In this part Giulio painted Briareus in a dark
+cavern, almost covered with vast fragments of mountains, and the other
+Giants all crushed and some dead beneath the ruins of the mountains.
+Besides this, through an opening in the darkness of a grotto, which
+reveals a distant landscape painted with beautiful judgment, may be
+seen many Giants flying, all smitten by the thunderbolts of Jove, and,
+as it were, on the point of being overwhelmed at that moment by the
+fragments of the mountains, like the others. In another part Giulio
+depicted other Giants, upon whom are falling temples, columns, and
+other pieces of buildings, making a vast slaughter and havoc of those
+proud beings. And in this part, among those falling fragments of
+buildings, stands the fireplace of the room, which, when there is a
+fire in it, makes it appear as if the Giants are burning, for Pluto is
+painted there, flying towards <span class="pagenum"><a id="Page_160" name="Page_160">[Pg 160]</a></span> the centre with his chariot
+drawn by lean horses, and accompanied by the Furies of Hell; and thus
+Giulio, not departing from the subject of the story with this
+invention of the fire, made a most beautiful adornment for the
+fireplace.</p>
+
+<p>In this work, moreover, in order to render it the more fearsome and
+terrible, Giulio represented the Giants, huge and fantastic in aspect,
+falling to the earth, smitten in various ways by the lightnings and
+thunderbolts; some in the foreground and others in the background,
+some dead, others wounded, and others again covered by mountains and
+the ruins of buildings. Wherefore let no one ever think to see any
+work of the brush more horrible and terrifying, or more natural than
+this one; and whoever enters that room and sees the windows, doors,
+and other suchlike things all awry and, as it were, on the point of
+falling, and the mountains and buildings hurtling down, cannot but
+fear that everything will fall upon him, and, above all, as he sees
+the Gods in the Heaven rushing, some here, some there, and all in
+flight. And what is most marvellous in the work is to see that the
+whole of the painting has neither beginning nor end, but is so well
+joined and connected together, without any divisions or ornamental
+partitions, that the things which are near the buildings appear very
+large, and those in the distance, where the landscapes are, go on
+receding into infinity; whence that room, which is not more than
+fifteen braccia in length, has the appearance of open country.
+Moreover, the pavement being of small round stones set on edge, and
+the lower part of the upright walls being painted with similar stones,
+there is no sharp angle to be seen, and that level surface has the
+effect of a vast expanse, which was executed with much judgment and
+beautiful art by Giulio, to whom our craftsmen are much indebted for
+such inventions.</p>
+
+<p>In this work the above-mentioned Rinaldo Mantovano became a perfect
+colourist, for he carried the whole of it into execution after the
+cartoons of Giulio, as well as the other rooms. And if this painter
+had not been snatched from the world so young, even as he did honour
+to Giulio during his lifetime, so he would have done honour (to
+himself) after Giulio's death.</p>
+
+<div class="figcenter">
+<a name="img031" id="img031"></a>
+<img src="images/img031-tb.jpg" width="500" height="357"
+alt="The Destruction of the Giants by the Thunderbolts of Jove." title="">
+<p class="caption">THE DESTRUCTION OF THE GIANTS BY THE THUNDERBOLTS OF
+JOVE<br>
+(<i>After the fresco by</i> Giulio Romano.<br> <i>Mantua: Palazzo del T�, Sala
+dei Giganti</i>)<br>
+<i>Alinari</i>
+<br><span class="link"><a href="images/img031.jpg">View larger image</a></span></p>
+</div>
+
+<p><span class="pagenum"><a id="Page_161" name="Page_161">[Pg 161]</a></span> In addition to this palace, in which Giulio executed many
+other works worthy to be praised, of which, in order to avoid
+prolixity, I shall say nothing, he reconstructed with masonry many
+rooms in the castle where the Duke lives at Mantua, and made two very
+large spiral staircases, with very rich apartments adorned all over
+with stucco. In one hall he caused the whole of the story of Troy and
+the Trojan War to be painted, and likewise twelve scenes in oils in an
+antechamber, below the heads of the twelve Emperors previously painted
+there by Tiziano Vecelli, which are all held to be excellent. In like
+manner, at Marmirolo, a place five miles distant from Mantua, a most
+commodious building was erected after the design of Giulio and under
+his direction, with large paintings no less beautiful than those of
+the castle and of the palace of the T�. The same master painted an
+altar-piece in oils for the Chapel of Signora Isabella Buschetta in S.
+Andrea at Mantua, of Our Lady in the act of adoring the Infant Jesus,
+who is lying on the ground, with S. Joseph, the ass and the ox near a
+manger, and on one side S. John the Evangelist, and S. Longinus on the
+other, figures of the size of life. Next, on the walls of the same
+chapel, he caused Rinaldo to paint two very beautiful scenes after his
+own designs; on one, the Crucifixion of Jesus Christ, with the
+Thieves, some Angels in the air, and on the ground the ministers of
+the Crucifixion and the Maries, with many horses, in which he always
+delighted, making them beautiful to a marvel, and many soldiers in
+various attitudes; and, on the other, the scene when the Blood of
+Christ was discovered in the time of the Countess Matilda, which was a
+most beautiful work.</p>
+
+<p>Giulio then painted with his own hand for Duke Federigo a picture of
+Our Lady washing the little Jesus Christ, who is standing in a basin,
+while a little S. John is pouring out the water from a vase. Both of
+these figures, which are of the size of life, are very beautiful; and
+in the distance are small figures, from the waist upwards, of some
+ladies who are coming to visit the Madonna. This picture was
+afterwards presented by the Duke to Signora Isabella Buschetta, of
+which lady Giulio subsequently made a most beautiful portrait in a
+little picture of the Nativity of Christ, one braccio in height, which
+is now in the possession of Signor <span class="pagenum"><a id="Page_162" name="Page_162">[Pg 162]</a></span> Vespasiano Gonzaga,
+together with another picture presented to him by Duke Federigo, and
+likewise by the hand of Giulio, in which are a young man and a young
+woman embracing each other on a bed, in the act of caressing one
+another, while an old woman peeps at them secretly from behind a
+door&mdash;figures which are little less than life-size, and very graceful.
+In the house of the same person is another very excellent picture of a
+most beautiful S. Jerome, also by the hand of Giulio. And in the
+possession of Count Niccola Maffei is a picture of Alexander the
+Great, of the size of life, with a Victory in his hand, copied from an
+ancient medal, which is a work of great beauty.</p>
+
+<p>After these works, Giulio painted in fresco over a chimney-piece, for
+M. Girolamo, the organist of the Duomo at Mantua, who was very much
+his friend, a Vulcan who is working his bellows with one hand and
+holding with the other, with a pair of tongs, the iron head of an
+arrow that he is forging, while Venus is tempering in a vase some
+already made and placing them in Cupid's quiver. This is one of the
+most beautiful works that Giulio ever executed; and there is little
+else in fresco by his hand to be seen. For S. Domenico, at the
+commission of M. Lodovico da Fermo, he painted an altar-piece of the
+Dead Christ, whom Joseph and Nicodemus are preparing to lay in the
+sepulchre, and near them are His Mother, the other Maries, and S. John
+the Evangelist. And a little picture, in which he also painted a Dead
+Christ, is in the house of the Florentine Tommaso da Empoli at Venice.</p>
+
+<p>At the same time when he was executing these and other pictures, it
+happened that Signor Giovanni de' Medici, having been wounded by a
+musket-ball, was carried to Mantua, where he died. Whereupon M. Pietro
+Aretino, who was the devoted servant of that lord, and very much the
+friend of Giulio, desired that Giulio should mould a likeness of him
+with his own hand as he lay dead; and he, therefore, having taken a
+cast from the face of the dead man, executed a portrait from it, which
+remained for many years afterwards in the possession of the same
+Aretino.</p>
+
+<p>For the entry of the Emperor Charles V into Mantua, Giulio, by order
+of the Duke, made many most beautiful festive preparations in the form
+of arches, scenery for dramas, and a number of other things; <span class="pagenum"><a id="Page_163" name="Page_163">[Pg 163]</a></span>
+in which inventions Giulio had no equal, nor was there ever any man
+more fanciful in preparing masquerades and in designing extravagant
+costumes for jousts, festivals, and tournaments, as was seen at that
+time with amazement and marvel by the Emperor Charles and by all who
+were present. Besides this, at different times he gave so many designs
+for chapels, houses, gardens, and fa�ades throughout the whole of
+Mantua, and he so delighted to embellish and adorn the city, that,
+whereas it was formerly buried in mud and at times full of stinking
+water and almost uninhabitable, he brought it to such a condition that
+at the present day, thanks to his industry, it is dry, healthy, and
+altogether pleasing and delightful.</p>
+
+<p>While Giulio was in the service of that Duke, one year the Po,
+bursting its banks, inundated Mantua in such a manner, that in certain
+low-lying parts of the city the water rose to the height of nearly
+four braccia, insomuch that for a long time frogs lived in them almost
+all the year round. Giulio, therefore, after pondering in what way he
+might put this right, so went to work that for the time being the city
+was restored to its former condition; and to the end that the same
+might not happen another time, he contrived to have the streets on
+that side raised so much, by command of the Duke, that they came above
+the level of the water, and the buildings stood in safety. In that
+part of the city the houses were small, slightly built, and of no
+great importance, and he gave orders that they should be pulled down,
+in order to raise the streets and bring that quarter to a better
+state, and that new houses, larger and more beautiful, should be built
+there, to the advantage and improvement of the city. To this measure
+many opposed themselves, saying to the Duke that Giulio was doing too
+much havoc; but he would not hear any of them&mdash;nay, he made Giulio
+superintendent of the streets at that very time, and decreed that no
+one should build in that city save under Giulio's direction. On which
+account many complaining and some even threatening Giulio, this came
+to the ears of the Duke, who used such words in his favour as made it
+known that if they did anything to the despite or injury of Giulio, he
+would count it as done to himself, and would make an example of them.</p>
+
+<p><span class="pagenum"><a id="Page_164" name="Page_164">[Pg 164]</a></span> The Duke was so enamoured of the excellence of Giulio, that
+he could not live without him; and Giulio, on his part, bore to that
+lord the greatest reverence that it is possible to imagine. Wherefore
+he never asked a favour for himself or for others without obtaining
+it, and when he died it was found that with all that he had received
+from the Duke he had an income of more than a thousand ducats.</p>
+
+<p>Giulio built a house for himself in Mantua, opposite to S. Barnaba, on
+the outer side of which he made a fantastic fa�ade, all wrought with
+coloured stucco, and the interior he caused to be all painted and
+wrought likewise with stucco; and he found place in it for many
+antiquities brought from Rome and others received from the Duke, to
+whom he gave many of his own. He made so many designs both for Mantua
+and for places in its neighbourhood, that it was a thing incredible;
+for, as has been told, no palaces or other buildings of importance
+could be erected, particularly in the city, save after his design. He
+rebuilt upon the old walls the Church of S. Benedetto, a rich and vast
+seat of Black Friars at Mantua, near the Po; and the whole church was
+embellished with most beautiful paintings and altar-pieces from
+designs by his hand. And since his works were very highly prized
+throughout Lombardy, it pleased Gian Matteo Giberti, Bishop of Verona,
+to have the tribune of the Duomo of that city all painted, as has been
+related in another place, by Il Moro the Veronese, after designs by
+Giulio. For the Duke of Ferrara, also, he executed many designs for
+tapestries, which were afterwards woven in silk and gold by Maestro
+Niccol� and Giovan Battista Rosso, both Flemings; and of these there
+are engravings to be seen, executed by Giovan Battista Mantovano, who
+engraved a vast number of things drawn by Giulio, and in particular,
+besides three drawings of battles engraved by others, a physician who
+is applying cupping-glasses to the shoulders of a woman, and the
+Flight of Our Lady into Egypt, with Joseph holding the ass by the
+halter, and some Angels bending down a date-palm in order that Christ
+may pluck the fruit. The same master engraved, also after the designs
+of Giulio, the Wolf on the Tiber suckling Romulus and Remus, and four
+stories of Pluto, Jove and Neptune, who are dividing the heavens, the
+earth, and the sea among <span class="pagenum"><a id="Page_165" name="Page_165">[Pg 165]</a></span> them by lot; and likewise the goat
+Amaltheia, which, held by Melissa, is giving suck to Jove, and a large
+plate of many men in a prison, tortured in various ways. There were
+also printed, after the inventions of Giulio, Scipio and Hannibal
+holding a parley with their armies on the banks of the river; the
+Nativity of S. John the Baptist, which was engraved by Sebastiano da
+Reggio, and many other works engraved and printed in Italy. In
+Flanders and in France, likewise, have been printed innumerable sheets
+from designs by Giulio, of which, although they are very beautiful,
+there is no need to make mention, nor of all his drawings, seeing that
+he made them, so to speak, in loads. Let it be enough to say that he
+was so facile in every field of art, and particularly in drawing, that
+we have no record of any one who has produced more than he did.</p>
+
+<p>Giulio, who was very versatile, was able to discourse on every
+subject, but above all on medals, upon which he spent large sums of
+money and much time, in order to gain knowledge of them. And although
+he was employed almost always in great works, this did not mean that
+he would not set his hand at times to the most trifling matters in
+order to oblige his patron and his friends; and no sooner had one
+opened his mouth to explain to him his conception than he had
+understood it and drawn it. Among the many rare things that he had in
+his house was the portrait from life of Albrecht D�rer on a piece of
+fine Rheims cloth, by the hand of Albrecht himself, who sent it, as
+has been related in another place, as a present to Raffaello da
+Urbino. This portrait was an exquisite thing, for it had been coloured
+in gouache with much diligence with water-colours, and Albrecht had
+executed it without using lead-white, availing himself in its stead of
+the white of the cloth, with the delicate threads of which he had so
+well rendered the hairs of the beard, that it was a thing scarcely
+possible to imagine, much less to do; and when held up to the light it
+showed through on either side. This portrait, which was very dear to
+Giulio, he showed to me himself as a miracle, when I went during his
+lifetime to Mantua on some affairs of my own.</p>
+
+<p>At the death of Duke Federigo, by whom Giulio had been beloved beyond
+belief, he was so overcome with sorrow, that he would have left
+<span class="pagenum"><a id="Page_166" name="Page_166">[Pg 166]</a></span> Mantua, if the Cardinal, the brother of the Duke, on whom
+the government of the State had descended because the sons of Federigo
+were very young, had not detained him in that city, where he had a
+wife and children, houses, villas, and all the other possessions that
+are proper to a gentleman of means. And this the Cardinal did (aided
+by those reasons) from a wish to avail himself of the advice and
+assistance of Giulio in renovating, or rather building almost entirely
+anew, the Duomo of that city; to which work Giulio set his hand, and
+carried it well on in a very beautiful form.</p>
+
+<p>At this time Giorgio Vasari, who was much the friend of Giulio,
+although they did not know one another save only by reputation and by
+letters, in going to Venice, took the road by Mantua, in order to see
+Giulio and his works. And so, having arrived in that city, and going
+to find his friend, when they met, although they had never seen each
+other, they knew one another no less surely than if they had been
+together in person a thousand times. At which Giulio was so filled
+with joy and contentment, that for four days he never left him,
+showing him all his works, and in particular all the ground-plans of
+the ancient edifices in Rome, Naples, Pozzuolo, and Campania, and of
+all the other fine antiquities of which anything is known, drawn
+partly by him and partly by others. Then, opening a very large press,
+he showed to Giorgio the ground-plans of all the buildings that had
+been erected after his designs and under his direction, not only in
+Mantua and in Rome, but throughout all Lombardy, which were so
+beautiful, that I, for my part, do not believe that there are to be
+seen any architectural inventions more original, more lovely, or
+better composed. After this, the Cardinal asking Giorgio what he
+thought of the works of Giulio, Giorgio answered in the presence of
+Giulio that they were such that he deserved to have a statue of
+himself placed at every corner of the city, and that, since he had
+given that city a new life, the half of the State would not be a
+sufficient reward for the labours and abilities of Giulio; to which
+the Cardinal answered that Giulio was more the master of that State
+than he was himself. And since Giulio was very loving, especially
+towards his friends, there was no mark of love and affection that
+Giorgio did not receive from <span class="pagenum"><a id="Page_167" name="Page_167">[Pg 167]</a></span> him. The same Vasari, having
+left Mantua and gone to Venice, returned to Rome at the very time when
+Michelagnolo had just uncovered his Last Judgment in the Chapel; and
+he sent to Giulio by M. Nino Nini of Cortona, the secretary of the
+aforesaid Cardinal of Mantua, three sheets containing the Seven Mortal
+Sins, copied from that Last Judgment of Michelagnolo, which were
+welcome in no ordinary manner to Giulio, both as being what they were,
+and because he had at that time to paint a chapel in the palace for
+the Cardinal, and they served to inspire him to greater things than
+those that he had in mind. Putting forward all possible effort,
+therefore, to make a most beautiful cartoon, he drew in it with fine
+fancy the scene of Peter and Andrew leaving their nets at the call of
+Christ, in order to follow Him, and to be thenceforward, not fishers
+of fishes, but fishers of men. And this cartoon, which proved to be
+the most beautiful that Giulio had ever made, was afterwards carried
+into execution by the painter Fermo Ghisoni, a pupil of Giulio, and
+now an excellent master.</p>
+
+<p>Not long afterwards the superintendents of the building of S. Petronio
+at Bologna, being desirous to make a beginning with the fa�ade of that
+church, succeeded after great difficulty in inducing Giulio to go
+there, in company with a Milanese architect called Tofano Lombardino,
+a man in great repute at that time in Lombardy for the many buildings
+by his hand that were to be seen in that country. These masters, then,
+made many designs, those of Baldassarre Peruzzi of Siena having been
+lost; and one that Giulio made, among others, was so beautiful and so
+well ordered, that he rightly received very great praise for it from
+that people, and was rewarded with most liberal gifts on his return to
+Mantua.</p>
+
+<p>Meanwhile, Antonio da San Gallo having died at Rome about that time,
+the superintendents of the building of S. Pietro had been thereby left
+in no little embarrassment, not knowing to whom to turn or on whom to
+lay the charge of carrying that great fabric to completion after the
+plan already begun; but they thought that no one could be more fitted
+for this than Giulio Romano, for they all knew how great were his
+worth and excellence. And so, surmising that he would accept such a
+charge more than willingly in order to repatriate himself in an
+honourable <span class="pagenum"><a id="Page_168" name="Page_168">[Pg 168]</a></span> manner and with a good salary, they caused some
+of his friends to approach him, but in vain, for the reason that,
+although he would have gone with the greatest willingness, two things
+prevented him&mdash;the Cardinal would in no way consent to his departure,
+and his wife, with her relatives and friends, used every possible
+means to dissuade him. Neither of these two reasons, perchance, would
+have prevailed with him, if he had not happened to be in somewhat
+feeble health at that time; for, having considered how much honour and
+profit he might secure for himself and his children by accepting so
+handsome a proposal, he was already fully disposed to make every
+effort not to be hindered in the matter by the Cardinal, when his
+malady began to grow worse. However, since it had been ordained on
+high that he should go no more to Rome, and that this should be the
+end and conclusion of his life, in a few days, what with his vexation
+and his malady, he died at Mantua, which city might well have allowed
+him, even as he had embellished her, so also to honour and adorn his
+native city of Rome.</p>
+
+<p>Giulio died at the age of fifty-four, leaving only one male child, to
+whom he had given the name of Raffaello out of regard for the memory
+of his master. This young Raffaello had scarcely learned the first
+rudiments of art, showing signs of being destined to become an able
+master, when he also died, not many years after, together with his
+mother, Giulio's wife; wherefore there remained no descendant of
+Giulio save a daughter called Virginia, who still lives in Mantua,
+married to Ercole Malatesta. Giulio, whose death was an infinite grief
+to all who knew him, was given burial in S. Barnaba, where it was
+proposed that some honourable memorial should be erected to him; but
+his wife and children, postponing the matter from one day to another,
+themselves died for the most part without doing anything. It is indeed
+a sad thing that there has been no one who has treasured in any way
+the memory of a man who did so much to adorn that city, save only
+those who availed themselves of his services, who have often
+remembered him in their necessities. But his own talent, which did him
+so much honour in his lifetime, has secured for him after death, in
+the form of his own works, an everlasting monument which time, with
+all its years, can never destroy.</p>
+
+<p><span class="pagenum"><a id="Page_169" name="Page_169">[Pg 169]</a></span> Giulio was neither tall nor short of stature, and rather
+stout than slight in build. He had black hair, beautiful features, and
+eyes dark and merry, and he was very loving, regular in all his
+actions, and frugal in eating, but fond of dressing and living in
+honourable fashion. He had disciples in plenty, but the best were
+Giovanni da Lione, Raffaello dal Colle of Borgo, Benedetto Pagni of
+Pescia, Figurino da Faenza, Rinaldo Mantovano, Giovan Battista
+Mantovano, and Fermo Ghisoni, who still lives in Mantua and does him
+honour, being an excellent painter. And the same may be said for
+Benedetto, who has executed many works in his native city of Pescia,
+and an altar-piece for the Duomo of Pisa, which is in the Office of
+Works, and also a picture of Our Lady in which, with a poetical
+invention full of grace and beauty, he painted a figure of Florence
+presenting to her the dignities of the House of Medici; which picture
+is now in the possession of Signor Mondragone, a Spaniard much in
+favour with that most illustrious lord the Prince of Florence.</p>
+
+<p>Giulio died on the day of All Saints in the year 1546, and over his
+tomb was placed the following epitaph:</p>
+
+<p class="cpoem">
+  ROMANUS MORIENS SECUM TRES JULIUS ARTES<br>
+<span class="add1em">ABSTULIT, HAUD MIRUM, QUATUOR UNUS ERAT.</span></p>
+
+<hr style="width: 65%;">
+<h2><a name="piombo" id="piombo"></a><span class="pagenum"><a id="Page_171" name="Page_171">[Pg 171]</a></span> FRA SEBASTIANO VINIZIANO DEL PIOMBO</h2>
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_piombo" id="life_of_piombo"></a><span class="pagenum"><a id="Page_173" name="Page_173">[Pg 173]</a></span> LIFE OF FRA SEBASTIANO VINIZIANO DEL PIOMBO</h2>
+
+<h3>PAINTER</h3>
+
+
+<p>The first profession of Sebastiano, so many declare, was not painting,
+but music, since, besides being a singer, he much delighted to play
+various kinds of instruments, and particularly the lute, because on
+that instrument all the parts can be played, without any
+accompaniment. This art made him for a time very dear to the gentlemen
+of Venice, with whom, as a man of talent, he always associated on
+intimate terms. Then, having been seized while still young with a
+desire to give his attention to painting, he learned the first
+rudiments from Giovanni Bellini, at that time an old man. And
+afterwards, when Giorgione da Castelfranco had established in that
+city the methods of the modern manner, with its superior harmony and
+its brilliancy of colouring, Sebastiano left Giovanni and placed
+himself under Giorgione, with whom he stayed so long that in great
+measure he acquired his manner. He thus executed in Venice some
+portraits from life that were very like; among others, that of the
+Frenchman Verdelotto, a most excellent musician, who was then
+chapel-master in S. Marco, and in the same picture that of his
+companion Uberto, a singer, which picture Verdelotto took with him to
+Florence when he became chapel-master in S. Giovanni; and at the
+present day the sculptor Francesco da San Gallo has it in his house.
+About that time he also painted for S. Giovanni Grisostomo at Venice
+an altar-piece with some figures which incline so much to the manner
+of Giorgione, that they have been sometimes held by people without
+much knowledge of the matters of art to be by the hand of Giorgione
+himself. This altar-piece is very beautiful, and executed with such a
+manner of colouring that it has great relief.</p>
+
+<p><span class="pagenum"><a id="Page_174" name="Page_174">[Pg 174]</a></span> The fame of the abilities of Sebastiano thus spreading
+abroad, Agostino Chigi of Siena, a very rich merchant, who had many
+affairs in Venice, hearing him much praised in Rome, sought to draw
+him to that city, being attracted towards him because, besides his
+painting, he knew so well how to play on the lute, and was sweet and
+pleasant in his conversation. Nor was it very difficult to draw
+Sebastiano to Rome, since he knew how much that place had always been
+the benefactress and common mother-city of all beautiful intellects,
+and he went thither with no ordinary willingness. Having therefore
+gone to Rome, Agostino set him to work, and the first thing that he
+caused him to do was to paint the little arches that are over the
+loggia which looks into the garden of Agostino's palace in the
+Trastevere, where Baldassarre of Siena had painted all the vaulting,
+on which little arches Sebastiano painted some poetical compositions
+in the manner that he had brought from Venice, which was very
+different from that which was followed in Rome by the able painters of
+that day. After this work, Raffaello having executed a story of
+Galatea in the same place, Sebastiano, at the desire of Agostino,
+painted beside it a Polyphemus in fresco, in which, spurred by rivalry
+with Baldassarre of Siena and then with Raffaello, he strove his
+utmost to surpass himself, whatever may have been the result. He
+likewise painted some works in oils, for which, from his having
+learned from Giorgione a method of colouring of no little softness, he
+was held in vast account at Rome.</p>
+
+<div class="figcenter">
+<a name="img032" id="img032"></a>
+<img src="images/img032-tb.jpg" width="400" height="496" alt="Portrait of a Lady." title="">
+<p class="caption">FRA SEBASTIANO VINIZIANO DEL PIOMBO: PORTRAIT OF A LADY<br>
+(<i>Florence; Uffizi, 1123. Canvas</i>)
+<br><span class="link"><a href="images/img032.jpg">View larger image</a></span></p>
+</div>
+
+<p>While Sebastiano was executing these works in Rome, Raffaello da
+Urbino had risen into such credit as a painter, that his friends and
+adherents said that his pictures were more in accord with the rules of
+painting than those of Michelagnolo, being pleasing in colour,
+beautiful in invention, and charming in the expressions, with design
+in keeping with the rest; and that those of Buonarroti had none of
+those qualities, with the exception of the design. And for such
+reasons these admirers judged that in the whole field of painting
+Raffaello was, if not more excellent than Michelagnolo, at least his
+equal; but in colouring they would have it that he surpassed
+Buonarroti without a doubt. These humours, having spread among a
+number of craftsmen who preferred <span class="pagenum"><a id="Page_175" name="Page_175">[Pg 175]</a></span> the grace of Raffaello
+to the profundity of Michelagnolo, had so increased that many, for
+various reasons of interest, were more favourable in their judgments
+to Raffaello than to Michelagnolo. But Sebastiano was in no way a
+follower of that faction, since, being a man of exquisite judgment, he
+knew the value of each of the two to perfection. The mind of
+Michelagnolo, therefore, drew towards Sebastiano, whose colouring and
+grace pleased him much, and he took him under his protection, thinking
+that, if he were to assist Sebastiano in design, he would be able by
+this means, without working himself, to confound those who held such
+an opinion, remaining under cover of a third person as judge to decide
+which of them was the best.</p>
+
+<p>While the matter stood thus, and some works that Sebastiano had
+executed were being much extolled, and even exalted to infinite
+heights on account of the praise that Michelagnolo bestowed on them,
+besides the fact that they were in themselves beautiful and worthy of
+praise, a certain person from Viterbo, I know not who, much in favour
+with the Pope, commissioned Sebastiano to paint a Dead Christ, with a
+Madonna who is weeping over Him, for a chapel that he had caused to be
+built in S. Francesco at Viterbo. That work was held by all who saw it
+to be truly most beautiful, for the invention and the cartoon were by
+Michelagnolo, although it was finished with great diligence by
+Sebastiano, who painted in it a dark landscape that was much extolled,
+and thereby Sebastiano acquired very great credit, and confirmed the
+opinions of those who favoured him. Wherefore Pier Francesco
+Borgherini, a Florentine merchant, who had taken over a chapel in S.
+Pietro in Montorio, which is on the right as one enters the church,
+allotted it at the suggestion of Michelagnolo to Sebastiano, because
+Borgherini thought that Michelagnolo would execute the design of the
+whole work, as indeed he did. Sebastiano, therefore, having set to
+work, executed it with such zeal and diligence, that it was held to
+be, as it is, a very beautiful piece of painting. From the small
+design by Michelagnolo he made some larger ones for his own
+convenience, and one of these, a very beautiful thing, which he drew
+with his own hand, is in our book. Thinking that he had discovered the
+true method of painting in oils on walls, Sebastiano <span class="pagenum"><a id="Page_176" name="Page_176">[Pg 176]</a></span> covered
+the rough-cast of that chapel with an incrustation which seemed to him
+likely to be suitable for this purpose; and the whole of that part in
+which is Christ being scourged at the Column he executed in oils on
+the wall. Nor must I omit to tell that many believe not only that
+Michelagnolo made the small design for this work, but also that the
+above-mentioned Christ who is being scourged at the Column was
+outlined by him, for there is a vast difference between the excellence
+of this figure and that of the others. Even if Sebastiano had executed
+no other work but this, for it alone he would deserve to be praised to
+all eternity, seeing that, in addition to the heads, which are very
+well painted, there are in the work some hands and feet of great
+beauty; and although his manner was a little hard, on account of the
+labour that he endured in the things that he counterfeited,
+nevertheless he can be numbered among the good and praiseworthy
+craftsmen. Above this scene he painted two Prophets in fresco, and on
+the vaulting the Transfiguration; and the two Saints, S. Peter and S.
+Francis, who are on either side of the scene below, are very bold and
+animated figures. It is true that he laboured for six years over this
+little work, but when works are executed to perfection, one should not
+consider whether they have been finished quickly or slowly, although
+more praise is due to him who carries his labours to completion both
+quickly and well; and he who pleads haste as an excuse when his works
+do not give satisfaction, unless he has been forced to it, is accusing
+rather than excusing himself. When this work was uncovered, it was
+seen that Sebastiano had done well, although he had toiled much over
+painting it, so that the evil tongues were silenced and there were few
+who found fault with him.</p>
+
+<div class="figcenter">
+<a name="img033" id="img033"></a>
+<img src="images/img033-tb.jpg" width="400" height="462" alt="The Flagellation." title="">
+<p class="caption">THE FLAGELLATION<br>
+(<i>After the oil fresco by</i> Fra Sebastiano Viniziano del Piombo.<br> <i>Rome:
+S. Pietro in Montorio</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img033.jpg">View larger image</a></span></p>
+</div>
+
+<p>After this, when Raffaello painted for Cardinal de' Medici, for
+sending to France, that altar-piece containing the Transfiguration of
+Christ which was placed after his death on the principal altar of S.
+Pietro a Montorio, Sebastiano also executed at the same time another
+altar-piece of the same size, as it were in competition with
+Raffaello, of Lazarus being raised from the dead four days after
+death, which was counterfeited and painted with supreme diligence
+under the direction of Michelagnolo, and in some parts from his
+design. These altar-pieces, when <span class="pagenum"><a id="Page_177" name="Page_177">[Pg 177]</a></span> finished, were publicly
+exhibited together in the Consistory, and were vastly extolled, both
+the one and the other; and although the works of Raffaello had no
+equals in their perfect grace and beauty, nevertheless the labours of
+Sebastiano were also praised by all without exception. One of these
+pictures was sent by Cardinal Giulio de' Medici to his episcopal
+palace at Narbonne in France, and the other was placed in the
+Cancelleria, where it remained until it was taken to S. Pietro a
+Montorio, together with the ornamental frame that Giovan Barile
+executed for it. By means of this work Sebastiano became closely
+connected with the Cardinal, and was therefore honourably rewarded
+during his pontificate.</p>
+
+<p>Not long afterwards, Raffaello having passed away, the first place in
+the art of painting was unanimously granted by all, thanks to the
+favour of Michelagnolo, to Sebastiano, and Giulio Romano, Giovan
+Francesco of Florence, Perino del Vaga, Polidoro, Maturino,
+Baldassarre of Siena, and all the others had to give way. Wherefore
+Agostino Chigi, who had been having a chapel and tomb built for
+himself under the direction of Raffaello in S. Maria del Popolo, came
+to an agreement with Sebastiano that he should paint it all; whereupon
+the screen was made, but the chapel remained covered, without ever
+being seen by anyone, until the year 1554, at which time Luigi, the
+son of Agostino, resolved that, although his father had not been able
+to see it finished, he at least would do so. And so, the chapel and
+the altar-piece being entrusted to Francesco Salviati, he carried the
+work in a short time to that perfection which it had not received from
+the dilatory and irresolute Sebastiano, who, so far as one can see,
+did little work there, although we find that he obtained from the
+liberality of Agostino and his heirs much more than would have been
+due to him even if he had finished it completely, which he did not do,
+either because he was weary of the labours of art, or because he was
+too much wrapped up in comforts and pleasures. And he did the same to
+M. Filippo da Siena, Clerk of the Chamber, for whom he began a scene
+in oils on the wall above the high-altar of the Pace at Rome, and
+never finished it; wherefore the friars, in despair about it, were
+obliged to take away the staging, which obstructed their church,
+<span class="pagenum"><a id="Page_178" name="Page_178">[Pg 178]</a></span> to cover the work with a cloth, and to have patience for as
+long as the life of Sebastiano lasted. After his death, the friars
+uncovered the work, and it was found that what he had done was most
+beautiful painting, for the reason that in the part where he
+represented Our Lady visiting S. Elizabeth, there are many women
+portrayed from life that are very beautiful, and painted with
+consummate grace. But it may be seen here that this man endured
+extraordinary labour in all the works that he produced, and that he
+was not able to execute them with that facility which nature and study
+are wont at times to give to him who delights in working and exercises
+his hand continually. And of the truth of this there is also a proof
+in the same Pace, in the Chapel of Agostino Chigi, where Raffaello had
+executed the Sibyls and Prophets; for Sebastiano, wishing to paint
+some things on the stone in the niche that remained to be painted
+below, in order to surpass Raffaello, caused it to be incrusted with
+peperino-stone, the joinings being filled in with fired stucco; but he
+spent so much time on cogitations that he left the wall bare, for,
+after it had remained thus for ten years, he died.</p>
+
+<p>It is true that a few portraits from life could be obtained with ease
+from Sebastiano, because he could finish these with more facility and
+promptitude; but it was quite otherwise with stories and other
+figures. To tell the truth, the painting of portraits from life was
+his proper vocation, as may be seen from the portrait of Marc' Antonio
+Colonna, which is so well executed that it seems to be alive, and also
+from those of Ferdinando, Marquis of Pescara, and of Signora Vittoria
+Colonna, which are very beautiful. He likewise made a portrait of
+Adrian VI when he first arrived in Rome, and one of Cardinal Hincfort.
+That Cardinal desired that Sebastiano should paint for him a chapel in
+S. Maria de Anima at Rome; but he kept putting him off from one day to
+another, and the Cardinal finally had it painted by the Fleming
+Michael, his compatriot, who painted there in fresco stories from the
+life of S. Barbara, imitating our Italian manner very well; and in the
+altar-piece he made a portrait of the same Cardinal.</p>
+
+<p>But returning to Sebastiano: he also took a portrait of Signor
+Federigo da Bozzolo, and one of a captain in armour, I know not who,
+<span class="pagenum"><a id="Page_179" name="Page_179">[Pg 179]</a></span> which is in the possession of Giulio de' Nobili at Florence.
+He painted a woman in Roman dress, which is in the house of Luca
+Torrigiani; and Giovan Battista Cavalcanti has a head by the same
+master's hand, which is not completely finished. He executed a picture
+of Our Lady covering the Child with a piece of drapery, which was a
+rare work; and Cardinal Farnese now has it in his guardaroba. And he
+sketched, but did not carry to completion, a very beautiful
+altar-piece of S. Michael standing over a large figure of the Devil,
+which was to be sent to the King of France, who had previously
+received a picture by the hand of the same master.</p>
+
+<p>Then, after Cardinal Giulio de' Medici had been elected Supreme
+Pontiff and had taken the name of Clement VII, he gave Sebastiano to
+understand through the Bishop of Vasona that the time to show him
+favour had come, and that he would become aware of this when the
+occasion arose. And in the meantime, while living in these high hopes,
+Sebastiano, who had no equal in portrait-painting, executed many from
+life, and among others one of Pope Clement, who was not then wearing a
+beard, or rather, two of him, one of which came into the possession of
+the Bishop of Vasona, and the other, which is much larger, showing a
+seated figure from the knees upwards, is in the house of Sebastiano at
+Rome. He also painted a portrait of the Florentine Anton Francesco
+degli Albizzi, who happened to be then in Rome on some business, and
+he made it such that it appeared to be not painted but really alive;
+wherefore Anton Francesco sent it to Florence as a pearl of great
+price. The head and hands of this portrait were things truly
+marvellous, to say nothing of the beautiful execution of the velvets,
+the linings, the satins, and all the other parts of the picture; and
+since Sebastiano was indeed superior to all other men in the perfect
+delicacy and excellence of his portrait-painting, all Florence was
+amazed at this portrait of Anton Francesco.</p>
+
+<p>At this same time he also executed a portrait of Messer Pietro
+Aretino, and made it such that, besides being a good likeness, it is
+an astounding piece of painting, for there may be seen in it five or
+six different kinds of black in the clothes that he is
+wearing&mdash;velvet, satin, ormuzine, <span class="pagenum"><a id="Page_180" name="Page_180">[Pg 180]</a></span> damask, and cloth&mdash;and,
+over and above those blacks, a beard of the deepest black, painted in
+such beautiful detail, that the real beard could not be more natural.
+This figure holds in the hand a branch of laurel and a scroll, on
+which is written the name of Clement VII; and in front are two masks,
+one of Virtue, which is beautiful, and another of Vice, which is
+hideous. This picture M. Pietro presented to his native city, and the
+people of Arezzo have placed it in their public Council Chamber, thus
+doing honour to the memory of their talented fellow-citizen, and also
+receiving no less from him. After this, Sebastiano made a portrait of
+Andrea Doria, which was in like manner an admirable work, and a head
+of the Florentine Baccio Valori, which was also beautiful beyond
+belief.</p>
+
+<p>In the meantime Fra Mariano Fetti, Friar of the Piombo, died, and
+Sebastiano, remembering the promises made to him by the
+above-mentioned Bishop of Vasona, master of the household to His
+Holiness, asked for the office of the Piombo; whereupon, although
+Giovanni da Udine, who had also done much in the service of His
+Holiness "in minoribus," and still continued to serve him, asked for
+the same office, the Pope, moved by the prayers of the Bishop, and
+also thinking that the talents of Sebastiano deserved it, ordained
+that Sebastiano should have the office, but should pay out of it to
+Giovanni da Udine an allowance of three hundred crowns. Thus
+Sebastiano assumed the friar's habit, and straightway felt his soul
+changed thereby, for, perceiving that he now had the means to satisfy
+his desires, he spent his time in repose without touching a brush, and
+recompensed himself with his comforts and his revenues for many
+misspent nights and laborious days; and whenever he happened to have
+something to do, he would drag himself to the work with such
+reluctance, that he might have been going to his death. From which one
+may learn how much our reason and the little wisdom of men are
+deceived, in that very often, nay, almost always, we covet the very
+opposite to that which we really need, and, as the Tuscan proverb has
+it, in thinking to cross ourselves with a finger, poke it into our own
+eyes. It is the common opinion of men that rewards and honours spur
+the minds of mortals to the studies of those arts which <span class="pagenum"><a id="Page_181" name="Page_181">[Pg 181]</a></span> they
+see to be the best remunerated, and that, on the contrary, to see that
+those who labour at these arts are not recompensed by such men as have
+the means, causes the same students to grow negligent and to abandon
+them. And for this reason both ancients and moderns censure as
+strongly as they are able those Princes who do not support every kind
+of man of talent, and who do not give due honour and reward to all who
+labour valiantly in the arts. But, although this rule is for the most
+part a good one, it may be seen, nevertheless, that at times the
+liberality of just and magnanimous Princes produces the contrary
+effect, for the reason that many are more useful and helpful to the
+world in a low or mediocre condition than they are when raised to
+greatness and to an abundance of all good things. And here we have an
+example, for the magnificent liberality of Clement VII, bestowing too
+rich a reward on Sebastiano Viniziano, who had done excellent work as
+a painter in his service, was the reason that he changed from a
+zealous and industrious craftsman into one most idle and negligent,
+and that, whereas he laboured continually while he was living in poor
+circumstances and the rivalry between him and Raffaello da Urbino
+lasted, he did quite the opposite when he had enough for his
+contentment.</p>
+
+<p>Be this as it may, let us leave it to the judgment of wise Princes to
+consider how, when, towards whom, in what manner, and by what rule,
+they should exercise their liberality in the case of craftsmen and men
+of talent, and let us return to Sebastiano. After he had been made
+Friar of the Piombo, he executed for the Patriarch of Aquileia, with
+great labour, Christ bearing the Cross, a half-length figure painted
+on stone&mdash;a work which was much extolled, particularly for the head
+and the hands, parts in which Sebastiano was truly most excellent. Not
+long afterwards the niece of the Pope, who in time became Queen of
+France, as she still is, having arrived in Rome, Fra Sebastiano began
+a portrait of her; but this remained unfinished in the guardaroba of
+the Pope. And a short time after this, Cardinal Ippolito de' Medici
+having become enamoured of Signora Giulia Gonzaga, who was then living
+at Fondi, that Cardinal sent Sebastiano to that place, accompanied by
+four light horsemen, to take her portrait; and within a month he
+finished that portrait, which, <span class="pagenum"><a id="Page_182" name="Page_182">[Pg 182]</a></span> being taken from the
+celestial beauty of that lady by a hand so masterly, proved to be a
+divine picture. Wherefore, after it had been carried to Rome, the
+labours of that craftsman were richly rewarded by the Cardinal, who
+declared that this portrait surpassed by a great measure all those
+that Sebastiano had ever executed up to that day, as indeed it did;
+and the work was afterwards sent to King Francis of France, who had it
+placed in his Palace of Fontainebleau.</p>
+
+<div class="figcenter">
+<a name="img034" id="img034"></a>
+<img src="images/img034-tb.jpg" width="400" height="593" alt="Andrea Doria." title="">
+<p class="caption">ANDREA DORIA<br>
+(<i>After the painting by</i> Fra Sebastiano del Piombo,<br> <i>Rome: Palazzo
+Doria</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img034.jpg">View larger image</a></span></p>
+</div>
+
+<p>This painter then introduced a new method of painting on stone, which
+pleased people greatly, for it appeared that by this means pictures
+could be made eternal, and such that neither fire nor worms could harm
+them. Wherefore he began to paint many pictures on stone in this
+manner, surrounding them with ornaments of variegated kinds of stone,
+which, being polished, formed a very beautiful setting; although it is
+true that these pictures, with their ornaments, when finished, could
+not be transported or even moved, on account of their great weight,
+save with the greatest difficulty. Many persons, then, attracted by
+the novelty of the work and by the beauty of his art, gave him
+earnest-money, in order that he might execute some for them; but he,
+delighting more to talk about such pictures than to work at them,
+always kept delaying everything. Nevertheless he executed on stone a
+Dead Christ with the Madonna, with an ornament also of stone, for Don
+Ferrante Gonzaga, who sent it to Spain. The whole work together was
+held to be very beautiful, and Sebastiano was paid five hundred crowns
+for the painting by Messer Niccol� da Cortona, agent in Rome for the
+Cardinal of Mantua. In this kind of painting Sebastiano was truly
+worthy of praise, for the reason that whereas Domenico, his
+compatriot, who was the first to paint in oils on walls, and after him
+Andrea dal Castagno, Antonio Pollaiuolo, and Piero Pollaiuolo, failed to
+find the means of preventing the figures executed by them in this
+manner from becoming black and fading away very quickly, Sebastiano
+did find it; wherefore the Christ at the Column, which he painted in
+S. Pietro in Montorio, has never changed down to our own time, and has
+the same freshness of colouring as on the first day. For he went about
+the work with such diligence that he used to make the coarse
+rough-cast of lime with a mixture <span class="pagenum"><a id="Page_183" name="Page_183">[Pg 183]</a></span> of mastic and colophony,
+which, after melting it all together over the fire and applying it to
+the wall, he would then cause to be smoothed over with a mason's
+trowel made red-hot, or rather white-hot, in the fire; and his works
+have therefore been able to resist the damp and to preserve their
+colour very well without suffering any change. With the same mixture
+he worked on peperino-stone, white and variegated marble, porphyry,
+and slabs of other very hard kinds of stone, materials on which
+paintings can last a very long time; not to mention that this has
+shown how one may paint on silver, copper, tin, and other metals.</p>
+
+<p>This man found so much pleasure in cogitating and discoursing, that he
+would spend whole days without working; and when he did force himself
+to work, it was evident that he was suffering greatly in his mind,
+which was the chief reason that he was of the opinion that no price
+was large enough to pay for his works. For Cardinal Rangoni he painted
+a picture of a nude and very beautiful S. Agatha being tortured in the
+breasts, which was an exquisite work, and this picture is now in the
+guardaroba of Signor Guidobaldo, Duke of Urbino, and is in no way
+inferior to the many other most beautiful pictures that are there, by
+the hands of Raffaello da Urbino, Tiziano, and others. He also made a
+portrait from life of Signor Piero Gonzaga, painted in oils on stone,
+which was a very fine work; but he toiled for three years over
+finishing it.</p>
+
+<p>Now, when Michelagnolo was in Florence in the time of Pope Clement,
+engaged in the work of the new Sacristy of S. Lorenzo, Giuliano
+Bugiardini wished to paint for Baccio Valori a picture with the head
+of Pope Clement and that of Baccio himself, and another for Messer
+Ottaviano de' Medici of the same Pontiff and the Archbishop of Capua.
+Michelagnolo therefore sent to Sebastiano to ask him to despatch from
+Rome a head of the Pope painted in oils with his own hand; and
+Sebastiano painted one, which proved to be very beautiful, and sent it
+to him. After Giuliano had made use of the head and had finished his
+pictures, Michelagnolo, who was a close companion of the said Messer
+Ottaviano, made him a present of it; and of a truth, among the many
+heads that Fra Sebastiano executed, this is the most beautiful of all
+and the best likeness, <span class="pagenum"><a id="Page_184" name="Page_184">[Pg 184]</a></span> as may be seen in the house of the
+heirs of Messer Ottaviano. The same master also took the portrait of
+Pope Paul Farnese, as soon as he was elected Supreme Pontiff; and he
+began one of the Duke of Castro, his son, but left it unfinished, as
+he did with many other works with which he had made a beginning.</p>
+
+<p>Fra Sebastiano had a passing good house which he had built for himself
+near the Popolo, and there he lived in the greatest contentment,
+without troubling to paint or work any more. He used often to say that
+it was a great fatigue to have to restrain in old age those ardours
+which in youth craftsmen are wont to welcome out of emulation and a
+desire for profit and honour, and that it was no less wise for a man
+to live in peace than to spend his days in restless labour in order to
+leave a name behind him after death, for all his works and labours had
+also in the end, sooner or later, to die. And even as he said these
+things, so he carried them into practice as well as he was able, for
+he always sought to have for his table all the best wines and the
+rarest luxuries that could be found, holding life in more account than
+art. Being much the friend of all men of talent, he often had Molza
+and Messer Gandolfo to supper, making right good cheer. He was also
+the intimate friend of Messer Francesco Berni, the Florentine, who
+wrote a poem to him; to which Fra Sebastiano answered with another,
+passing well, for, being very versatile, he was even able to set his
+hand to writing humorous Tuscan verse.</p>
+
+<p>Having been reproached by certain persons, who said that it was
+shameful that he would no longer work now that he had the means to
+live, Fra Sebastiano replied in this manner: "Why will I not work now
+that I have the means to live? Because there are now in the world men
+of genius who do in two months what I used to do in two years; and I
+believe that if I live long enough, and not so long, either, I shall
+find that everything has been painted. And since these stalwarts can
+do so much, it is well that there should also be one who does nothing,
+to the end that they may have the more to do." With these and similar
+pleasantries Fra Sebastiano was always diverting himself, being a man
+who was never anything but humorous and amusing; and, in truth, a
+better companion never lived.</p>
+
+<p><span class="pagenum"><a id="Page_185" name="Page_185">[Pg 185]</a></span> Sebastiano, as has been related, was much beloved by
+Michelagnolo. But it is also true that when the front wall of the
+Papal Chapel, where there is now the Last Judgment by the same
+Buonarroti, was to be painted, there did arise some disdain between
+them, for Fra Sebastiano had persuaded the Pope that he should make
+Michelagnolo paint it in oils, whereas the latter would only do it in
+fresco. Now, Michelagnolo saying neither yea nor nay, the wall was
+prepared after the fashion of Fra Sebastiano, and Michelagnolo stood
+thus for some months without setting his hand to the work. But at
+last, after being pressed, he said that he would only do it in fresco,
+and that painting in oils was an art for women and for leisurely and
+idle people like Fra Sebastiano. And so, after the incrustation laid
+on by order of the friar had been stripped off, and the whole surface
+had been covered with rough-cast in a manner suitable for working in
+fresco, Michelagnolo set his hand to the work; but he never forgot the
+affront that he considered himself to have received from Fra
+Sebastiano, against whom he felt hatred almost to the day of the
+friar's death.</p>
+
+<p>Finally, after Fra Sebastiano had come to such a state that he would
+not work or do any other thing but attend to the duties of his office
+as Friar of the Piombo, and enjoy the pleasures of life, at the age of
+sixty-two he fell sick of a most acute fever, which, being a ruddy
+person and of a full habit of body, threw him into such a heat that he
+rendered up his soul to God in a few days, after making a will and
+directing that his body should be carried to the tomb without any
+ceremony of priests or friars, or expenditure on lights, and that all
+that would have been spent thus should be distributed to poor persons,
+for the love of God; and so it was done. He was buried in the Church
+of the Popolo, in the month of June of the year 1547. Art suffered no
+great loss in his death, seeing that, as soon as he assumed the habit
+of Friar of the Piombo, he might have been numbered among those lost
+to her; although it is true that he was regretted for his pleasant
+conversation by many friends as well as craftsmen.</p>
+
+<p>Many young men worked under Sebastiano at various times in order to
+learn art, but they made little proficience, for from his example they
+<span class="pagenum"><a id="Page_186" name="Page_186">[Pg 186]</a></span> learned little but the art of good living, excepting only
+Tommaso Laureti, a Sicilian, who, besides many other works, has
+executed a picture full of grace at Bologna, of a very beautiful
+Venus, with Love embracing and kissing her, which picture is in the
+house of M. Francesco Bolognetti. He has also painted a portrait of
+Signor Bernardino Savelli, which is much extolled, and some other
+works of which there is no need to make mention.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="delvaga" id="delvaga"></a><span class="pagenum"><a id="Page_187" name="Page_187">[Pg 187]</a></span> PERINO DEL VAGA</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_delvaga" id="life_of_delvaga"></a><span class="pagenum"><a id="Page_189" name="Page_189">[Pg 189]</a></span> LIFE OF PERINO DEL VAGA</h2>
+
+<h3>PAINTER OF FLORENCE</h3>
+
+
+<p>A truly great gift is art, who, paying no regard to abundance of
+riches, to high estate, or to nobility of blood, embraces, protects,
+and uplifts from the ground a child of poverty much more often than
+one wrapped in the ease of wealth. And this Heaven does in order to
+show how much power the influences of its stars and constellations
+have over us, distributing more of its favours to one, and to another
+less; which influences are for the most part the reason that we
+mortals come to be born with dispositions more or less fiery or
+sluggish, weak or strong, fierce or gentle, fortunate or unfortunate,
+and richer or poorer in talent. And whoever has any doubt of this,
+will be enlightened in this present Life of Perino del Vaga, a painter
+of great excellence and genius.</p>
+
+<p>This Perino, the son of a poor father, having been left an orphan as a
+little child and abandoned by his relatives, was guided and governed
+by art, whom he always acknowledged as his true mother and honoured
+without ceasing. And the studies of the art of painting were pursued
+by him with such zeal and diligence, that he was enabled in due time
+to execute those noble and famous decorations which have brought so
+much glory to Genoa and to Prince Doria. Wherefore we may believe
+without a doubt that it is Heaven that raises men from those infinite
+depths in which they were born, to that summit of greatness to which
+they ascend, when they prove by labouring valiantly at their works
+that they are true followers of the sciences that they have chosen to
+learn; even as Perino chose and pursued as his vocation the art of
+design, in which he proved himself full of grace and most excellent,
+or rather, absolutely perfect. And he not only equalled the ancients
+in stucco-work, <span class="pagenum"><a id="Page_190" name="Page_190">[Pg 190]</a></span> but also equalled the best modern craftsmen
+in the whole field of painting, displaying all the excellence that
+could possibly be desired in a human intellect that seeks, in solving
+the difficulties of that art, to achieve beauty, grace, charm, and
+delicacy with colouring and with every other kind of ornament.</p>
+
+<p>But let us speak more particularly of his origin. There lived in the
+city of Florence one Giovanni Buonaccorsi, who entered the service of
+Charles VIII, King of France, and fought in his wars, and, being a
+spirited and open-handed young man, spent all that he possessed in
+that service and in gaming, and finally lost his life therein. To him
+was born a son, who received the name of Piero; and this son, after
+being left as an infant of two months old without his mother, who died
+of plague, was reared in the greatest misery at a farm, being suckled
+by a goat, until his father, having gone to Bologna, took as his
+second wife a woman whose husband and children had died of plague; and
+she, with her plague-infected milk, finished nursing Piero, who was
+now called Pierino<a id="FNanchor27" name="FNanchor27"></a><a href="#Footnote27" title="Go to footnote 27" class="fnanchor">[27]</a> (a pet name such as it is a general custom to
+give to little children), and retained that name ever afterwards. He
+was then taken to Florence by his father, who, on returning to France,
+left him with some relatives; and they, either because they had not
+the means, or because they would not accept the burdensome charge of
+maintaining him and having him taught some ingenious vocation, placed
+him with the apothecary of the Pinadoro, to the end that he might
+learn that calling. But, not liking that profession, he was taken as
+shop-boy by the painter Andrea de' Ceri, who was pleased with the air
+and the ways of Perino, and thought that he saw in him a certain
+lively spirit of intelligence from which it might be hoped that in
+time some good fruits would issue from him. Andrea was no great
+painter; quite commonplace, indeed, and one of those who stand openly
+and publicly in their workshops, executing any kind of work, however
+mean; and he was wont to paint every year for the festival of S. John
+certain wax tapers which were carried as offerings, as they still are,
+together with the other tributes of the city; for which reason he was
+called Andrea de' Ceri, <span class="pagenum"><a id="Page_191" name="Page_191">[Pg 191]</a></span> and from that name Perino was
+afterwards called for some time Perino de' Ceri.</p>
+
+<p>Andrea, then, took care of Perino for some years, teaching him the
+rudiments of art as well as he could; but when the boy had reached the
+age of eleven, he was forced to seek for him some master better than
+himself. And so, having a straight friendship with Ridolfo, the son of
+Domenico Ghirlandajo, who, as will be related, was held to be able and
+well practised in painting, Andrea de' Ceri placed Perino with him, to
+the end that he might give his attention to design, and strive with
+all the zeal and love at his command to make in that art the
+proficience of which his great genius gave promise. Whereupon,
+pursuing his studies, among the many young men whom Ridolfo had in his
+workshop, all engaged in learning art, in a short time Perino came to
+surpass all the rest, so great were his ardour and his eagerness.
+Among them was one named Toto del Nunziata, who was to him as a spur
+to urge him on continually; which Toto, likewise attaining in time to
+equality with the finest intellects, departed from Florence and made
+his way with some Florentine merchants to England, where he executed
+all his works, and was very richly rewarded by the King of that
+country, whom he also served in architecture, erecting, in particular,
+his principal palace. He and Perino, then, working in emulation of one
+another, and pursuing the studies of art with supreme diligence, after
+no long time became very excellent. And Perino, drawing from the
+cartoon of Michelagnolo Buonarroti in company with other young men,
+both Florentines and strangers, won and held the first place among
+them all, insomuch that he was regarded with that expectation which
+was afterwards fulfilled in the beautiful works that he executed with
+so much excellence and art.</p>
+
+<p>There came to Florence at that time the Florentine painter Vaga, a
+master of no great excellence, who was executing commonplace works at
+Toscanella in the province of Rome. Having a superabundance of work,
+he was in need of assistance, and he desired to take back with him a
+companion and also a young man who might help him in design, in which
+he was wanting, and in the other matters of art. Now this painter,
+having seen Perino drawing in the workshop of Ridolfo together
+<span class="pagenum"><a id="Page_192" name="Page_192">[Pg 192]</a></span> with the other young men, found him so superior to them all,
+that he was astonished; and, what is more, he was pleased with his
+appearance and his ways, for Perino was a very beautiful youth, most
+courteous, modest, and gentle, and every part of his body was in
+keeping with the nobility of his mind; wherefore Vaga was so charmed
+with him, that he asked him whether he would go with him to Rome,
+saying that he would not fail to assist him in his studies, and
+promising him such benefits and conditions as he might demand. So
+great was the desire that Perino had to attain to excellence in his
+profession, that, when he heard Rome mentioned, through his eagerness
+to see that city, he was deeply moved; but he told him that he must
+speak to Andrea de' Ceri, who had supported him up to that time, so
+that he was loth to abandon him. And so Vaga, having persuaded
+Ridolfo, Perino's master, and Andrea, who maintained him, so contrived
+that in the end he took Perino, with the companion, to Toscanella.
+There Perino began to work and to assist them, and they finished not
+only the work that Vaga had undertaken, but also many that they
+undertook afterwards. But Perino complained that the promise of seeing
+Rome, by which he had been brought from Florence, was not being
+fulfilled, in consequence of the profit and advantage that Vaga was
+drawing from his services, and he resolved to go thither by himself;
+which was the reason that Vaga, leaving all his works, took him to
+Rome. And there, through the love that he bore to art, Perino returned
+to his former work of drawing and continued at it many weeks, growing
+more ardent every day. But Vaga wished to return to Toscanella, and
+therefore made him known, as one belonging to himself, to many
+commonplace painters, and also recommended him to all the friends that
+he had there, to the end that they might assist and favour him in his
+absence; from which circumstance he was always called from that day
+onward Perino del Vaga.</p>
+
+<div class="figcenter">
+<a name="img035" id="img035"></a>
+<img src="images/img035-tb.jpg" width="500" height="380" alt="The Passage of the Red Sea." title="">
+<p class="caption">THE PASSAGE OF THE RED SEA<br>
+(<i>After the fresco by</i> Perino del Vaga.<br> <i>Rome: The Vatican, Loggia</i>)<br>
+<i>Anderson</i>
+<br><span class="link"><a href="images/img035.jpg">View larger image</a></span></p>
+</div>
+
+<p>Thus left in Rome, and seeing the ancient works of sculpture and the
+marvellous masses of buildings, reduced for the most part to ruins,
+Perino stood lost in admiration at the greatness of the many renowned
+and illustrious men who had executed those works. And so, becoming
+ever more and more aflame with love of art, he burned unceasingly to
+<span class="pagenum"><a id="Page_193" name="Page_193">[Pg 193]</a></span> attain to a height not too far distant from those masters,
+in order to win fame and profit for himself with his works, even as
+had been done by those at whom he marvelled as he beheld their
+beautiful creations. And while he contemplated their greatness and the
+depths of his own lowliness and poverty, reflecting that he possessed
+nothing save the desire to rise to their height, and that, having no
+one who might maintain him and provide him with the means to live, he
+was forced, if he wished to remain alive, to labour at work for those
+ordinary shops, now with one painter and now with another, after the
+manner of the day-labourers in the fields, a mode of life which so
+hindered his studies, he felt infinite grief and pain in his heart at
+not being able to make as soon as he would have liked that proficience
+to which his mind, his will, and his necessities were urging him. He
+made the resolve, therefore, to divide his time equally, working half
+the week at day work, and during the other half devoting his attention
+to design; and to this second half he added all the feast-days,
+together with a great part of the nights, thus stealing time from time
+itself, in order to become famous and to escape from the hands of
+others so far as it might be possible.</p>
+
+<p>Having carried this intention into execution, he began to draw in the
+Chapel of Pope Julius, where the vaulting had been painted by
+Michelagnolo Buonarroti, following both his methods and the manner of
+Raffaello da Urbino. And then, going on to the ancient works in marble
+and also to the grotesques in the grottoes under the ground, which
+pleased him through their novelty, he learned the methods of working
+in stucco, gaining his bread meanwhile by grievous labour, and
+enduring every hardship in order to become excellent in his
+profession. Nor had any long time passed before he became the best and
+most finished draughtsman that there was among all who were drawing in
+Rome, for the reason that he had, perhaps, a better knowledge of
+muscles and of the difficult art of depicting the nude than many
+others who were held to be among the best masters at that time; which
+was the reason that he became known not only to the men of his
+profession, but also to many lords and prelates. And, in particular,
+Giulio Romano and Giovan Francesco, called Il Fattore, disciples of
+Raffaello da Urbino, having <span class="pagenum"><a id="Page_194" name="Page_194">[Pg 194]</a></span> praised him not a little to
+their master, roused in him a desire to know Perino and to see his
+works in drawing; which having pleased him, and together with his work
+his manner, his spirit, and his ways of life, he declared that among
+all the young men that he had known, Perino would attain to the
+highest perfection in that art.</p>
+
+<p>Meanwhile Raffaello da Urbino had built the Papal Loggie, by the
+command of Leo X; and the same Pope ordered that Raffaello should also
+have them adorned with stucco, painted, and gilded, according as it
+should seem best to him. Thereupon Raffaello placed at the head of
+that enterprise, for the stucco-work and the grotesques, Giovanni da
+Udine, who was very excellent and without an equal in such works, but
+mostly in executing animals, fruits, and other little things. And
+since he had chosen in Rome and summoned from other parts a great
+number of masters, he had assembled together a company of men each
+very able at his own work, one in stucco, another in grotesques, a
+third in foliage, a fourth in festoons, another in scenes, and others
+in other things; and according as they improved they were brought
+forward and paid higher salaries, so that by competing in that work
+many young men attained to great perfection, who were afterwards held
+to be excellent in their various fields of art. Among that company
+Perino was assigned to Giovanni da Udine by Raffaello, to the end that
+he might execute grotesques and scenes together with the others; and
+he was told that according as he should acquit himself, so he would be
+employed by Giovanni. And thus, labouring out of emulation and in
+order to prove his powers and make proficience, before many months had
+passed Perino was held to be the first among all those who were
+working there, both in drawing and in colouring; the best, I say, the
+most perfect in grace and finish, and he who could execute both
+figures and grotesques in the most delicate and beautiful manner; to
+which clear testimony and witness are borne by the grotesques,
+festoons, and scenes by his hand that are in that work, which, besides
+surpassing the others, are executed in much more faithful accord with
+the designs and sketches that Raffaello made for them. This may be
+seen from a part of those scenes in the centre of the loggia, on the
+vaulting, where the <span class="pagenum"><a id="Page_195" name="Page_195">[Pg 195]</a></span> Hebrews are depicted crossing over the
+Jordan with the sacred Ark, and also marching round the walls of
+Jericho, which fall into ruin; and the other scenes that follow, such
+as that of Joshua causing the sun to stand still during the combat
+with the Amorites. Among those painted in imitation of bronze on the
+base the best are likewise those by the hand of Perino&mdash;namely,
+Abraham sacrificing his son, Jacob wrestling with the Angel, Joseph
+receiving his twelve brethren, the fire descending from Heaven and
+consuming the sons of Levi, and many others which there is no need to
+name, for their number is very great, and they can be distinguished
+from the rest. At the beginning of the loggia, also, where one enters,
+he painted scenes from the New Testament, the Nativity and the Baptism
+of Christ, and His Last Supper with the Apostles, which are very
+beautiful; besides which, below the windows, as has been said, are the
+best scenes painted in the colour of bronze that there are in the
+whole work. These labours cause every man to marvel, both the
+paintings and the many works in stucco that he executed there with his
+own hand; and his colouring, moreover, is much more pleasing and more
+highly finished than that of any of the others.</p>
+
+<p>This work was the reason that he became famous beyond all belief, yet
+this great praise did not send him to sleep, but rather, since genius
+grows with praise, inspired him with even more zeal, and made him
+almost certain that by persisting he would come to win those fruits
+and honours that he saw every day in the possession of Raffaello da
+Urbino and Michelagnolo Buonarroti. And he laboured all the more
+willingly, because he saw that he was held in estimation by Giovanni
+da Udine and by Raffaello, and was employed in works of importance. He
+always showed extraordinary deference and obedience towards Raffaello,
+honouring him in such a manner that he was beloved by Raffaello as a
+son.</p>
+
+<p>There was executed at this time, by order of Pope Leo, the vaulting of
+the Hall of the Pontiffs, which is that through which one passes by
+way of the Loggie into the apartments of Pope Alexander VI, formerly
+painted by Pinturicchio; and that vaulting was painted by Giovanni da
+Udine and Perino. They executed in company the stucco-work and all
+those ornaments, grotesques, and animals that are to be seen <span class="pagenum"><a id="Page_196" name="Page_196">[Pg 196]</a></span>
+there, in addition to the varied and beautiful inventions that were
+depicted by them in the compartments of the ceiling, which they had
+divided into certain circles and ovals to contain the seven Planets of
+Heaven drawn by their appropriate animals, such as Jupiter drawn by
+Eagles, Venus by Doves, the Moon by Women, Mars by Wolves, Mercury by
+Cocks, the Sun by Horses, and Saturn by Serpents; besides the twelve
+Signs of the Zodiac, and some figures from the forty-eight
+Constellations of Heaven, such as the Great Bear, the Dog Star, and
+many others, which, by reason of their number, we must pass over in
+silence, without recounting them all in their order, since anyone may
+see the work; which figures are almost all by the hand of Perino. In
+the centre of the vaulting is a circle with four figures representing
+Victories, seen foreshortened from below upwards, who are holding the
+Pope's Crown and the Keys; and these are very well conceived and
+wrought with masterly art, to say nothing of the delicacy with which
+he painted their vestments, veiling the nude with certain light
+draperies that partly reveal the naked legs and arms, a truly graceful
+and beautiful effect. This work was justly held, as it still is at the
+present day, to be very magnificent and rich in craftsmanship, and
+also cheerful and pleasing; worthy, in short, of that Pontiff, who did
+not fail to reward their labours, which truly deserved some signal
+remuneration.</p>
+
+<p>Perino decorated a fa�ade in chiaroscuro&mdash;a method brought into use at
+that time by the example of Polidoro and Maturino&mdash;which is opposite
+to the house of the Marchioness of Massa, near Maestro Pasquino,
+executing it with great boldness of design and with supreme diligence.</p>
+
+<p>In the third year of his pontificate Pope Leo paid a visit to
+Florence, for which many triumphal preparations were made in that
+city, and Perino went thither before the Court, partly in order to see
+the pomps of the city, and partly from a wish to revisit his native
+country; and on a triumphal arch at S. Trinit� he made a large and
+very beautiful figure, seven braccia high, while another was executed
+in competition with him by Toto del Nunziata, who had already been his
+rival in boyhood. But to Perino every hour seemed a thousand years
+until he could return to Rome, for he perceived that the rules and
+methods of the <span class="pagenum"><a id="Page_197" name="Page_197">[Pg 197]</a></span> Florentine craftsmen were very different from
+those that were customary in Rome; wherefore he departed from Florence
+and returned to Rome, where he resumed his usual course of work. And
+in S. Eustachio dalla Dogana he painted a S. Peter in fresco, which is
+a figure that has very strong relief, executed with a simple flow of
+folds, and yet wrought with much design and judgment.</p>
+
+<p>There was in Rome at this time the Archbishop of Cyprus, a man who was
+a great lover of the arts, and particularly of painting; and he,
+having a house near the Chiavica, where he had laid out a little
+garden with some statues and other antiquities of truly noble beauty,
+and desiring to enhance their effect with some fine decorations, sent
+for Perino, who was very much his friend, and they came to the
+decision that he should paint round the walls of that garden many
+stories of Bacchantes, Satyrs, Fauns, and other wild things, in
+reference to an ancient statue of Bacchus, seated beside a tiger,
+which the Archbishop had there. And so Perino adorned that place with
+a variety of poetical fancies; and, among other things, he painted
+there a little loggia with small figures, various grotesques, and many
+landscapes, coloured with supreme grace and diligence. This work has
+been held by craftsmen, as it always will be, to be worthy of the
+highest praise; and it was the reason that he became known to the
+Fugger family, merchants of Germany, who, having built a house near
+the Banchi, on the way to the Church of the Florentines, and having
+seen Perino's work and liked it, caused him to paint there a courtyard
+and a loggia, with many figures, all worthy of the same praise as the
+other works by his hand, for in them may be seen much delicacy and
+grace and great beauty of manner.</p>
+
+<p>At this same time M. Marchionne Baldassini, having caused a house to
+be built for him near S. Agostino, as has been related, by Antonio da
+San Gallo, who designed it very well, desired that a hall which
+Antonio had constructed there should be painted all over; and after
+passing in review many of the young painters, to the end that it might
+be well and beautifully done, he finally resolved to give it to
+Perino. Having agreed about the price, Perino set his hand to it, nor
+did he turn his attention from that work to any other until he had
+<span class="pagenum"><a id="Page_198" name="Page_198">[Pg 198]</a></span> brought it to a very happy conclusion in fresco. In that
+hall he made compartments by means of pilasters which have between
+them niches great and small; in the larger niches are various figures
+of philosophers, two in each niche, and in some one only, and in the
+smaller niches are little boys, partly naked and partly draped in
+veiling, while above those small niches are some heads of women,
+painted in imitation of marble. Above the cornice that crowns the
+pilasters there follows a second series of pictures, separated from
+the first series below, with scenes in figures of no great size from
+the history of the Romans, beginning with Romulus and ending with Numa
+Pompilius. There are likewise various ornaments in imitation of
+different kinds of marble, and over the beautiful chimney-piece of
+stone is a figure of Peace burning arms and trophies, which is very
+lifelike. This work was held in much estimation during the lifetime of
+M. Marchionne, as it has been ever since by all those who work in
+painting, and also by many others not of the profession, who give it
+extraordinary praise.</p>
+
+<p>In the Convent of the Nuns of S. Anna, Perino painted a chapel in
+fresco with many figures, which was executed by him with his usual
+diligence. And on an altar in S. Stefano del Cacco he painted in
+fresco, for a Roman lady, a Piet� with the Dead Christ in the lap of
+Our Lady, with a portrait from life of that lady, which still has the
+appearance of a living figure; and the whole work is very beautiful,
+and executed with great mastery and facility.</p>
+
+<p>In those days Antonio da San Gallo had built at the corner of a house
+in Rome, which is known as the Imagine di Ponte, a tabernacle finely
+adorned with travertine and very handsome, in which something
+beautiful in the way of painting was to be executed; and he received a
+commission from the owner of that house to give the work to one whom
+he should consider capable of painting some noble picture there.
+Wherefore Antonio, who knew Perino to be the best of the young men who
+were in Rome, allotted it to him. And he, setting his hand to the
+work, painted there a Christ in the act of crowning the Madonna, and
+in the background he made a Glory, with a choir of Seraphim and Angels
+clothed in light and delicate draperies, who are scattering flowers,
+and other children of great beauty and variety; and on the sides of
+the <span class="pagenum"><a id="Page_199" name="Page_199">[Pg 199]</a></span> tabernacle he painted Saints, S. Sebastian on one side
+and S. Anthony on the other. This work was executed truly well, and
+was equal to the others by his hand, which were always full of grace
+and charm.</p>
+
+<p>A certain protonotary had erected a chapel of marble on four columns
+in the Minerva, and, desiring to leave an altar-piece there in memory
+of himself, even if it were but a small one, he came to an agreement
+with Perino, whose fame he had heard, and commissioned him to paint it
+in oils. And he chose that the subject should be the Deposition of
+Christ from the Cross, which Perino set himself to execute with the
+greatest possible zeal and diligence. In this picture he represented
+Him as already laid upon the ground, surrounded by the Maries weeping
+over Him, in whose gestures and attitudes he portrayed a melting pity
+and sorrow; besides which there are the Nicodemuses<a id="FNanchor28" name="FNanchor28"></a><a href="#Footnote28" title="Go to footnote 28" class="fnanchor">[28]</a> and other
+figures that are much admired, all woeful and afflicted at seeing the
+sinless Christ lying dead. But the figures that he painted most
+divinely were those of the two Thieves, left fixed upon the crosses,
+which, besides appearing to be real dead bodies, reveal a very good
+mastery over muscles and nerves, which this occasion enabled him to
+display; wherefore, to the eyes of him who beholds them, their limbs
+present themselves all drawn in that violent death by the nerves, and
+the muscles by the nails and cords. There is, in addition, a landscape
+wrapped in darkness, counterfeited with much judgment and art. And if
+the inundation which came upon Rome after the sack had not done damage
+to this work, covering more than half of it, its excellence would be
+clearly seen; but the water so softened the gesso, and caused the wood
+to swell in such sort, that all the lower part that was soaked has
+peeled off too much for the picture to give any pleasure; nay, it is a
+grief and a truly heartrending sorrow to behold it, for it would
+certainly have been one of the most precious things in all Rome.</p>
+
+<p>There was being rebuilt at this time, under the direction of Jacopo
+Sansovino, the Church of S. Marcello in Rome, a convent of Servite
+Friars, which still remains unfinished; and when they had carried the
+<span class="pagenum"><a id="Page_200" name="Page_200">[Pg 200]</a></span> walls of some chapels to completion, and had roofed them,
+those friars commissioned Perino to paint in one of these, as
+ornaments for a Madonna that is worshipped in that church, two figures
+in separate niches, S. Joseph and S. Filippo, a Servite friar and the
+founder of that Order, one on either side of the Madonna. These
+finished, he painted above them some little boys that are perfect, and
+in the centre of the wall he placed another standing upon a dado, who
+has upon his shoulders the ends of two festoons, which he directs
+towards the corners of the chapel, where there are two other little
+boys who support them, being seated upon them, with their legs in most
+beautiful attitudes. All this he executed with such art, such grace,
+and so beautiful a manner, and gave to the flesh a tint of colour so
+fresh and soft, that one might say that it was real flesh rather than
+painted. And certainly these figures may be held to be the most
+beautiful that ever any craftsman painted in fresco, for the reason
+that there is life in their eyes and movement in their attitudes, and
+with the mouth they make as if to break into speech and say that art
+has conquered Nature, and that even art declares that nothing more
+than this can be done in her. This work was so excellent in the sight
+of all good judges of art, that he acquired a great name thereby,
+although he had executed many works and what was known of his great
+genius in his profession was well known; and he was therefore held in
+much more account and greater estimation than ever before.</p>
+
+<p>For this reason Lorenzo Pucci, Cardinal Santiquattro, who had taken
+over a chapel on the left hand beside the principal chapel in the
+Trinit�, a convent of Calabrian and French Friars who wear the habit
+of S. Francis of Paola, allotted it to Perino, to the end that he
+might paint there in fresco the life of Our Lady. Which having begun,
+Perino finished all the vaulting and a wall under an arch; and on the
+outer side, also, over an arch of the chapel, he painted two Prophets
+four braccia and a half in height, representing Isaiah and Daniel, who
+in their great proportions reveal all the art, excellence of design,
+and beauty of colouring that can be seen in their perfection only in a
+picture executed by a great craftsman. This will be clearly evident to
+one who shall consider the Isaiah, in whom, as he reads, may be
+perceived the thoughtfulness that <span class="pagenum"><a id="Page_201" name="Page_201">[Pg 201]</a></span> study infuses in him, and
+his eagerness in reading new things, for he has his gaze fixed upon a
+book, with one hand to his head, exactly as a man often is when he is
+studying; and Daniel, likewise, is motionless, with his head upraised
+in celestial contemplation, in order to resolve the doubts of his
+people. Between these figures are two little boys who are upholding
+the escutcheon of the Cardinal, a shield of beautiful shape: and these
+boys, besides being so painted as to seem to be of flesh, also have
+the appearance of being in relief. The vaulting is divided into four
+scenes, separated one from another by the cross&mdash;that is, by the ribs
+of the vaulting. In the first is the Conception of Our Lady, in the
+second her Nativity, in the third the scene when she ascends the steps
+of the Temple, and in the fourth S. Joseph marrying her. On a
+wall-space equal in extent to the arch of the vaulting is her
+Visitation, in which are many figures that are very beautiful, but
+above all some who have climbed on certain socles and are standing in
+very spirited and natural attitudes, the better to see the ceremonious
+meeting of those women; besides which, there is something of the good
+and of the beautiful in the buildings and in every gesture of the
+other figures. He pursued this work no further, illness coming upon
+him; and when he was well, there began the plague of the year 1523,
+which raged so violently in Rome, that, if he wished to save his life,
+it became expedient for him to make up his mind to depart.</p>
+
+<p>There was in the city of Rome at that time the goldsmith Piloto, who
+was much the friend and intimate companion of Perino, and he was
+desirous of departing; and so one morning, as they were breakfasting
+together, he persuaded Perino to take himself off and go to Florence,
+on the ground that it was many years since he had been there, and that
+it could not but bring him great honour to make himself known there
+and to leave some example of his excellence in that city; saying also
+that, although Andrea de' Ceri and his wife, who had brought him up,
+were dead, nevertheless, as a native of that country, if he had no
+possessions there, he had his love for it. Wherefore, after no long
+time, one morning Perino and Piloto departed and set out on the way to
+Florence. And when they had arrived there, Perino took the greatest
+pleasure in <span class="pagenum"><a id="Page_202" name="Page_202">[Pg 202]</a></span> seeing once again the old works painted by the
+masters of the past, which had been as a school to him in the days of
+his boyhood, and likewise those of the masters then living who were
+the most celebrated and held to be the best in that city, in which,
+through the interest of friends, a work was allotted to him, as will
+be related below. It happened one day that many craftsmen having
+assembled in his presence to do him honour, painters, sculptors,
+architects, goldsmiths, and carvers in wood and marble, who had
+gathered together according to the ancient custom, some to see Perino,
+to keep him company, and to hear what he had to say, many to learn
+what difference in practice there might be between the craftsmen of
+Rome and those of Florence, but most of them to hear the praise and
+censure that craftsmen are wont often to give to one another; it
+happened, I say, that thus discoursing together of one thing and
+another, and examining the works, both ancient and modern, in the
+various churches, they came to that of the Carmine, in order to see
+the chapel of Masaccio. There everyone gazed attentively at the
+paintings, and many various opinions were uttered in praise of that
+master, all declaring that they marvelled that he should have
+possessed so much judgment as to be able in those days, without seeing
+anything but the work of Giotto, to work with so much of the modern
+manner in the design, in the colouring, and in the imitation of
+Nature, and that he should have solved the difficulties of his art in
+a manner so facile; not to mention that among all those who had worked
+at painting, there had not as yet been one who had equalled him in
+strength of relief, in resoluteness, and in mastery of execution.</p>
+
+<p>This kind of discourse much pleased Perino, and to all those craftsmen
+who spoke thus he answered in these words: "I do not deny that what
+you say, and even more, may be true; but that there is no one among us
+who can equal this manner, that I will deny with my last breath. Nay,
+I will declare, if I may say it with the permission of the company,
+not in contempt, but from a desire for the truth, that I know many
+both more resolute and richer in grace, whose works are no less
+lifelike in the painting than these, and even much more beautiful. And
+I, by your leave, I who am not the first in this art, am grieved that
+there is <span class="pagenum"><a id="Page_203" name="Page_203">[Pg 203]</a></span> no space near these works wherein I might be able
+to paint a figure; for before departing from Florence I would make a
+trial beside one of these figures, likewise in fresco, to the end that
+you might see by comparison whether there be not among the moderns one
+who has equalled him." Among their number was a master who was held to
+be the first painter in Florence; and he, being curious to see the
+work of Perino, and perhaps wishing to lower his pride, put forward an
+idea of his own, which was this: "Although," said he, "all the space
+here is full, yet, since you have such a fancy, which is certainly a
+good one and worthy of praise, there, on the opposite side, where
+there is the S. Paul by his hand, a figure no less good and beautiful
+than any other in the chapel, is a space in which you may easily prove
+what you say by making another Apostle, either beside that S. Peter by
+Masolino or beside the S. Paul of Masaccio, whichever you may prefer."
+The S. Peter was nearer the window, and the space beside it was
+greater and the light better; besides which, it was a figure no less
+beautiful than the S. Paul. Everyone, therefore, urged Perino to do
+it, because they had a great desire to see that Roman manner; besides
+which, many said that he would be the means of taking out of their
+heads the fancy that they had nursed in their minds for so many
+decades, and that if his figure should prove to be the best all would
+run after modern works. Wherefore, persuaded by that master, who told
+him at last that he ought not to disappoint the entreaties and
+expectations of so many lofty intellects, particularly since it would
+not take longer than two weeks to execute a figure in fresco, and they
+would not fail to spend years in praising his labours, Perino resolved
+to do it, although he who spoke thus had an intention quite contrary
+to his words, being persuaded that Perino would by no means execute
+anything much better than the work of those craftsmen who were
+considered to be the most excellent at that time. Perino, then,
+undertook to make this attempt; and having summoned by common consent
+M. Giovanni da Pisa, the Prior of the convent, they asked him for the
+space for the execution of the work, which he granted to them with
+truly gracious courtesy; and thus they took measurements of the space,
+with the height and breadth, and went away.</p>
+
+<p><span class="pagenum"><a id="Page_204" name="Page_204">[Pg 204]</a></span> An Apostle was then drawn by Perino in a cartoon, in the
+person of S. Andrew, and finished with the greatest diligence;
+whereupon Perino, having first caused the staging to be erected, was
+prepared to begin to paint it. But before this, on his arrival in
+Florence, his many friends, who had seen most excellent works by his
+hand in Rome, had contrived to obtain for him the commission for that
+work in fresco which I mentioned, to the end that he might leave some
+example of his handiwork in Florence, which might demonstrate how
+spirited and how beautiful was his genius for painting, and also to
+the end that he might become known and perchance be set to work on
+some labour of importance by those who were then governing. There were
+at that time certain craftsmen who used to assemble in a company
+called the Company of the Martyrs, in the Camaldoli at Florence; and
+they had proposed many times to have a wall that was in that place
+painted with the story of the Martyrs being condemned to death before
+two Roman Emperors, who, after they had been taken in battle, caused
+them to be crucified in the wood and hanged on trees. This story was
+suggested to Perino, and, although the place was out of the way, and
+the price small, so much was he attracted by the possibilities of
+invention in the story and by the size of the wall, that he was
+disposed to undertake it; besides which, he was urged not a little by
+those who were his friends, on the ground that the work would
+establish him in that reputation which his talent deserved among the
+citizens, who did not know him, and among his fellow-craftsmen in
+Florence, where he was not known save by report. Having then
+determined to do the work, he accepted the undertaking and made a
+small design, which was held to be a thing divine; and having set his
+hand to making a cartoon as large as the whole work, he never left off
+labouring at it, and carried it so far that all the principal figures
+were completely finished. And so the Apostle was abandoned, without
+anything more being done.</p>
+
+<p>Perino drew this cartoon on white paper, well shaded and hatched,
+leaving the paper itself for the lights, and executing the whole with
+admirable diligence. In it were the two Emperors on the seat of
+judgment, condemning to the cross all the prisoners, who were turned
+towards <span class="pagenum"><a id="Page_205" name="Page_205">[Pg 205]</a></span> the tribunal, some kneeling, some standing, and
+others bowed, but all naked and bound in different ways, and writhing
+with piteous gestures in various attitudes, revealing the trembling of
+the limbs at the prospect of the severing of the soul from the body in
+the agony and torment of crucifixion; besides which, there were
+depicted in those heads the constancy of faith in the old, the fear of
+death in the young, and in others the torture that they suffer from
+the strain of the cords on their bodies and arms. And there could also
+be seen the swelling of the muscles and even the cold sweat of death,
+all depicted in that design. Then in the soldiers who were leading
+them there was revealed a terrible fury, most impious and cruel, as
+they presented them at the tribunal for condemnation and led them to
+the cross. The Emperors and the soldiers were wearing cuirasses after
+the ancient manner and garments very ornate and bizarre, with buskins,
+shoes, helmets, shields, and other pieces of armour wrought with all
+that wealth of the most beautiful ornamentation to which a craftsman
+can attain in imitating and reproducing the antique, and drawn with
+the greatest lovingness, subtlety, and delicacy that the perfection of
+art can display. When this cartoon was seen by the craftsmen and by
+other judges of discernment, they declared that they had never seen
+such beauty and excellence in design since the cartoon drawn by
+Michelagnolo Buonarroti in Florence for the Council Chamber; wherefore
+Perino acquired the greatest fame that he could have gained in art.
+And while he was engaged in finishing that cartoon, he amused himself
+by causing oil-colours to be prepared and ground in order to paint for
+his dearest friend, the goldsmith Piloto, a little picture of no great
+size, containing a Madonna, which he carried something more than
+half-way towards completion.</p>
+
+<p>For many years past Perino had been intimately acquainted with a
+certain lame priest, Ser Raffaello di Sandro, a chaplain of S.
+Lorenzo, who always bore love to the craftsmen of design. This priest,
+then, persuaded Perino to take up his quarters with him, seeing that
+he had no one to cook for him or to keep house for him, and that
+during the time that he had been in Florence he had stayed now with
+one friend and now with another; wherefore Perino went to lodge with
+him, and stayed there <span class="pagenum"><a id="Page_206" name="Page_206">[Pg 206]</a></span> many weeks. Meanwhile the plague began
+to appear in certain parts of Florence, and filled Perino with fear
+lest he should catch the infection; on which account he determined to
+go away, but wished first to recompense Ser Raffaello for all the days
+that he had eaten at his table. But Ser Raffaello would never consent
+to take anything, only saying: "I would be fully paid by having a
+scrap of paper from your hand." Seeing him to be determined, Perino
+took about four braccia of coarse canvas, and, after having it fixed
+to the wall between two doors in the priest's little room, painted on
+it in a day and a night a scene coloured in imitation of bronze. On
+this canvas, which was to serve as a screen for the wall, he painted
+the story of Moses passing the Red Sea and Pharaoh being submerged
+with his horses and his chariots; and Perino painted therein figures
+in most beautiful attitudes, some swimming in armour and some naked,
+others swimming while clasping the horses round the neck, with their
+beards and hair all soaked, crying out in the fear of death and
+struggling with all their power to escape. On the other side of the
+sea are Moses, Aaron, and all the other Hebrews, male and female, who
+are thanking God, and a number of vases that he counterfeited, carried
+off by them from Egypt, varied and beautiful in form and shape, and
+women with head-dresses of great variety. Which finished, he left it
+as a mark of lovingness to Ser Raffaello, to whom it was as dear as
+the Priorate of S. Lorenzo would have been. This canvas was afterwards
+much extolled and held in estimation, and after the death of Ser
+Raffaello it passed, together with his other possessions, to his
+brother Domenico di Sandro, the cheesemonger.</p>
+
+<p>Departing, then, from Florence, Perino abandoned the work of the
+Martyrs, which caused him great regret; and certainly, if it had been
+in any other place but the Camaldoli, he would have finished it; but,
+considering that the officials of health had taken that very Convent
+of Camaldoli for those infected with the plague, he thought it better
+to save himself than to leave fame behind him in Florence, being
+satisfied that he had proved how much he was worth in the design. The
+cartoon, with his other things, remained in the possession of the
+goldsmith Giovanni di Goro, his friend, who died in the plague; and
+after that it <span class="pagenum"><a id="Page_207" name="Page_207">[Pg 207]</a></span> fell into the hands of Piloto, who kept it
+spread out in his house for many years, showing it readily as a very
+rare work to every person of intelligence; but I do not know what
+became of it after the death of Piloto.</p>
+
+<p>Perino stayed for many months in various places, seeking to avoid the
+plague, but for all this he never spent his time in vain, for he was
+continually drawing and studying the secrets of art; and when the
+plague had ceased, he returned to Rome and gave his attention to
+executing little works of which I shall say nothing more. In the year
+1523 came the election of Pope Clement VII, which was the greatest of
+blessings for the arts of painting and sculpture, which had been so
+kept down by Adrian VI during his lifetime, that not only had nothing
+been executed for him, but, as has been related in other places, not
+delighting in them, or rather, holding them in detestation, he had
+brought it about that no other person delighted in them, or spent
+money upon them, or employed a single craftsman. Then, therefore,
+after the election of the new Pontiff, Perino executed many works.</p>
+
+<p>Afterwards it was proposed that Giulio Romano and Giovan Francesco,
+called Il Fattore, should be made heads of the world of art in place
+of Raffaello, who was dead, to the end that they might distribute the
+various works to the others, according to the previous custom. But
+Perino, in executing an escutcheon of the Pope in fresco over the door
+of Cardinal Cesarino, after the cartoon of Giulio Romano, acquitted
+himself so excellently well, that they doubted whether he would not be
+preferred to themselves, because, although they were known as the
+disciples of Raffaello and as the heirs to his possessions, they had
+not inherited the whole of the art and grace that he used to give to
+his figures with colours. Giulio and Giovan Francesco therefore made
+up their minds to attach Perino to themselves; and so in the holy year
+of Jubilee, 1525, they gave him Caterina, the sister of Giovan
+Francesco, for wife, to the end that the perfect friendship which had
+been maintained between them for so long might be converted into
+kinship. Thereupon, continuing the works that he had in hand, no long
+time had passed when, on account of the praises bestowed upon him for
+the first work <span class="pagenum"><a id="Page_208" name="Page_208">[Pg 208]</a></span> executed by him in S. Marcello, it was
+resolved by the Prior of that convent and by certain heads of the
+Company of the Crocifisso, which has a chapel there built by its
+members as a place of assembly, that the chapel should be painted; and
+so they allotted this work to Perino, in the hope of having some
+excellent painting by his hand. Perino, having caused the staging to
+be erected, began the work; and in the centre of the barrel-shaped
+vaulting he painted the scene when God, after creating Adam, takes his
+wife Eve from his side. In this scene Adam, a most beautiful naked
+figure painted with perfect art, is seen lying overcome by sleep,
+while Eve, with great vivacity, rises to her feet with the hands
+clasped and receives the benediction of her Maker, the figure of whom
+is depicted grave in aspect and sublime in majesty, standing with many
+draperies about Him, which curve round His nude form with their
+borders. On one side, on the right hand, are two Evangelists, S. Mark
+and S. John, the first of whom Perino finished entirely, and also the
+second with the exception of the head and a naked arm. Between these
+two Evangelists, by way of ornament, he made two little boys embracing
+a candelabrum, which are truly of living flesh; and the Evangelists,
+likewise, in the heads, the draperies, the arms, and all that he
+painted in them with his own hand, are very beautiful.</p>
+
+<p>While he was executing this work, he suffered many interruptions from
+illness and from other misfortunes, such as happen every day to all
+who live in this world; besides which, it is said that the men of the
+Company also ran short of money. And so long did this business drag
+on, that in the year 1527 there came upon them the ruin of Rome, when
+that city was given over to sack, many craftsmen were killed, and many
+works destroyed or carried away. Whereupon Perino, caught in that
+turmoil, and having a wife and a baby girl, ran from place to place in
+Rome with the child in his arms, seeking to save her, and finally,
+poor wretch, was taken prisoner and reduced to paying a ransom, which
+hit him so hard that he was like to go out of his mind. When the fury
+of the sack had abated, he was so crushed down by the fear that still
+possessed him, that all thought of art was worlds away from him, but
+nevertheless he painted canvases in gouache and other fantasies for
+<span class="pagenum"><a id="Page_209" name="Page_209">[Pg 209]</a></span> certain Spanish soldiers; and after regaining his composure,
+he lived like the rest in some poor fashion. Alone among so many,
+Baviera, who had the engravings of Raffaello, had not lost much;
+wherefore, moved by the friendship that he had with Perino, and
+wishing to employ him, he commissioned him to draw some of the stories
+of the Gods transforming themselves in order to achieve the
+consummation of their loves. These were engraved on copper by Jacopo
+Caraglio, an excellent engraver of prints, who acquitted himself so
+well in the matter of these designs, that, preserving the outlines and
+manner of Perino, and hatching the work with beautiful facility, he
+sought also to impart to the engravings that grace and that delicacy
+which Perino had given to the drawings.</p>
+
+<p>While the havoc of the sack had destroyed Rome and driven away the
+inhabitants and the Pope himself, who was living at Orvieto, not many
+remaining in the city, and no business of any kind being done there,
+there arrived in Rome one Niccola Viniziano, a rare and even
+unrivalled master of embroidery, the servant of Prince Doria. He,
+moved by his long-standing friendship with Perino, and being a man who
+always favoured and wished well to the men of our arts, persuaded him
+to leave that misery and set out for Genoa, promising that he would so
+go to work with that Prince, who was a lover of art and delighted in
+painting, that he would commission Perino to execute some big works,
+and saying, moreover, that His Excellency had often told him that he
+would like to have a suite of rooms adorned with handsome decorations.
+It did not take much to persuade Perino, for he was oppressed by want
+and burning with desire to leave Rome; and he determined to depart
+with Niccola. Having therefore made arrangements for leaving his wife
+and daughter well cared for by relatives in Rome, and having put all
+his affairs in order, he set off for Genoa. Arriving there, and making
+himself known to that Prince by means of Niccola, his coming was as
+welcome to His Excellency as any agreeable experience that he had ever
+had in all his life. He was received, therefore, with the greatest
+possible warmth and gladness, and after many conversations and
+discussions they finally arranged that he should begin the work; and
+they decided that he should execute a palace adorned with stucco-work
+and with pictures in fresco, <span class="pagenum"><a id="Page_210" name="Page_210">[Pg 210]</a></span> in oils, and of every kind,
+which I will strive to describe as briefly as I am able, with all the
+rooms, pictures, and general arrangement, saying nothing as to where
+Perino first began to labour, to the end that I may not obscure this
+work, which is the best of all those by his hand, with words.</p>
+
+<p>I begin, then, by saying that at the entrance of the Prince's Palace
+there is a marble portal composed in the Doric Order, and built after
+designs and models by the hand of Perino, with all its appurtenances
+of pedestals, socles, shafts, capitals, architrave, frieze, cornice
+and pediment, and with some most beautiful seated figures of women,
+who are supporting an escutcheon. The masonry and carving of this work
+were executed by Maestro Giovanni da Fiesole, and the figures were
+finished to perfection by Silvio, the sculptor of Fiesole, a bold and
+resolute master. Entering within the portal, one finds over the
+vestibule a vault covered with stucco-work, varied scenes, and
+grotesques, and little arches in each of which are scenes of war and
+various kinds of battles, some fighting on foot and others on
+horseback, and all wrought with truly extraordinary diligence and art.
+On the left one finds the staircase, which has decorations of little
+grotesques after the antique that could not be richer or more
+beautiful, with various scenes and little figures, masks, children,
+animals, and other things of fancy, executed with that invention and
+judgment that always marked his work, insomuch that of their kind they
+may well be called divine. Having ascended the staircase, one comes
+into a most beautiful loggia, which has at each end a very handsome
+door of stone; and over each of these doors, in the pediment, are
+painted two figures, one male and the other female, represented in
+directly opposite attitudes, one showing the front view and the other
+the back. The vaulting has five arches, and is wrought superbly in
+stucco, and it is also divided by pictures in certain ovals,
+containing scenes executed with the most perfect beauty that could be
+achieved; and the walls are painted down to the floor with many seated
+figures of captains in armour, some drawn from life and some from
+imagination, and representing all the ancient and modern captains of
+the house of Doria, and above them are large letters of gold, which
+run thus&mdash;"Magni viri, <span class="pagenum"><a id="Page_211" name="Page_211">[Pg 211]</a></span> maximi duces, optima fecere pro
+patria." In the first hall, which opens into the loggia and is entered
+by one of the two doors, that on the left hand, there are most
+beautiful ornaments of stucco on the corners of the vaulting, and in
+the centre there is a large scene of the Shipwreck of �neas in the
+sea, in which are nude figures, living and dead, in attitudes of
+infinite variety, besides a good number of ships and galleys, some
+sound and some shattered by the fury of the tempest; not without
+beautiful considerations in the figures of the living, who are
+striving to save themselves, and expressions of terror that are
+produced in their features by the struggle with the waves, the danger
+of death, and all the emotions aroused by the perils of the sea. This
+was the first scene and the first work that Perino began for the
+Prince. It is said that when he arrived in Genoa, Girolamo da Treviso
+had already appeared there in advance of him in order to execute
+certain pictures, and was painting a wall that faced towards the
+garden. And after Perino had begun to draw the cartoon for the scene
+of the Shipwreck that has been described above, while he was taking
+his time about it, amusing himself and seeing Genoa, and labouring
+only at intervals at the cartoon, although a great part was finished
+in various ways and those nudes were drawn, some in chiaroscuro, some
+in charcoal, and others in black chalk, some being drawn in imitation
+of gradine-work, others shaded, and others again only outlined; while,
+I say, Perino was going on in this way, without beginning to paint,
+Girolamo da Treviso murmured against him, saying, "Cartoons, and
+nothing but cartoons! I have my art at the tip of my brush." Decrying
+him very often in this or some other similar manner, it came to the
+ears of Perino, who, taking offence, straightway caused his cartoon to
+be fixed to the vaulting where the scene was to be painted, and the
+boards of his staging to be removed in many places, to the end that
+the work might be seen from below; and then he threw open the hall.
+Which hearing, all Genoa ran to see it, and, amazed by Perino's grand
+design, they praised him to the skies. Thither, among others, went
+Girolamo da Treviso, who saw what he had never thought to see from the
+hand of Perino; whereupon, dumbfoundered by the beauty of the work, he
+departed from Genoa without asking leave of Prince Doria, and
+<span class="pagenum"><a id="Page_212" name="Page_212">[Pg 212]</a></span> returned to Bologna, where he lived. Perino was thus left
+alone in the service of the Prince, and finished that hall, painting
+it in oils on the surface of the walls; and it was held to be, as
+indeed it is, a thing unrivalled in its beauty, with its lovely work
+in stucco in the centre of the vaulting and all around, even below the
+lunettes, as I have described. In the other hall, into which one
+enters by the right-hand door in the loggia, he executed on the
+vaulting works in stucco almost similar in design to those of the
+other, and painted pictures in fresco of Jove slaying the Giants with
+his thunderbolts, in which are many very beautiful nudes, larger than
+life. In the Heaven, likewise, are all the Gods, who are making
+gestures of great vivacity and truly appropriate to their natures,
+amid the terrible uproar of the thunder; besides which, the
+stucco-work is executed with supreme diligence, and the
+fresco-colouring could not be more beautiful, seeing that Perino was
+very able&mdash;indeed, a perfect master&mdash;in that field. Near this he
+adorned four chambers, the ceilings of which are all wrought in
+stucco, and distributed among them, in fresco, are the most beautiful
+fables from Ovid, which have all the appearance of reality, nor could
+any one imagine the beauty, the abundance, the variety, and the great
+numbers of the little figures, animals, foliage, and grotesques that
+are in them, all executed with lively invention. Beside the other
+hall, likewise, he adorned four more chambers, but only directing the
+work, which was carried out by his assistants, although he gave them
+the designs both of the stucco-decorations and of the scenes, figures,
+and grotesques, upon which a vast number of them worked, some little
+and some much; such as Luzio Romano, who did much work in stucco there
+and many grotesques, and a number of Lombards. Let it suffice to say
+that there is no room there that has not something by his hand and is
+not full of ornaments, even to the space below the vaulting, with
+various compositions full of children, bizarre masks, and animals,
+which all defies description; not to mention that the little studies,
+the antechambers, the closets, and all other parts of the palace, are
+painted and made beautiful. From the palace one passes into the garden
+and into a low building, which has the most ornate decorations in all
+the rooms, even below the ceilings, and so also the halls, chambers,
+<span class="pagenum"><a id="Page_213" name="Page_213">[Pg 213]</a></span> and anterooms, all adorned by the same hand. In this work
+Pordenone also took a part, as I said in his Life, and likewise
+Domenico Beccafumi of Siena, a very rare painter, who showed that he
+was not inferior to any of the others, although the works by his hand
+that are in Siena are the most excellent among the vast number that he
+painted.</p>
+
+<p>But to return to the works that Perino executed after those that he
+did in the Palace of the Prince; he executed a frieze in a room in the
+house of Giannetin Doria, containing most beautiful women, and he did
+many works for various gentlemen throughout the city, both in fresco
+and in oil-colours. He painted a most beautiful altar-piece, very
+finely designed, for S. Francesco, and another for a church called S.
+Maria "de Consolatione," at the commission of a gentleman of the house
+of Baciadonne: in which picture he painted the Nativity of Christ, a
+work that is much extolled, but it was placed in a position so dark,
+that, by reason of the light not being good enough, one is not able to
+recognize its perfection, and all the more because Perino strove to
+paint it in a dark manner, so that it has need of a strong light. He
+also made drawings of the greater part of the �neid, with the stories
+of Dido, from which tapestries were woven; and he likewise drew
+beautiful ornaments for the poops of galleys, which were carved and
+finished to perfection by Carota and Tasso, wood-carvers of Florence,
+who proved excellently well how able they were in that art. And in
+addition to all these things he also executed a vast number of works
+on cloth for the galleys of the Prince, and the largest standards that
+could be made for their adornment and embellishment. Wherefore he was
+so beloved by that Prince for his fine qualities, that, if he had
+continued to serve him, the Prince would have richly rewarded his
+abilities.</p>
+
+<p>But while he was working in Genoa, the fancy came to him to fetch his
+wife from Rome, and so he bought a house in Pisa, being pleased with
+that city and half thinking of choosing it as his place of habitation
+when old age should come upon him. Now at that time the Warden of the
+Duomo at Pisa was M. Antonio di Urbano, who had a very great desire to
+embellish that temple, and had already caused a beginning to be made
+with some very beautiful ornaments of marble for the chapels of the
+<span class="pagenum"><a id="Page_214" name="Page_214">[Pg 214]</a></span> church, which had been executed by the hand of Stagio da
+Pietrasanta, a very able and well practised carver of marble: removing
+some old, clumsy, and badly proportioned chapels that were there.
+Having thus made a beginning, the Warden proposed to fill up those
+ornaments in the interior with altar-pieces in oils, and on the outer
+side with a series of scenes in fresco and decorations in stucco, by
+the hands of the best and most excellent masters that he could find,
+without grudging any expense that might be incurred. He had already
+set to work on the sacristy, which he had placed in the great recess
+behind the high-altar, and there the ornamentation of marble was
+already finished, and many pictures had been painted by the Florentine
+painter Giovanni Antonio Sogliani, the rest of which, together with
+the altar-pieces and the chapels that were wanting, were finished many
+years afterwards by order of M. Sebastiano della Seta, the Warden of
+the Duomo in those days.</p>
+
+<p>At that time Perino returned from Genoa to Pisa, and, having seen that
+beginning, at the instance of Battista del Cervelliera, a person well
+conversant with art and a most ingenious master of wood-carving,
+perspective, and inlaying, he was presented to the Warden. After they
+had discoursed together on the subject of the works of the Duomo,
+Perino was asked to paint an altar-piece for an ornament immediately
+within the ordinary door of entrance, the ornamental frame being
+already finished, and above that a scene of S. George slaying the
+Dragon and delivering the King's Daughter. Perino therefore made a
+most beautiful design, which included a row of children and other
+ornaments in fresco between one chapel and the other, and niches with
+Prophets and scenes of various kinds; and this design pleased the
+Warden. And so, having made the cartoon for one of them, the first
+one, that opposite to the door mentioned above, he began to execute it
+in colour, and finished six children, which are very well painted. He
+was to have continued this right round, which would have made a very
+rich and very beautiful decoration; and the whole work together would
+have proved to be something very handsome. But he was seized with a
+desire to return to Genoa, where he had involved himself in love
+affairs and other pleasures, to which he was inclined at certain
+times: and on his departure he gave <span class="pagenum"><a id="Page_215" name="Page_215">[Pg 215]</a></span> to the Nuns of S. Maffeo
+a little altar-piece that he had painted for them in oils, which is
+now in their possession in the convent. Then, having arrived in Genoa,
+he stayed there many months, executing other works for the Prince.</p>
+
+<p>His departure from Pisa displeased the Warden greatly, and even more
+the circumstance that the work remained unfinished; wherefore he did
+not cease to write to him every day that he should return, or to make
+inquiries from Perino's wife, whom he had left in Pisa. But finally,
+perceiving that the matter would never end, Perino neither answering
+nor returning, he allotted the altar-piece of that chapel to Giovanni
+Antonio Sogliani, who finished it and set it into its place. Not long
+after this Perino returned to Pisa, and, seeing the work of Sogliani,
+flew into a rage, and would on no account continue what he had begun,
+saying that he did not choose that his pictures should serve as
+ornaments for those of other masters; wherefore, so far as concerned
+him, that work remained unfinished. Giovanni Antonio carried it on to
+such purpose that he painted four altar-pieces: but these, at a later
+date, appeared to Sebastiano della Seta, the new Warden, to be all in
+the same manner, and somewhat less beautiful than the first, and he
+allotted to Domenico Beccafumi of Siena&mdash;after proving his worth from
+some pictures that he painted round the sacristy, which are very
+beautiful&mdash;an altar-piece which he executed in Pisa. This not giving
+as much satisfaction as the first pictures, he caused the two last
+that were wanting to be painted by Giorgio Vasari of Arezzo; and they
+were placed at the two doors beside the corner-walls of the main
+fa�ade of the church. Of these, as well as of many other works, both
+large and small, that are dispersed throughout Italy and various
+places abroad, it does not become me to say more, and I will leave the
+right of free judgment about them to all who have seen or may see
+them. The loss of this work caused real vexation to Perino, he having
+already made the designs for it, which gave promise that it would
+prove to be something worthy of him, and likely to give that temple
+great fame over and above that of its antiquities, and also to make
+Perino immortal.</p>
+
+<p>During the many years of his sojourn in Genoa, although he drew
+<span class="pagenum"><a id="Page_216" name="Page_216">[Pg 216]</a></span> both profit and pleasure from that city, Perino had grown
+weary of it, as he remembered Rome in the happy days of Leo. But
+although, during the lifetime of Cardinal Ippolito de' Medici, he had
+received letters inviting him into his service, and he had been
+disposed to enter it, the death of that lord brought it about that he
+hesitated to repatriate himself. While matters stood thus, with his
+many friends urging his return, himself desiring it infinitely more
+than any of them, and several letters being exchanged, one morning, in
+the end, the fancy took him, and without saying a word he set off from
+Pisa and made his way to Rome. There, after making himself known to
+the most reverend Cardinal Farnese, and then to Pope Paul, he stayed
+many months without doing anything; first, because he was put off from
+one day to another, and then because he was attacked by some infirmity
+in one of his arms, on account of which he spent several hundreds of
+crowns, to say nothing of the discomfort, before he could be cured of
+it. Wherefore, having no one to maintain him, and being vexed by his
+cold welcome from the Court, he was tempted many times to go away; but
+Molza and many other friends exhorted him to have patience, telling
+him that Rome was no longer what she had been, and that now she
+expected that a man should be exhausted and weary of her before she
+would choose and cherish him as her own, and particularly if he were
+pursuing the path of some fine art.</p>
+
+<p>At this time M. Pietro de' Massimi bought a chapel in the Trinit�,
+with the vaulting and the lunettes painted and adorned with stucco,
+and the altar-piece painted in oils, all by Giulio Romano and Perino's
+brother-in-law, Giovan Francesco; and that gentleman was desirous to
+have it finished. In the lunettes were four stories of S. Mary
+Magdalene in fresco, and in the altar-piece in oils was Christ
+appearing to Mary Magdalene in the form of a gardener; and M. Pietro
+first caused a gilt frame of wood to be made for the altar-piece,
+which had a miserable one of stucco, and then allotted the walls to
+Perino, who, having caused the staging and the screen to be erected,
+set his hand to the work, and after many months brought it to
+completion. He made a design of bizarre and beautiful grotesques,
+partly in low-relief and partly painted; and he executed two little
+scenes of no great size, one on each wall, surrounding <span class="pagenum"><a id="Page_217" name="Page_217">[Pg 217]</a></span> them
+with an ornament in stucco of great variety. In one scene was the Pool
+of Bethesda, with all the cripples and sick persons, and the Angel who
+comes to move the waters, the porticoes seen most beautifully
+foreshortened in perspective, and the movements and vestments of the
+priests, all painted with great grace and vivacity, although the
+figures are not very large. In the other, he painted the Raising of
+Lazarus after he had been dead four days, wherein he is seen newly
+restored to life, and still marked by the pallor and fear of death:
+and round him are many who are unswathing him, and not a few who are
+marvelling, and others struck with awe, besides which the scene is
+adorned with some little temples that recede into the distance,
+executed with supreme lovingness, as are also the works in stucco all
+around. There are likewise four very small scenes, two to each wall,
+and one on either side of the larger scene; in one of which is the
+Centurion beseeching Christ that He should heal with a word his son
+who is dying, in another Christ driving the traders from the Temple,
+in a third the Transfiguration, and in the last a similar scene. And
+on the projections of the pilasters within the chapel he painted four
+figures in the guise of Prophets, which, in their proportions, their
+excellence, and their beauty, are as well executed and finished as
+they could well be. In a word, the whole work was carried out with
+such diligence, and is so delicate, that it resembles miniature rather
+than painting. In it may be seen much charm and vivacity of colouring,
+and signs of great patience in its execution, revealing that true love
+which should be felt for art; and he painted this whole work with his
+own hand, although he had a great part of the stucco-work executed
+after his designs by Guglielmo Milanese, whom he had formerly had with
+him at Genoa, loving him much, and once even offering to give him his
+daughter in marriage. This Guglielmo, in reward for restoring the
+antiquities of the house of Farnese, has now been made Friar of the
+Piombo, in the place of Fra Sebastiano Viniziano.</p>
+
+<p>I must not omit to tell that against one wall of this chapel was a
+most beautiful tomb of marble, with a dead woman of marble,
+beautifully carved by the sculptor Bologna, on the sarcophagus, and
+two little naked boys at the sides. The countenance of that woman was
+a lifelike <span class="pagenum"><a id="Page_218" name="Page_218">[Pg 218]</a></span> portrait of a very famous courtezan of Rome, who
+left that memorial of herself, which was removed by the friars because
+they felt scruples that such a woman should have been laid to rest
+there with so much honour.</p>
+
+<p>This work, with many designs that he made, was the reason that the
+very reverend Cardinal Farnese began to give him an allowance and to
+make use of him in many works. By order of Pope Paul, a chimney-piece
+that was in the Chamber of the Burning of the Borgo was placed in that
+of the Segnatura, where there were the panellings with perspective
+views in wood executed by the hand of the carver Fra Giovanni for Pope
+Julius. Raffaello had painted both of those chambers; but it became
+necessary to repaint all the base to the scenes in the Chamber of the
+Segnatura, which is that in which is the picture of Mount Parnassus.
+On which account a decorative design in imitation of marble was
+painted by Perino, with various terminal figures, festoons, masks, and
+other ornaments; and, in certain spaces, scenes painted to look like
+bronze, which are very beautiful for works in fresco. In these scenes,
+even as above them were Philosophers discoursing on Philosophy,
+Theologians on Theology, and Poets on Poetry, were all the actions of
+those who have been eminent in those professions. And although he did
+not execute them all with his own hand, he retouched them so much "a
+secco," besides making perfectly finished cartoons, that they may
+almost be said to be entirely by his hand; which method he employed
+because, being troubled by a catarrh, he was not fit for so much
+labour. Whereupon the Pope, recognizing that he deserved something
+both on account of his age and for all his work, and hearing him much
+recommended, gave him an allowance of twenty-five ducats a month,
+which lasted up to his death, on the condition that he should have
+charge of the Palace and of the house of the Farnese family.</p>
+
+<p>By this time Michelagnolo Buonarroti had uncovered the wall with the
+Last Judgment in the Papal Chapel, and there remained still unpainted
+the base below, where there was to be fixed a screen of arras woven in
+silk and gold, like the tapestries that adorn the Chapel. Wherefore,
+the Pope having ordained that the weaving should be done in <span class="pagenum"><a id="Page_219" name="Page_219">[Pg 219]</a></span>
+Flanders, it was arranged with the consent of Michelagnolo that Perino
+should begin to paint a canvas of the same size, which he did,
+executing in it women, children and terminal figures, holding
+festoons, and all very lifelike, with the most bizarre things of
+fancy; but this work, which was truly worthy of him and of the divine
+picture that it was to adorn, remained unfinished after his death in
+some apartments of the Belvedere.</p>
+
+<p>After this, Antonio da San Gallo having finished the building of the
+Great Hall of Kings in front of the Chapel of Sixtus IV in the Papal
+Palace, Perino divided the ceiling into a large pattern of octagonal
+compartments, crosses, and ovals, both sunk and in relief; which done,
+Perino was also commissioned to adorn it with stucco-work, with the
+richest and most beautiful ornaments that could be produced by all the
+resources of that art. He thus began it, and in the octagons, in place
+of rosettes, he made four little boys in full relief, who, with their
+feet pointing to the centre and their arms forming a circle, make a
+most beautiful rosette, and in the rest of the compartments are all
+the devices of the house of Farnese, with the arms of the Pope in the
+centre of the vaulting. And this work in stucco may be said with truth
+to have surpassed in mastery of execution, in beauty, and in delicacy,
+all those that have ever been done by ancients or moderns, and to be
+truly worthy of the head of the Christian religion. After the designs
+of the same man, likewise, the glass windows were executed by
+Pastorino da Siena, an able master of that craft; and Perino caused
+the walls below to be prepared with very beautiful ornaments in
+stucco, intending to paint scenes there with his own hand, which were
+afterwards continued by the painter Daniello Ricciarelli of Volterra,
+who, if death had not cut short the noble aspirations that he had,
+would have proved how the moderns have the courage not only to equal
+the ancients with their works, but perhaps even to surpass them by a
+great measure.</p>
+
+<p>While the stucco-work of this vaulting was in progress, and Perino was
+considering the designs for his scenes, the old walls of the Church of
+S. Pietro at Rome were being pulled down to make way for those of the
+new building, and the masons came to a wall where there was a Madonna,
+with other pictures, by the hand of Giotto; which being seen <span class="pagenum"><a id="Page_220" name="Page_220">[Pg 220]</a></span>
+by Perino, who was in the company of Messer Niccol� Acciaiuoli, a
+Florentine doctor and much his friend, both of them were moved to pity
+for that picture and would not allow it to be destroyed; nay, having
+caused the wall to be cut away around it, they had it well braced with
+beams and bars of iron and deposited below the organ of S. Pietro, in
+a place where there was neither altar nor any other consecrated
+object. And before the wall that had been round the Madonna was pulled
+down, Perino copied the figure of Orso dell' Anguillara, the Roman
+Senator who had crowned M. Francesco Petrarca on the Campidoglio, and
+who was at the feet of that Madonna. Round the picture of the Madonna
+were to be made some ornaments in stucco and painting, and together
+with them a memorial to a certain Niccol� Acciaiuoli, who had formerly
+been a Roman Senator; and Perino, having made the designs, straightway
+set his hand to the work, and, assisted by his young men and by
+Marcello Mantovano, his disciple, carried it out with great diligence.</p>
+
+<p>In the same S. Pietro the Sacrament did not occupy, with regard to
+masonry, a very honourable position; wherefore certain deputies were
+appointed from the Company of the Sacrament, who ordained that a
+chapel should be built in the centre of the old church by Antonio da
+San Gallo, partly with remains in the form of ancient marble columns,
+and partly with other ornaments of marble, bronze, and stucco, placing
+in the centre a tabernacle by the hand of Donatello, by way of further
+adornment; and Perino executed there a very beautiful ceiling with
+many minute scenes full of figures from the Old Testament, symbolical
+of the Sacrament. In the middle of it, also, he painted a somewhat
+larger scene, containing the Last Supper of Christ with the Apostles,
+and below it two Prophets, one on either side of the body of Christ.</p>
+
+<p>The same master, likewise, caused his young men to paint in the Church
+of S. Giuseppe, near the Ripetta, the chapel of that church, which was
+afterwards retouched and finished by himself; and he also had a chapel
+painted after his designs in the Church of S. Bartolommeo in Isola,
+which he retouched in like manner, and caused some scenes to be
+painted at the high-altar of S. Salvatore del Lauro, with some
+grotesques on the vaulting, and likewise an Annunciation on the fa�ade
+outside, <span class="pagenum"><a id="Page_221" name="Page_221">[Pg 221]</a></span> which was executed by his pupil, Girolamo
+Sermoneta. Thus, then, partly because he was not able, and partly
+because the labour wearied him, liking to design his works rather than
+to execute them, he pursued the same course that Raffaello da Urbino
+had formerly followed at the end of his life. How harmful and how
+blameworthy is this practice, is proved by the Chigi works and by all
+those carried out by other hands, and is also shown by those that
+Perino caused to be executed in the same way; besides which, those
+works of Giulio Romano's that he did not paint with his own hand have
+not done him much honour. And although this method pleases Princes,
+giving them their works quickly, and perhaps benefits the craftsmen
+who labour upon them, yet, if they were the ablest men in the world,
+they could never feel that love for the works of others which a man
+feels for his own. Nor, however well drawn the cartoons may be, can
+they be imitated as exactly and as thoroughly as by the hand of their
+author, who, seeing the work going to ruin, in despair leaves it to
+fall into complete destruction. He, then, who thirsts for honour,
+should do his own painting. This I can say from experience, for after
+I had laboured with the greatest possible pains on the cartoons for
+the Hall of the Cancelleria in the Palace of S. Giorgio in Rome, the
+work having to be executed with great haste in a hundred days, a vast
+number of painters were employed to paint it, who departed so far from
+their outlines and their true form, that I made a resolution, to which
+I have adhered, that from that time onward no one should lay a hand on
+any works of mine. Whoever, therefore, wishes to ensure long life for
+his name and his works, should undertake fewer and do them all with
+his own hand, if he desires to obtain that full meed of honour that a
+man of exalted genius seeks to acquire.</p>
+
+<p>I say, then, that Perino, by reason of the number of the labours
+committed to his care, was forced to employ many persons; and he
+thirsted rather for gain than for glory, considering that he had
+thrown away his life and had saved nothing in his youth. And it vexed
+him so much to see young men coming forward to undertake work, that he
+sought to enroll them all under his own command, to the end that they
+might not encroach on his position. Now in the year 1546 there came
+<span class="pagenum"><a id="Page_222" name="Page_222">[Pg 222]</a></span> to Rome the Venetian Tiziano da Cadore, a painter highly
+celebrated for his portraits, who, having formerly taken a portrait of
+Pope Paul at the time when His Holiness went to Busseto, without
+exacting any remuneration either for that or for some others that he
+had executed for Cardinal Farnese and Santa Fiore, was received by
+those prelates with the greatest honour in the Belvedere; at which a
+rumour arose in the Court, and then spread throughout Rome, to the
+effect that he had come in order to paint scenes with his own hand in
+the Hall of Kings in the Palace, where Perino was to paint them and
+the stucco-work was already in progress. This arrival caused much
+vexation to Perino, and he complained of it to many of his friends,
+not because he believed that Tiziano was likely to surpass him at
+painting historical scenes in fresco, but because he desired to occupy
+himself with that work peacefully and honourably until his death, and,
+if he was to do it, he wished to do it without competition, the wall
+and the vaulting by Michelagnolo in the Chapel close by being more
+than enough for him by way of comparison. That suspicion was the
+reason that while Tiziano stayed in Rome, Perino always avoided him,
+and remained in an ill-humour until his departure.</p>
+
+<p>The Castellan of the Castello di S. Angelo, Tiberio Crispo, who was
+afterwards made a Cardinal, being a person who delighted in our arts,
+made up his mind to beautify the Castle, and rebuilt loggie, chambers,
+halls, and apartments in a very handsome manner, in order to be able
+to receive His Holiness more worthily when he went there. Many rooms
+and other ornaments were executed from the designs and under the
+direction of Raffaello da Montelupo, and then in the end by Antonio da
+San Gallo, and a loggia was wrought in stucco under the supervision of
+Raffaello, who also made the Angel of marble, a figure six braccia
+high, which was placed on the summit of the highest tower in the
+Castle. Tiberio then caused the said loggia, which is the one facing
+the meadows, to be painted by Girolamo Sermoneta; which finished, the
+rest of the rooms were entrusted in part to Luzio Romano, and finally
+the halls and other important apartments were finished partly by
+Perino with his own hand, and partly by others after his cartoons. The
+principal hall is very pleasing and beautiful, being wrought in stucco
+and all filled with <span class="pagenum"><a id="Page_223" name="Page_223">[Pg 223]</a></span> scenes from Roman history, executed for
+the most part by Perino's young men, and not a few by the hand of
+Marco da Siena, the disciple of Domenico Beccafumi; and in certain
+rooms there are most beautiful friezes.</p>
+
+<p>Perino, when he could find young men of ability, was wont to make use
+of them willingly in his works; but for all that he never ceased to
+execute any commonplace commission. He very often painted pennons for
+trumpets, banners for the Castle, and those of the fleet of the
+Militant Order; and he executed hangings, tabards, door-curtains, and
+the most insignificant works of art. He began some canvases from which
+tapestries were to be woven for Prince Doria, and he painted a chapel
+for the very reverend Cardinal Farnese, and a writing-study for the
+most illustrious Madama Margherita of Austria. He caused an ornamental
+frame to be made round the Madonna in S. Maria del Pianto, and also
+another ornamental frame round the Madonna in Piazza Giudea; and he
+executed many other works, of which, by reason of their number, I will
+not now make any further mention, particularly because he was
+accustomed to accept any sort of work that came to his hand. This
+disposition of Perino's, which was well known to the officials of the
+Palace, was the reason that he always had something to do for one or
+another of them, and he did it willingly, in order to bind them to
+himself, so that they might be obliged to serve him in the payment of
+his allowances and in his other requirements. In addition to this,
+Perino had acquired such authority that all the work in Rome was
+allotted to him, for the reason that, besides the circumstance that it
+appeared to be in a certain sense his due, he would sometimes execute
+commissions for the most paltry prices; whereby he did little good,
+nay rather, much harm, to himself and to art. That these words are
+true is proved by this, that if he had undertaken to paint the Hall of
+Kings in the Palace on his own account, and had worked at it together
+with his own assistants, he would have saved several hundreds of
+crowns, which all went to the overseers who had charge of the work and
+paid the daily wages to those who worked there.</p>
+
+<p>Thus, having undertaken a burden so heavy and so laborious, and
+<span class="pagenum"><a id="Page_224" name="Page_224">[Pg 224]</a></span> being infirm and enfeebled by catarrh, he was not able to
+endure such discomforts, having to draw day and night and to meet the
+demands of the Palace, and, among other things, to make the designs of
+embroideries, of engravings for banner-makers, and of innumerable
+ornaments required by the caprice of Farnese and other Cardinals and
+noblemen. In short, having his mind incessantly occupied, and being
+always surrounded by sculptors, masters in stucco, wood-carvers,
+seamsters, embroiderers, painters, gilders, and other suchlike
+craftsmen, he had never an hour of repose; and the only happiness and
+contentment that he knew in this life was to find himself at times
+with some of his friends at a tavern, which was his favourite haunt in
+all the places where it fell to his lot to live, considering that this
+was the true blessedness and peace of this world, and the only repose
+from his labours. And thus, having ruined his constitution by the
+fatigues of his art and by his excesses in eating and in love, he was
+attacked by asthma, which, sapping his strength little by little,
+finally caused him to sink into consumption; and one evening, while
+talking with a friend near his house, he fell dead of an apoplectic
+seizure in his forty-seventh year. At this many craftsmen felt
+infinite sorrow, it being a truly great loss that art suffered; and he
+received honourable burial from his son-in-law, M. Gioseffo Cincio,
+the physician of Madama, and from his wife, in the Chapel of S.
+Giuseppe in the Ritonda at Rome, with the following epitaph:</p>
+
+<p class="center smcap">
+     PERINO BONACCURSIO VAG� FLORENTINO, QUI INGENIO ET ARTE<br>
+     SINGULARI EGREGIOS CUM PICTORES PERMULTOS, TUM PLASTAS OMNES<br>
+     FACILE SUPERAVIT, CATHERINA PERINI CONJUGI, LAVINIA BONACCURSIA<br>
+     PARENTI, JOSEPHUS CINCIUS SOCERO CARISSIMO ET OPTIMO FECERE.<br>
+     VIXIT ANN. 46, MEN. 3, DIES 21. MORTUUS EST 14 CALEND. NOVEMB.<br>
+     ANN. CHRIST. 1547.</p>
+
+<p>The place of Perino was filled by Daniello of Volterra, who had worked
+much with him, and who finished the two other Prophets that are in the
+Chapel of the Crocifisso in S. Marcello. Daniello has also adorned a
+chapel in S. Trinit� most beautifully with stucco-work and painting,
+for Signora Elena Orsina; with many other works, of which mention will
+be made in the proper place.</p>
+
+<p>Perino, then, as may be seen from the works described and from many
+others that might be mentioned, was one of the most versatile
+<span class="pagenum"><a id="Page_225" name="Page_225">[Pg 225]</a></span> painters of our times, in that he assisted the craftsmen to
+work excellently in stucco, and executed grotesques, landscapes,
+animals, and all the other things of which a painter can have
+knowledge, using colours in fresco, in oils, and in distemper. Whence
+it may be said that he was the father of these most noble arts, seeing
+that his talents live in those who are continually imitating him in
+every honourable field of art. After Perino's death were published
+many prints taken from his drawings, such as the Slaying of the Giants
+that he executed in Genoa, eight stories of S. Peter taken from the
+Acts of the Apostles, of which he made designs for the embroidering of
+a cope for Pope Paul III, and many other things, which are known by
+the manner.</p>
+
+<p>Perino made use of many young men, and taught the secrets of art to
+many disciples; but the best of them all, and the one of whom he
+availed himself more than of any other, was Girolamo Siciolante of
+Sermoneta, of whom there will be an account in the proper place. His
+disciple, likewise, was Marcello Mantovano, who executed on a wall at
+the entrance of the Castello di S. Angelo, after the design and under
+the direction of Perino, a Madonna with many Saints in fresco, which
+was a very beautiful thing; but of his works as well there will be an
+account elsewhere.</p>
+
+<p>Perino left many designs at his death, some by his hand and some by
+others; among the latter, one of the whole Chapel of Michelagnolo
+Buonarroti, drawn by the hand of Leonardo Cungi of Borgo a San
+Sepolcro, which was an excellent work. All these designs, with other
+things, were sold by his heirs; and in our book are many drawings done
+by him with the pen, which are very beautiful.</P>
+
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="craftsmen" id="craftsmen"></a><span class="pagenum"><a id="Page_227" name="Page_227">[Pg 227]</a></span> GIORGIO VASARI TO THE CRAFTSMEN IN DESIGN</h2>
+
+
+
+
+<h2><span class="pagenum"><a id="Page_229" name="Page_229">[Pg 229]</a></span> TO THE CRAFTSMEN IN DESIGN</h2>
+
+<h3>GIORGIO VASARI</h3>
+
+
+<p><span class="smcap">Excellent and Well-beloved Brother-Craftsmen</span>&mdash;</p>
+
+<p>So great has always been the delight, to say nothing of the profit and
+honour, that I have derived from practising my hand to the best of my
+ability in this most noble art of ours, that I have not only had a
+burning desire to exalt and to celebrate her, and to honour her in
+every manner open to me, but have also been full of affection for all
+those who have taken the same pleasure in her and have succeeded in
+practising her more happily than I, perhaps, have been able to do. And
+from this my good will, so full of the most sincere affection, it
+appears to me that I have gathered hitherto fruits that are an ample
+reward, for I have been always loved and honoured by you all, and we
+have been united in the most perfect intimacy or brotherhood, I know
+not which to call it; mutually showing our works to one another, I to
+you and you to me, and helping one another with counsel and assistance
+whenever the occasion has presented itself. Wherefore I have always
+felt myself deeply bound by this loving fellowship, and much more by
+your excellent abilities, and no less, also, by this my inclination,
+by nature, and by a most powerful attraction, to assist and serve you
+in every way and every matter wherein I have considered myself able to
+bring you pleasure or advantage. To this end I published in the year
+1550 the Lives of our best and most famous Craftsmen, moved by a cause
+that has been mentioned in another place, and also, to tell the truth,
+by a generous indignation that so much talent should have been for so
+long a time, and should still remain, buried in oblivion. And this my
+labour appears not to have <span class="pagenum"><a id="Page_230" name="Page_230">[Pg 230]</a></span> been in any way unwelcome; on the
+contrary, so acceptable, that, not to mention what has been said and
+written to me from many quarters, out of the vast number that were
+printed at that time, there is not one single volume to be found at
+the booksellers.</p>
+
+<p>Thus, therefore, receiving every day requests from many friends, and
+understanding no less clearly the unexpressed desires of many others,
+once more, although in the midst of most important undertakings, I
+have applied myself to the same labour, with the intention not only of
+adding those masters who have passed to a better world between that
+time and the present, thus giving me the opportunity of writing their
+Lives in full, but also of supplying that which may have been wanting
+to the perfection of my first work. For since then I have had leisure
+to come to a better knowledge of many matters, and to re-examine
+others, not only by the favour of these my most illustrious Lords,
+whom I serve, the true refuge and protection of all the arts, but also
+through the facilities that they have given me to search the whole of
+Italy once again and to see and understand many things which had not
+before come under my notice. I have been able, therefore, not merely
+to make corrections, but also to add so many things, that many of the
+Lives may be said to have been almost written anew; while some,
+indeed, even of the old masters, which were not there before, have
+been added. Nor, the better to revive the memory of those whom I so
+greatly honour, have I grudged the great labour, pains and expense of
+seeking out their portraits, which I have placed at the head of their
+Lives. And for the greater satisfaction of many friends not of our
+profession, who are yet devoted lovers of art, I have included in a
+compendium the greater part of the works of those who are still living
+and are worthy to be for ever renowned on account of their abilities;
+for that scruple which formerly restrained me can have no place here
+in the opinion of any thoughtful reader, since I deal with no works
+save those that are excellent and worthy of praise. And this may
+perchance serve as a spur to make every craftsman continue to labour
+worthily and advance unceasingly from good to better; insomuch that he
+who shall write the rest of this history, may be able to give it more
+grandeur and majesty, having occasion to describe those rarer and
+<span class="pagenum"><a id="Page_231" name="Page_231">[Pg 231]</a></span> more perfect works which, begun from time to time through
+the desire of immortality, and finished by the loving care of
+intellects so divine, the world in days to come shall see issuing from
+your hands. And the young men who follow with their studies, incited
+by hope of glory (if hope of gain has not enough force), may perchance
+be inspired by such an example to attain to excellence.</p>
+
+<p>And to the end that this work may prove to be in every way complete,
+and that there may be no need to seek anything outside its pages, I
+have added a great part of the works of the most celebrated craftsmen
+of antiquity, both Greek and of other nations, whose memory has been
+preserved down to our own day by Pliny and other writers, without
+whose pens they would have been buried, like many others, in eternal
+oblivion. And this consideration, also, may perchance increase the
+willingness of men in general to labour valiantly, and may impel and
+inspire us all, as we behold the nobility and greatness of our art,
+and how she has always been prized and rewarded by all nations, and
+particularly by the most lofty minds and the most powerful Princes, to
+leave the world adorned by works infinite in number and unsurpassed in
+excellence; whence, rendered beautiful by us, it may give to us that
+rank which it has given to those ever marvellous and celebrated
+spirits.</p>
+
+<p>Accept, then, with a friendly mind, these my labours, which, whatever
+they may be, have been lovingly carried to conclusion by me for the
+glory of art and for the honour of her craftsmen, and take them as a
+sure token and pledge of my heart, which is desirous of nothing more
+ardently than of your greatness and glory, in which, seeing that I
+also have been received by you into your company (for which I render
+my thanks to you, and congratulate myself not a little on my own
+account), I shall always consider myself in a certain sense a
+participator.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="beccafumi" id="beccafumi"></a><span class="pagenum"><a id="Page_233" name="Page_233">[Pg 233]</a></span> DOMENICO BECCAFUMI</h2>
+
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_beccafumi" id="life_of_beccafumi"></a><span class="pagenum"><a id="Page_235" name="Page_235">[Pg 235]</a></span> LIFE OF DOMENICO BECCAFUMI OF SIENA</h2>
+
+<h3>PAINTER AND MASTER OF CASTING</h3>
+
+
+<p>That same quality, the pure gift of nature, which has been seen in
+Giotto and in some others among those painters of whom we have spoken
+hitherto, has been revealed most recently in Domenico Beccafumi, the
+painter of Siena, in that he, while guarding some sheep for his father
+Pacio, the labourer of the Sienese citizen Lorenzo Beccafumi, was
+observed to practise his hand by himself, child as he was, in drawing
+sometimes on stones and sometimes in other ways. It happened that the
+said Lorenzo saw him one day drawing various things with a pointed
+stick on the sand of a small stream, where he was watching his little
+charges, and he asked for the child from his father, meaning to employ
+him as his servant, and at the same time to have him taught. The boy,
+therefore, who was then called Mecherino, having been given up by his
+father Pacio to Lorenzo, was taken to Siena, where Lorenzo caused him
+for a while to spend all the spare time that he had after his
+household duties in the workshop of a painter who was his neighbour.
+This painter, who was no great craftsman, caused Mecherino to learn
+all that he could not himself teach him from designs by eminent
+painters that he had in his possession, of which he availed himself
+for his own purposes, as those masters are wont to do who are not very
+able in design. Exercising his hand, therefore, in this manner,
+Mecherino gave promise of being destined to become an excellent
+painter.</p>
+
+<p>During this time Pietro Perugino, then a famous painter, came to
+Siena, where, as has been related, he painted two altar-pieces; and
+his manner pleased Domenico greatly, so that he set himself to study
+it and to copy those altar-pieces, and no long time passed before he
+had caught <span class="pagenum"><a id="Page_236" name="Page_236">[Pg 236]</a></span> that manner. Then, after the Chapel of
+Michelagnolo and the works of Raffaello da Urbino had been thrown open
+in Rome, Domenico, who desired nothing so much as to learn, and knew
+that he was losing his time in Siena, took leave of Lorenzo Beccafumi,
+from whom he acquired the family name of Beccafumi, and made his way
+to Rome. There he placed himself under a painter, who gave him board
+and lodging, and executed many works in company with him, giving his
+attention at the same time to studying the works of Michelagnolo,
+Raffaello, and other eminent masters, and the marvellous statues and
+sarcophagi of antiquity. No long time passed, therefore, before he
+became a bold draughtsman, fertile in invention, and a very pleasing
+colourist; but during this period, which did not exceed two years, he
+did nothing worthy of record save a fa�ade in the Borgo with an
+escutcheon of Pope Julius II in colour.</p>
+
+<p>Meanwhile, there had been brought to Siena by a merchant of the
+Spannocchi family, as will be related in the proper place, the painter
+Giovanni Antonio of Vercelli, a young man of passing good ability, who
+was much employed, particularly in making portraits from life, by the
+gentlemen of that city, which has always been the friend and patron of
+all men of talent. Domenico, who was very desirous of returning to his
+own country, having heard this news, made his way back to Siena; and
+when he saw that Giovanni Antonio was very well grounded in drawing,
+which he knew to be the essence of the excellence of a craftsman, not
+resting content with what he had done in Rome, he set himself with the
+utmost zeal to follow him, devoting himself much to anatomy and to
+drawing nudes; which helped him so much, that in a short time he began
+to be greatly esteemed in that most noble city. Nor was he beloved
+less for his goodness and his character than for his art, for the
+reason that, whereas Giovanni Antonio was coarse, licentious, and
+eccentric, being called Il Sodoma because he always mixed and lived
+with beardless boys, and answering willingly enough to that name,
+Domenico, on the other hand, was a pattern of good conduct and
+uprightness, living like a Christian and keeping very much to himself.
+But such persons as are called merry fellows and good companions are
+very often more esteemed by men than the virtuous and orderly, and
+most of the young men of Siena <span class="pagenum"><a id="Page_237" name="Page_237">[Pg 237]</a></span> followed Sodoma, extolling
+him as a man of originality. And this Sodoma, being an eccentric, and
+wishing to please the common herd, always kept at his house parrots,
+apes, dwarf donkeys, little Elba horses, a talking raven, barbs for
+running races, and other suchlike creatures; from which he had won
+such a name among the vulgar, that they spoke of nothing but his
+follies.</p>
+
+<p>Sodoma, then, had painted with colours in fresco the fa�ade of the
+house of M. Agostino Bardi, and Domenico at the same time, in
+competition with him, painted the fa�ade of a house of the Borghese,
+close to the Postierla column, near the Duomo, with which he took very
+great pains. Below the roof, in a frieze in chiaroscuro, he executed
+some little figures that were much extolled; and in the spaces between
+the three ranges of windows of travertine that adorn that palace, he
+painted many ancient gods and other figures in imitation of bronze, in
+chiaroscuro and in colour, which were more than passing good, although
+the work of Sodoma was more extolled. Both these fa�ades were executed
+in the year 1512.</p>
+
+<p>Domenico afterwards painted for S. Benedetto, a seat of Monks of Monte
+Oliveto, without the Porta a Tufi, an altar-piece of S. Catharine of
+Siena in a building receiving the Stigmata, with a S. Benedict
+standing on her right hand, and on her left a S. Jerome in the habit
+of a Cardinal; which altar-piece, being very soft in colouring and
+strong in relief, was much praised, as it still is. In the predella of
+this picture, likewise, he painted some little scenes in distemper
+with incredible boldness and vivacity, and with such facility of
+design, that they could not be more graceful, and yet they have the
+appearance of having been executed without the slightest effort in the
+world. In one of these little scenes is the Angel placing in the mouth
+of that same S. Catharine part of the Host consecrated by the priest;
+in another is Jesus Christ marrying her, in a third she is receiving
+the habit from S. Dominic, and there are other stories.</p>
+
+<p>For the Church of S. Martino the same master painted a large
+altar-piece with Christ born and being adored by the Virgin, by
+Joseph, and by the Shepherds; and above the hut is a most beautiful
+choir of Angels <span class="pagenum"><a id="Page_238" name="Page_238">[Pg 238]</a></span> dancing. In this work, which is much
+extolled by craftsmen, Domenico began to show to those who had some
+understanding that his works were painted with a different foundation
+from those of Sodoma. He then painted in fresco, in the Great
+Hospital, the Madonna visiting S. Elizabeth, in a manner very pleasing
+and very natural. And for the Church of S. Spirito he executed an
+altar-piece of the Madonna holding in her arms the Child, who is
+marrying the above-mentioned S. Catharine of Siena, and at the sides
+S. Bernardino, S. Francis, S. Jerome, and S. Catharine the
+Virgin-Martyr, with S. Peter and S. Paul upon some marble steps in
+front, on the polished surface of which he counterfeited with great
+art some reflections of the colour of their draperies. This work,
+which was executed with fine judgment and design, brought him much
+honour, as did also some little figures painted on the predella of the
+picture, in which is S. John baptizing Christ, a King causing the wife
+and children of S. Gismondo to be thrown into a well, S. Dominic
+burning the books of the heretics, Christ presenting to S. Catharine
+of Siena two crowns, one of roses and the other of thorns, and S.
+Bernardino of Siena preaching on the Piazza of Siena to a vast
+multitude.</p>
+
+<div class="figcenter">
+<a name="img036" id="img036"></a>
+<img src="images/img036-tb.jpg" width="400" height="529" alt="S. Catharine before the Crucifix." title="">
+<p class="caption">DOMENICO BECCAFUMI: S. CATHARINE BEFORE THE CRUCIFIX<br>
+(<i>Siena</i>: <i>Pinacoteca</i>, 420. <i>Canvas</i>)
+<br><span class="link"><a href="images/img036.jpg">View larger image</a></span></p>
+</div>
+
+<p>Next, by reason of the fame of these works, there was allotted to
+Domenico an altar-piece that was to be placed in the Carmine, in which
+he had to paint a S. Michael doing vengeance on Lucifer; and he, being
+full of fancy, set himself to think out a new invention, in order to
+display his talent and the beautiful conceptions of his brain. And so,
+seeking to represent Lucifer and his followers driven for their pride
+from Heaven to the lowest depths of Hell, he began a shower of nude
+figures raining down, which is very beautiful, although, from his
+having taken too great pains with it, it appears if anything rather
+confused. This altar-piece, which remained unfinished, was taken after
+the death of Domenico to the Great Hospital and placed at the top of
+some steps near the high-altar, where it is still regarded with marvel
+on account of some very beautiful foreshortenings in the nudes. In the
+Carmine, where this picture was to have been set up, was placed
+another, in the upper part of which is counterfeited a God the Father
+above the clouds with many Angels round Him, painted with marvellous
+grace; and in the centre of <span class="pagenum"><a id="Page_239" name="Page_239">[Pg 239]</a></span> the picture is the Angel
+Michael in armour, flying, and pointing to Lucifer, whom he has driven
+to the centre of the earth, where there are burning buildings, rugged
+caverns, and a lake of fire, with Angels in various attitudes, and
+nude figures of lost souls, who are swimming with different gestures
+of agony in that fire. All this is painted with such beauty and grace
+of manner, that it appears that this marvellous work, in its thick
+darkness, is illuminated by the fire; wherefore it is held to be a
+rare picture. Baldassarre Peruzzi of Siena, an excellent painter,
+could never have his fill of praising it, and I myself, one day that I
+saw it uncovered in his company, while passing through Siena, was
+struck with astonishment by it, as I also was by the five little
+scenes that are in the predella, painted with distemper in a judicious
+and beautiful manner. For the Nuns of Ognissanti in the same city
+Domenico painted another altar-piece, in which is Christ on high in
+the heavens, crowning the Glorified Virgin, and below them are S.
+Gregory, S. Anthony, S. Mary Magdalene, and S. Catharine the
+Virgin-Martyr; and in the predella, likewise, are some very beautiful
+little figures executed in distemper.</p>
+
+<p>In the house of Signor Marcello Agostini Domenico painted some very
+lovely works in fresco on the ceiling of an apartment, which has three
+lunettes on each main side and two at each end, with a series of
+friezes that go right round. The centre of the ceiling is divided into
+two quadrangular compartments; in the first, where a silken arras is
+counterfeited as upheld by the ornament, there may be seen, as if
+woven upon it, Scipio Africanus restoring the young woman untouched to
+her husband, and in the other the celebrated painter Zeuxis, who is
+copying several nude women in order to paint his picture, which was to
+be placed in the Temple of Juno. In one of the lunettes, painted with
+little figures only about half a braccio high, but very beautiful, are
+the two Roman Brothers who, having been enemies, became friends for
+the public good and for the sake of their country. In that which
+follows is Torquatus,<a id="FNanchor29" name="FNanchor29"></a><a href="#Footnote29" title="Go to footnote 29" class="fnanchor">[29]</a> who, in order to observe the laws, when his
+son has been condemned to lose his eyes, causes one of his son's and
+one of his own to be put out. In the next is the Petition of ...,<a id="FNanchor30" name="FNanchor30"></a><a href="#Footnote30" title="Go to footnote 30" class="fnanchor">[30]</a>
+who, after hearing the recital of his <span class="pagenum"><a id="Page_240" name="Page_240">[Pg 240]</a></span> crimes against his
+country and the Roman people, is put to death. In the lunette beside
+that one is the Roman people deliberating on the expedition of Scipio
+to Africa; and next to this, in another lunette, is an ancient
+sacrifice crowded with a variety of most beautiful figures, with a
+temple drawn in perspective, which has no little relief, for in that
+field Domenico was a truly excellent master. In the last is Cato
+killing himself after being overtaken by some horsemen that are most
+beautifully painted there. And in the recesses of the lunettes, also,
+are some little scenes very well finished.</p>
+
+<p>The excellence of this work was the reason that Domenico was
+recognized as a rare painter by those who were then governing, and was
+commissioned to paint the vaulting of a hall in the Palace of the
+Signori, to which he devoted all the diligence, study, and effort of
+which any man is capable, in order to prove his worth and to adorn
+that celebrated building of his native city, which was honouring him
+so much. This hall, which is two squares long and one square wide, has
+the ceiling made not with lunettes, but after the manner of a groined
+vaulting; wherefore Domenico executed the compartments in painting,
+thinking that this would give the best result, with friezes and
+cornices overlaid with gold, and all so beautifully, that, without any
+stucco-work or other ornaments, they are so well painted and so
+graceful that they appear to be really in relief. On each of the two
+ends of this hall there is a large picture with an historical scene,
+and on each main wall there are two, one on either side of an octagon;
+and thus the pictures are six and the octagons two, and in each of the
+latter is a scene. At each corner of the vaulting, where the rib is,
+there is drawn a round compartment, which extends half on one wall and
+half on the other, so that these compartments, being divided by the
+ribs of the vaulting, form eight spaces, in each of which are large
+seated figures, representing distinguished men who have defended their
+Republic and have observed her laws. The highest part of the surface
+of the vaulting is divided into three parts, in such a manner as to
+form a circular compartment in the centre, immediately above the
+octagons, and two square compartments over those on the walls.</p>
+
+<p>In one of the octagons, then, is a woman with some children round
+<span class="pagenum"><a id="Page_241" name="Page_241">[Pg 241]</a></span> her, who holds a heart in her hand, representing the love
+that men owe to their country. In the other octagon is another woman,
+with an equal number of children, as a symbol of civic concord. And
+these are one on either side of a Justice that is in the circle, with
+the sword and scales in her hands, and seen from below in such bold
+foreshortening that it is a marvel, for at the feet she is dark both
+in drawing and in colour, and about the knees she becomes lighter, and
+so continues little by little towards the torso, the shoulders, and
+the arms, until she rises into a celestial splendour at the head,
+which makes it appear as if that figure dissolves gradually in a mist:
+wherefore it is not possible to imagine, much less to see, a more
+beautiful figure than this one, or one executed with greater judgment
+and art, among all that were ever painted to be seen in foreshortening
+from below.</p>
+
+<p>As for the stories, in the first, at the end of the hall and on the
+left hand as one enters, are M. Lepidus and Fulvius Flaccus the
+Censors, who, after being at enmity with one another, as soon as they
+became colleagues in the office of the Censorship, laid aside their
+private hatred for the good of their country, and acted in that office
+like the closest friends. And Domenico painted them on their knees,
+embracing each other, with many figures round them, and with a most
+beautiful prospect of buildings and temples drawn in perspective so
+ingeniously and so well, that one may see in them what a master of
+perspective was Domenico. On the next wall there follows a picture
+with the story of the Dictator Postumius Tiburtius, who, having left
+his only son at the head of his army in place of himself, commanding
+him that he should do nothing else but guard the camp, put him to
+death for having been disobedient and having with a fair occasion
+attacked the enemy and gained a victory. In this scene Domenico
+painted Postumius as an old man with shaven face, with the right hand
+on his axe, and with the left showing to the army his son lying dead
+upon the ground, and depicted very well in foreshortening; and below
+this picture, which is most beautiful, is an inscription very well
+composed. In the octagon that follows, in the centre of the wall, is
+the story of Spurius Cassius, whom the Roman Senate, suspecting that
+he was plotting to become King, caused to be beheaded, <span class="pagenum"><a id="Page_242" name="Page_242">[Pg 242]</a></span> and
+his house to be pulled down; and in this scene the head, which is
+beside the executioner, and the body, which is on the ground in
+foreshortening, are very beautiful. In the next picture is the Tribune
+Publius Mucius, who caused all his fellow-tribunes, who were
+conspiring with Spurius to become tyrants of their country, to be
+burned; and here the fire that is consuming their bodies is painted
+very well and with great art.</p>
+
+<p>At the other end of the hall, in another picture, is the Athenian
+Codrus, who, having heard from the oracle that the victory would fall
+to that side whose King should be killed by the enemy, laid aside his
+robes, entered unknown among the enemy, and let himself be slain, thus
+giving the victory to his people by his own death. Domenico painted
+him seated, with his nobles round him as he puts off his robes, near a
+most beautiful round temple; and in the distant background of the
+picture he is seen dead, with his name in an epitaph below. Then, as
+one turns to the other long wall, opposite to the two pictures with
+the octagon in the centre between them, in the first scene one finds
+Prince Zaleucus, who, in order not to break the law, caused one of his
+own eyes to be put out, and one of his son's; and here many are
+standing round him, praying him that he should not do that cruelty to
+himself and his son, and in the distance is his son offering violence
+to a maiden, and below is his name in an inscription. In the octagon
+that is beside that picture is the story of Marcus Manilius being
+hurled down from the Capitol; and the figure of the young Marcus, who
+is being thrown down from a kind of balcony, is painted so well in
+foreshortening, with the head downwards, that it seems to be alive, as
+also seem some figures that are below. In the next picture is Spurius
+Melius, who belonged to the Equestrian Order, and was killed by the
+Tribune Servilius because the people suspected that he was conspiring
+to become tyrant of his country; which Servilius is seated with many
+round him, and one who is in the centre points to Spurius lying dead
+upon the ground, a figure painted with great art.</p>
+
+<p>Then, in the circles at the corners, where there are the eight figures
+mentioned above, are many men who have been distinguished for their
+<span class="pagenum"><a id="Page_243" name="Page_243">[Pg 243]</a></span> defence of their country. In the first part is the famous
+Fabius Maximus, seated and in armour; and on the other side is
+Speusippus, Prince of the Tegeat�, who, being exhorted by a friend
+that he should rid himself of his rival and adversary, answered that
+he did not wish, at the bidding of his own private interest, to
+deprive his country of such a citizen. In the circle that is at the
+next corner, in one part, there is the Pr�tor Celius, who, for having
+fought against the advice and wish of the soothsayers, although he had
+won and had gained a victory, was punished by the Senate; and beside
+him sits Thrasybulus, who with the aid of some friends valorously slew
+thirty tyrants, in order to free his country. Thrasybulus is an old
+man, shaven, with white locks, and has his name written beneath him,
+as have also all the others. In a circle at one corner of the lower
+end of the hall is the Pr�tor Genutius Cippus, who having had a bird
+with wings in the form of horns miraculously alight on his head, was
+told by the oracle that he would become King of his country,
+whereupon, although already an old man, he chose to go into exile, in
+order not to take away her liberty; and Domenico therefore painted a
+bird upon his head. Beside him sits Charondas, who, having returned
+from the country, and having gone straightway into the Senate without
+disarming himself, in violation of a law which ordained that one who
+entered the Senate with arms should be put to death, killed himself on
+perceiving his error. In the second circle on the other side are Damon
+and Phintias, whose unexampled friendship is so well known, and with
+them is Dionysius, Tyrant of Sicily; and beside these figures sits
+Brutus, who from love of his country condemned his two sons to death,
+because they were conspiring to bring the Tarquins back to their
+country.</p>
+
+<p>This work, then, so truly extraordinary, made known to the people of
+Siena the ability and worth of Domenico, who showed most beautiful
+art, judgment, and genius in all that he did.</p>
+
+<p>The first time that the Emperor Charles V came to Italy, it was
+expected that he would go to Siena, for he had declared such an
+intention to the Ambassadors of that Republic; and among other vast
+and magnificent preparations that were made for the reception of so
+great <span class="pagenum"><a id="Page_244" name="Page_244">[Pg 244]</a></span> an Emperor, Domenico fashioned a horse eight braccia
+high and in full relief, all of paste-board and hollow within. The
+weight of that horse was supported by an armature of iron, and upon it
+was the statue of the Emperor, armed in the ancient fashion, with a
+sword in his hand. And below it were three large figures&mdash;vanquished
+by him, as it were&mdash;which also supported part of the weight, the horse
+being in the act of leaping with the front legs high in the air; which
+three figures represented three provinces conquered and subdued by the
+Emperor. In that work Domenico showed that he was a master no less of
+sculpture than of painting; to which it must be added that he had
+placed the whole work upon a wooden structure four braccia high, with
+a number of wheels below it, which, being set in motion by men
+concealed within, caused the whole to move forward; and the design of
+Domenico was that at the entry of His Majesty this horse, having been
+set in motion as has been described, should accompany him from the
+gate as far as the Palace of the Signori, and should then come to rest
+in the middle of the Piazza. This horse, after being carried by
+Domenico so near completion that there only remained to gild it, was
+left in that condition, because His Majesty after all did not at that
+time go to Siena, but left Italy after being crowned at Bologna; and
+the work remained unfinished. But none the less the art and ingenuity
+of Domenico were recognized, and all men greatly praised the grandeur
+and excellence of that great structure, which stood in the Office of
+Works of the Duomo from that time until His Majesty, returning from
+his victorious enterprise in Africa, passed through Messina and then
+Naples, Rome, and finally Siena; at which time Domenico's work was
+placed on the Piazza del Duomo, to his great honour.</p>
+
+<p>The fame of the ability of Domenico being thus spread abroad, Prince
+Doria, who was with the Court, after seeing all the works by his hand
+that were in Siena, besought him that he should go to Genoa to work in
+his palace, where Perino del Vaga, Giovanni Antonio of Pordenone, and
+Girolamo da Treviso had worked. But Domenico could not promise that
+lord that he would go to serve him at that time, although he engaged
+himself for another time, for in those days he had set his <span class="pagenum"><a id="Page_245" name="Page_245">[Pg 245]</a></span>
+hand to finishing a part of the marble pavement in the Duomo, which
+Duccio, the painter of Siena, had formerly begun in a new manner of
+work. The figures and scenes were already in great part designed on
+the marble, the outlines being hollowed out with the chisel and filled
+with a black mixture, with ornaments of coloured marble all around,
+and likewise the grounds for the figures. But Domenico, with fine
+judgment, saw that this work could be much improved, and he therefore
+took grey marbles, to the end that these, profiled with the chisel and
+placed beside the brilliancy of the white marble, might give the
+middle shades; and he found that in this way, with white and grey
+marble, pictures of stone could be made with great perfection after
+the manner of chiaroscuro. Having then made a trial, the work
+succeeded so well in invention, in solidity of design, and in
+abundance of figures, that he made a beginning after this fashion with
+the grandest, the most beautiful, and the most magnificent pavement
+that had ever been made; and in the course of his life, little by
+little, he executed a great part of it. Round the high-altar he made a
+border of pictures, in which, in order to follow the order of the
+stories begun by Duccio, he executed scenes from Genesis; namely, Adam
+and Eve expelled from Paradise and tilling the earth, the Sacrifice of
+Abel, and that of Melchizedek. In front of the altar is a large scene
+with Abraham about to sacrifice Isaac, and this has round it a border
+of half-length figures, carrying various animals which they seem to be
+going to sacrifice. Descending the steps, one finds another large
+picture, which serves to accompany that above, and in it Domenico
+represented Moses receiving the Laws from God on Mount Sinai; and
+below this is the scene when, having found the people worshipping the
+Golden Calf, he is seized with anger and breaks the Tables on which
+those Laws were written. Below this scene, opposite to the pulpit, and
+right across the church, is a frieze with a great number of figures,
+which is composed with so much grace and such design that it defies
+description; and in this is Moses, who, striking the rock in the
+desert, causes water to gush out and gives drink to his thirsty
+people. Here, along the whole length of the frieze, Domenico
+represented the stream of water, from which the people are drinking in
+various ways with a vivacity so pleasing, <span class="pagenum"><a id="Page_246" name="Page_246">[Pg 246]</a></span> that it is almost
+impossible to imagine any effect more lovely, or figures in more
+graceful and beautiful attitudes than are those in this scene&mdash;some
+stooping to the ground to drink, some kneeling before the rock that is
+spouting with water, some drawing it in vases and others in cups, and
+others, finally, drinking with their hands. There are, moreover, some
+who are leading animals to drink, amid the great rejoicing of that
+people; and, among other things, most marvellous is a little boy who
+has taken a little dog by the head and neck and plunges its muzzle
+into the water, in order to make it drink, after which the dog, having
+drunk, and not wishing to drink any more, shakes its head so naturally
+that it seems to be alive. In short, this frieze is so beautiful, that
+for a work of that kind it could not be executed with greater art,
+seeing that the various kinds of shadows that may be seen in these
+figures are not merely beautiful, but miraculous; and although the
+whole work, on account of the fantastic nature of its craftsmanship,
+is one of great beauty, this part is held to be the most beautiful and
+the best. Below the cupola, moreover, there is a hexagonal
+compartment, which is divided into seven hexagons and six rhombs, of
+which hexagons Domenico finished four before he died, representing in
+them the stories and sacrifices of Elijah, and doing all this much at
+his leisure, because this work was as a school and a pastime to
+Domenico, nor did he ever abandon it altogether for his other works.</p>
+
+<p>While he was thus labouring now at this work and now elsewhere, he
+painted a large altar-piece in oils which is in S. Francesco on the
+right hand as one enters into the church, containing Christ descending
+in Glory to the Limbo of Hell in order to deliver the Holy Fathers;
+wherein, among many nudes, is a very beautiful Eve, and a Thief who is
+behind Christ with the cross is a very well-executed figure, while the
+cavern of Limbo and the demons and fires of that place are fantastic
+to a marvel. And since Domenico was of the opinion that pictures
+painted in distemper preserved their freshness better than those
+painted in oils, saying that it seemed to him that the works of Luca
+da Cortona, of the Pollaiuoli, and of the other masters who painted in
+oils in those days, had suffered from age more than those of Fra
+Giovanni, Fra Filippo, Benozzo, <span class="pagenum"><a id="Page_247" name="Page_247">[Pg 247]</a></span> and the others before their
+time who painted in distemper&mdash;for this reason, I say, having to paint
+an altar-piece for the Company of S. Bernardino on the Piazza di S.
+Francesco, he resolved to do it in distemper; and in this way he
+executed it excellently well, painting in it Our Lady with many
+Saints. In the predella, which is very beautiful, and painted by him
+likewise in distemper, he depicted S. Francis receiving the Stigmata;
+S. Anthony of Padua, who, in order to convert some heretics, performs
+the miracle of the Ass, which makes obeisance before the sacred Host;
+and S. Bernardino of Siena, who is preaching to the people of his city
+on the Piazza de' Signori. And on the walls of this Company, also, he
+painted two stories of Our Lady in fresco, in competition with some
+others that Sodoma had executed in the same place. In one he
+represented the Visitation of S. Elizabeth, and in the other the
+Passing of Our Lady, with the Apostles all around; and both of these
+are much extolled.</p>
+
+<p>Finally, after having been long expected in Genoa by Prince Doria,
+Domenico made his way there, but with great reluctance, being a man
+who was accustomed to a life of peace and contented with that which
+his wants required, and nothing more; besides which, he was not much
+used to making journeys, for the reason that, having built himself a
+little house in Siena, and having also a vineyard a mile beyond the
+Porta a Camollia, which he cultivated with his own hand as a
+recreation, going there often, it was a long time since he had gone
+far from Siena. Having then arrived in Genoa, he painted a scene
+there, beside that of Pordenone, in which he succeeded very well, and
+yet not in such a manner that it could be counted among his best
+works. But, since the ways of the Court did not please him, being used
+to a life of freedom, he did not stay very willingly in that place,
+and, indeed, appeared as if he were stupefied. Wherefore, having come
+to the end of that work, he sought leave of the Prince and set out to
+return home; and passing by Pisa, in order to see that city, he met
+with Battista del Cervelliera and was shown all the most noteworthy
+things in the city, and in particular the altar-pieces of Sogliani and
+the pictures that are in the recess behind the high-altar of the
+Duomo.</p>
+
+<p><span class="pagenum"><a id="Page_248" name="Page_248">[Pg 248]</a></span> Meanwhile Sebastiano della Seta, the Warden of Works of the
+Duomo, having heard from Cervelliera of the qualities and abilities of
+Domenico, and being desirous to finish the work so long delayed by
+Giovanni Antonio Sogliani, allotted two of the pictures for that
+recess to Domenico, to the end that he might execute them at Siena and
+send them finished to Pisa; and so it was done. In one is Moses, who,
+having found that the people had sacrificed to the Golden Calf, is
+breaking the Tables; and in this Domenico painted some nudes that are
+figures of great beauty. In the other is the same Moses, with the
+earth opening and swallowing up a part of the people; and in this,
+also, are some nudes killed by flaming thunderbolts, which are
+marvellous. These pictures, when taken to Pisa, led to Domenico
+painting four pictures for the front of that recess&mdash;namely, two on
+each side&mdash;of the four Evangelists, which were four very beautiful
+figures. Whereupon Sebastiano della Seta, who saw that he had been
+served quickly and well, commissioned Domenico, after these pictures,
+to paint the altar-piece of one of the chapels in the Duomo, Sogliani
+having by that time painted four. Settling in Pisa, therefore,
+Domenico painted in that altar-piece Our Lady in the sky with the
+Child in her arms, upon some clouds supported by some little Angels,
+with many Saints both male and female below, all executed passing
+well, but yet not with that perfection which marked the pictures
+described above. But he, excusing himself for this to many of his
+friends, and particularly on one occasion to Giorgio Vasari, said that
+since he was away from the air of Siena and from certain comforts of
+his own, he did not seem to be able to do anything.</p>
+
+<p>Having therefore returned home, determined that he would never again
+go away to work elsewhere, he painted for the Nuns of S. Paolo, near
+S. Marco, an altar-piece in oils of the Nativity of Our Lady, with
+some nurses, and S. Anne in a bed that is foreshortened and
+represented as standing within a door; and in a dark shadow is a woman
+who is drying clothes, without any other light but that which comes
+from the blaze of the fire. In the predella, which is full of charm,
+are three scenes in distemper&mdash;the Presentation of the Virgin at the
+Temple, her Marriage, and the Adoration of the Magi. In the Mercanzia,
+a tribunal in <span class="pagenum"><a id="Page_249" name="Page_249">[Pg 249]</a></span> that city, the officials have a little
+altar-piece which they say was painted by Domenico when he was young;
+it is very beautiful, and it contains in the centre a S. Paul seated,
+and on one side his Conversion, in little figures, and on the other
+the scene of his Beheading.</p>
+
+<p>Finally, Domenico was commissioned to paint the great recess of the
+Duomo, which is at the end behind the high-altar. In this he first
+made a decoration of stucco with foliage and figures, all with his own
+hand, and two Victories in the vacant spaces in the semicircle; which
+decoration was in truth a very rich and beautiful work. Then in the
+centre he painted in fresco the Ascension of Christ into Heaven; and
+from the cornice downwards he painted three pictures divided by
+columns in relief, and executed in perspective. In the middle picture,
+which has above it an arch in perspective, are Our Lady, S. Peter, and
+S. John; and in the spaces at the sides are ten Apostles, five on each
+side, all in various attitudes and gazing at Christ, who is ascending
+into Heaven; and above each of the two pictures of the Apostles is an
+Angel in foreshortening, the two together representing those two
+Angels who, after the Ascension, declared that He had risen into
+Heaven. This work is certainly admirable, but it would have been even
+more so if Domenico had given beautiful expressions to the heads; as
+it is, they have something in the expressions that is not very
+pleasing, and it appears that in his old age he adopted for his
+countenances an expression of terror by no means agreeable. This work,
+I say, if there had been any beauty in the heads, would have been so
+beautiful that there would have been nothing better to be seen. But in
+this matter of the expressions of the heads, in the opinion of the
+people of Siena, Sodoma was superior to Domenico, for the reason that
+Sodoma made them much more beautiful, although those of Domenico had
+more design and greater force. And, in truth, the manner of the heads
+in these our arts is of no little importance, and by painting them
+with graceful and beautiful expressions many masters have escaped the
+censure that they might have incurred for the rest of their work.</p>
+
+<p>This was the last work in painting executed by Domenico, who, having
+taken it into his head in the end to work in relief, began to give
+<span class="pagenum"><a id="Page_250" name="Page_250">[Pg 250]</a></span> his attention to casting in bronze, and went so far with
+this that he executed, although with extraordinary labour, six Angels
+of bronze in the round, little less than life-size, for the six
+columns nearest the high-altar of the Duomo. These Angels, which are
+very beautiful, are holding tazze, or rather little basins, which
+support candelabra containing lights, and in the last of them he
+acquitted himself so well, that he was very highly praised for them.
+Whereupon, growing in courage, he made a beginning with figures of the
+twelve Apostles, which were to be placed on the columns lower down,
+where there are now some of marble, old and in a bad manner; but he
+did not continue them, for he did not live long after that. And since
+he was a man of infinite ingenuity, and succeeded well in everything,
+he engraved wood-blocks by himself in order to make prints in
+chiaroscuro, and there are to be seen prints of two Apostles engraved
+by him excellently well, of which we have one in our book of drawings,
+together with some sheets drawn divinely by his hand. He also engraved
+copper-plates with the burin, and he executed with aquafortis some
+very fanciful little stories of alchemy, in which Jove and the other
+Gods, wishing to congeal Mercury, place him bound in a crucible, and
+Vulcan and Pluto make fire around him; but when they think that he
+must be fixed, Mercury flies away and goes off in smoke.</p>
+
+<p>Domenico, in addition to the works described above, executed many
+others of no great importance, pictures of the Madonna and other
+suchlike chamber-pictures, such as a Madonna that is in the house of
+the Chevalier Donati, and a picture in distemper in which Jove changes
+himself into a shower of gold and rains into the lap of Dana�. Piero
+Catanei, likewise, has a round picture in oils of a very beautiful
+Virgin by the hand of the same master. He also painted a most
+beautiful bier for the Confraternity of S. Lucia, and likewise another
+for that of S. Antonio; nor should anyone be astonished that I make
+mention of such works, for the reason that they are beautiful to a
+marvel, as all know who have seen them.</p>
+
+<p>Finally, having come to the age of sixty-five, he hastened the end of
+his life by toiling all by himself day and night at his castings in
+metal, <span class="pagenum"><a id="Page_251" name="Page_251">[Pg 251]</a></span> polishing them himself without calling in any
+assistance. He died, then, on the 18th of May, 1549, and was given
+burial by his dearest friend, the goldsmith Giuliano, in the Duomo,
+where he had executed so many rare works. And he was carried to the
+tomb by all the craftsmen of his city, which recognized even then the
+great loss that she had suffered in the death of Domenico, and now, as
+she admires his works, recognizes it more than ever.</p>
+
+<p>Domenico was an orderly and upright person, fearing God and studious
+in his art, although solitary beyond measure; wherefore he well
+deserved to be honourably celebrated by his fellow-citizens of Siena,
+who have always won great praise by their attention to noble studies
+and to poetry, with verses both in Latin and in the vulgar tongue.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="lappoli" id="lappoli"></a><span class="pagenum"><a id="Page_253" name="Page_253">[Pg 253]</a></span> GIOVANNI ANTONIO LAPPOLI</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_lappoli" id="life_of_lappoli"></a><span class="pagenum"><a id="Page_255" name="Page_255">[Pg 255]</a></span> LIFE OF GIOVANNI ANTONIO LAPPOLI</h2>
+
+<h3>PAINTER OF AREZZO</h3>
+
+
+<p>Rarely does it happen that from an old stock there fails to sprout
+some good shoot, which, growing with time, revives and reclothes with
+its leaves that desolate stem, and reveals with its fruits to those
+who taste them the same savour that was once known in the ancient
+tree. And that this is true is proved in this present Life of Giovanni
+Antonio, who, at the death of his father Matteo, who was a painter of
+passing good repute in his day, was left with a good income under the
+guardianship of his mother, and lived thus up to the age of twelve.
+Having come to that period of his life, and not caring to choose any
+other pursuit than that of painting, to which he was drawn, besides
+other reasons, by a wish to follow the footsteps of his father in that
+art, Giovanni Antonio began to learn the first rudiments of design
+under Domenico Pecori, a painter of Arezzo, who had been, together
+with his father Matteo, a disciple of Clemente,<a id="FNanchor31" name="FNanchor31"></a><a href="#Footnote31" title="Go to footnote 31" class="fnanchor">[31]</a> and who was his
+first master. Then, after having been some time with him, desiring to
+make greater proficience than he was making under the discipline of
+that master and in that place, where he was not able to learn by
+himself, although he had a strong natural inclination, he turned his
+thoughts towards the idea of settling in Florence. To this intention,
+not to mention that he was left alone by the death of his mother,
+Fortune was favourable enough, for a young sister that he had was
+married to Leonardo Ricoveri, one of the first and richest citizens
+that there were at that time in Arezzo; and so he went off to
+Florence.</p>
+
+<p>There, among the works of many that he saw, the manner of Andrea del
+Sarto and of Jacopo da Pontormo pleased him more than that of all
+<span class="pagenum"><a id="Page_256" name="Page_256">[Pg 256]</a></span> the others who had worked at painting in that city.
+Wherefore he resolved to place himself under one of those two, and was
+hesitating as to which of them he should choose as his master, when
+there were uncovered the Faith and Charity painted by Pontormo over
+the portico of the Nunziata in Florence, and he became fully
+determined to go to work under Pontormo, thinking that his manner was
+so beautiful that it might be expected that Jacopo, who was still a
+young man, was destined to surpass all the young painters of his own
+age, as, indeed, was the firm belief of everyone at that time.
+Lappoli, then, although he might have gone to work under Andrea, for
+the said reasons attached himself to Pontormo, under whose discipline
+he was for ever drawing, spurred to incredible exertions, out of
+emulation, by two motives. One of these was the presence of Giovan
+Maria dal Borgo a San Sepolcro, who was studying design and painting
+under the same master, and who, always advising him for his own good,
+brought it about that he changed his manner and adopted the good
+manner of Pontormo. The other&mdash;and this spurred him more strongly&mdash;was
+the sight of Agnolo, who was called Bronzino, being much brought
+forward by Jacopo on account of his loving submissiveness and goodness
+and the untiring diligence that he showed in imitating his master's
+works, not to mention that he drew very well and acquitted himself in
+colouring in such a manner, that he aroused hopes that he was destined
+to attain to that excellence and perfection which have been seen in
+him, and still are seen, in our own day.</p>
+
+<p>Giovanni Antonio, then, being desirous to learn, and impelled by the
+reasons mentioned above, spent many months in making drawings and
+copies of the works of Jacopo da Pontormo, which were so well
+executed, so good, and so beautiful, that it is certain that if he had
+persevered, what with the assistance that he had from Nature, his wish
+to become eminent, the force of competition, and the good manner of
+his master, he would have become most excellent; and to this some
+drawings in red chalk by his hand, which may be seen in our book, can
+bear witness. But pleasure, as may often be seen to happen, is in
+young men generally the enemy of excellence, and brings it about that
+their intellects are led <span class="pagenum"><a id="Page_257" name="Page_257">[Pg 257]</a></span> astray; wherefore he who is engaged
+in the studies of any faculty, science, or art whatsoever should have
+no relations save with those who are of the same profession, and good
+and orderly besides. Giovanni Antonio, then, in order that he might be
+looked after, had gone to live in the house of one Ser Raffaello di
+Sandro, a lame chaplain, in S. Lorenzo, to whom he paid so much a
+year, and he abandoned in great measure the study of painting, for the
+reason that the priest was a man of the world, delighting in pictures,
+music, and other diversions, and many persons of talent frequented the
+rooms that he had at S. Lorenzo; among others, M. Antonio da Lucca, a
+most excellent musician and performer on the lute, at that time a very
+young man, from whom Giovanni learned to play the lute. And although
+the painter Rosso and some others of the profession also frequented
+the same place, Lappoli attached himself rather to the others than to
+the men of his art, from whom he might have learned much, while at the
+same time amusing himself. Through these distractions, therefore, the
+love of painting of which Giovanni Antonio had given proof cooled off
+in great measure; but none the less, being the friend of Pier
+Francesco di Jacopo di Sandro, who was a disciple of Andrea del Sarto,
+he went sometimes with him to the Scalzo to draw the pictures and
+nudes from life. And no long time passed before he applied himself to
+colouring and executed pictures of Jacopo's, and then by himself some
+Madonnas and portraits from life, among which were that of the
+above-mentioned M. Antonio da Lucca and that of Ser Raffaello, which
+are very good.</p>
+
+<p>In the year 1523, the plague being in Rome, Perino del Vaga came to
+Florence, and he also settled down to lodge with Ser Raffaello del
+Zoppo; wherefore Giovanni Antonio having formed a strait friendship
+with him and having recognized the ability of Perino, there was
+reawakened in his mind the desire to attend to painting, abandoning
+all other pleasures, and he resolved when the plague had ceased to go
+with Perino to Rome. But this design was never fulfilled, for the
+plague having come to Florence, at the very moment when Perino had
+finished the scene of the Submersion of Pharaoh in the Red Sea,
+painted in the colour of bronze in chiaroscuro for Ser Raffaello,
+during the execution of <span class="pagenum"><a id="Page_258" name="Page_258">[Pg 258]</a></span> which Lappoli was always present,
+they were forced both the one and the other to fly from Florence, in
+order not to lose their lives there.</p>
+
+<p>Thereupon Giovanni Antonio returned to Arezzo, and set himself, in
+order to pass the time, to paint on canvas the scene of the death of
+Orpheus, killed by the Bacchantes: he set himself, I say, to paint
+this scene in chiaroscuro of the colour of bronze, after the manner in
+which he had seen Perino paint the picture mentioned above, and when
+the work was finished it brought him no little praise. He then set to
+work to finish an altar-piece that his former master Domenico Pecori
+had begun for the Nuns of S. Margherita: in which altar-piece, now to
+be seen in their convent, he painted an Annunciation. And he made two
+cartoons for two portraits from life from the waist upwards, both very
+beautiful; one was Lorenzo d' Antonio di Giorgio, at that time a pupil
+and a very handsome youth, and the other was Ser Piero Guazzesi, who
+was a convivial person.</p>
+
+<p>The plague having finally somewhat abated, Cipriano d' Anghiari, a
+rich man of Arezzo, who in those days had caused a chapel with
+ornaments and columns of grey-stone to be built in the Abbey of S.
+Fiore at Arezzo, allotted the altar-piece to Giovanni Antonio at the
+price of one hundred crowns. Meanwhile, Rosso passed through Arezzo on
+his way to Rome, and lodged with Giovanni Antonio, who was very much
+his friend; and, hearing of the work that he had undertaken to do, he
+made at the request of Lappoli a very beautiful little sketch full of
+nudes. Whereupon Giovanni Antonio, setting his hand to the work and
+imitating the design of Rosso, painted in that altar-piece the
+Visitation of S. Elizabeth, and in the lunette above it a God the
+Father and some children, copying the draperies and all the rest from
+life. And when he had brought it to completion, he was much praised
+and commended for it, and above all for some heads copied from life,
+painted in a good manner and with much profit to himself.</p>
+
+<p>Then, recognizing that if he wished to make greater proficience in his
+art he must take his leave of Arezzo, he determined, after the plague
+had ceased entirely in Rome, to go to that city, where he knew that
+Perino, Rosso, and many others of his friends had already returned and
+<span class="pagenum"><a id="Page_259" name="Page_259">[Pg 259]</a></span> were employed in a number of important works. While of this
+mind, a convenient occasion of going there presented itself to him,
+for there arrived in Arezzo M. Paolo Valdambrini, the Secretary of
+Pope Clement VII, who, in returning from France in great haste, passed
+through Arezzo in order to see his brothers and nephews; and when
+Giovanni Antonio had gone to visit him, M. Paolo, who was desirous
+that there should be in his native city of Arezzo men distinguished in
+all the arts, who might demonstrate the genius which that air and that
+sky give to those who are born there, exhorted him, although there was
+not much need for exhortation, that he should go in his company to
+Rome, where he would obtain for him every convenience to enable him to
+attend to the studies of his art. Having therefore gone with M. Paolo
+to Rome, he found there Perino, Rosso, and others of his friends; and
+besides this he was able by means of M. Paolo to make the acquaintance
+of Giulio Romano, Sebastiano Viniziano, and Francesco Mazzuoli of
+Parma, who arrived in Rome about that time. This Francesco, delighting
+to play the lute, and therefore conceiving a very great affection for
+Giovanni Antonio and consorting continually with him, brought it about
+that Lappoli set himself with great zeal to draw and paint and to
+profit by the good fortune that he enjoyed in being the friend of the
+best painters that there were in Rome at that time. And he had already
+carried almost to completion a picture containing a Madonna of the
+size of life, which M. Paolo wished to present to Pope Clement in
+order to make Lappoli known to him, when, as Fortune would have it,
+who often sets herself in opposition to the designs of mankind, there
+took place on the 6th of May, in the year 1527, the accursed sack of
+Rome. On that miserable day M. Paolo galloped on horseback, and
+Giovanni Antonio with him, to the Porta di S. Spirito in the
+Trastevere, in order to prevent the soldiers of Bourbon for a time
+from entering by that gate; and there M. Paolo was killed and Lappoli
+was taken prisoner by the Spaniards. And in a short time, everything
+being given over to sack, the picture was lost, together with the
+designs executed in the chapel and all that poor Giovanni Antonio
+possessed. He, after having been much tormented by the Spaniards to
+induce him to pay a ransom, escaped in his shirt one <span class="pagenum"><a id="Page_260" name="Page_260">[Pg 260]</a></span> night
+with some other prisoners, and, after suffering desperate hardships
+and running in great danger of his life, because the roads were not
+safe, finally made his way to Arezzo, where he was received by M.
+Giovanni Pollastra, a man of great learning, who was his uncle; but he
+had all that he could do to recover himself, so broken was he by
+terror and suffering.</p>
+
+<p>Then in the same year there came upon Arezzo the great plague in which
+four hundred persons died every day, and Giovanni Antonio was forced
+once more to fly, all in despair and very loth to go, and to stay for
+some months out of the city. But finally, when that pestilence had
+abated to such an extent that people could begin to mix together, a
+certain Fra Guasparri, a Conventual Friar of S. Francis, who was then
+Guardian of their convent in that city, commissioned Giovanni Antonio
+to paint the altar-piece of the high-altar in that church for one
+hundred crowns, stipulating that he should represent in it the
+Adoration of the Magi. Whereupon Lappoli, hearing that Rosso, having
+also fled from Rome, was at Borgo a San Sepolcro, and was there
+executing an altar-piece for the Company of S. Croce, went to visit
+him; and after showing him many courtesies and causing some things to
+be brought for him from Arezzo, of which he knew him to stand in need,
+since he had lost everything in the sack of Rome, he obtained for
+himself from Rosso a very beautiful design of the above-mentioned
+altar-piece that he had to paint for Fra Guasparri. And when he had
+returned to Arezzo he set his hand to the work, and finished it within
+a year from the day of the commission, according to the agreement, and
+that so well, that he was very highly praised for it. That design of
+Rosso's passed afterwards into the hands of Giorgio Vasari, and from
+him to the very reverend Don Vincenzio Borghini, Director of the
+Hospital of the Innocenti in Florence, who has it in his book of
+drawings by various painters.</p>
+
+<p>Not long afterwards, having become surety for Rosso to the amount of
+three hundred crowns, in the matter of some pictures that the said
+Rosso was to paint in the Madonna delle Lagrime, Giovanni Antonio
+found himself in a very evil pass, for Rosso went away without
+finishing the work, as has been related in his Life, and Lappoli was
+constrained <span class="pagenum"><a id="Page_261" name="Page_261">[Pg 261]</a></span> to restore the money; and if his friends had not
+helped him, and particularly Giorgio Vasari, who valued at three
+hundred crowns the part that Rosso had left finished, Giovanni Antonio
+would have been little less than ruined in his effort to do honour and
+benefit to his native city. These difficulties over, Lappoli painted
+an altar-piece in oils containing the Madonna, S. Bartholomew, and S.
+Matthew at the commission of Abbot Camaiani of Bibbiena, for a chapel
+in the lower church at S. Maria del Sasso, a seat of the Preaching
+Friars in the Casentino; and he acquitted himself very well,
+counterfeiting the manner of Rosso. And this was the reason that a
+Confraternity at Bibbiena afterwards caused him to paint on a banner
+for carrying in processions a nude Christ with the Cross on His
+shoulder, who is shedding blood into the Chalice, and on the other
+side an Annunciation, which was one of the best things that he ever
+did.</p>
+
+<p>In the year 1534, Duke Alessandro de' Medici being expected in Arezzo,
+the Aretines, with Luigi Guicciardini, the commissary in that city,
+wishing to honour the Duke, ordained that two comedies should be
+performed. The charge of arranging one of those festivals was in the
+hands of a Company of the most noble young men in the city, who called
+themselves the Umidi; and the preparations and scenery for this
+comedy, which had for its subject the Intronati of Siena, were made by
+Niccol� Soggi, who was much extolled for them, and the comedy was
+performed very well and with infinite satisfaction to all who saw it.
+The festive preparations for the other were executed in competition by
+another Company of young men, likewise noble, who called themselves
+the Company of the Infiammati. And they, in order to be praised no
+less than the Umidi, performed a comedy by M. Giovanni Pollastra, a
+poet of Arezzo, under his management, and entrusted the making of the
+scenery to Giovanni Antonio, who acquitted himself consummately well;
+and thus their comedy was performed with great honour to that Company
+and to the whole city. Nor must I pass over a lovely notion of that
+poet's, who was certainly a man of beautiful ingenuity. While the
+preparations for these and other festivals were in progress, on many
+occasions the young men of the two Companies, out of rivalry and for
+various other reasons, had come to blows, and several disputes had
+arisen; wherefore <span class="pagenum"><a id="Page_262" name="Page_262">[Pg 262]</a></span> Pollastra arranged a surprise (keeping the
+matter absolutely secret), which was as follows. When all the people,
+with the gentlemen and their ladies, had assembled in the place where
+the comedy was to be performed, four of those young men who had come
+to blows with one another in the city on other occasions, dashing out
+with naked swords and cloaks wound round their arms, began to shout on
+the stage and to pretend to kill one another: and the first of them to
+be seen rushed out with one temple as it were smeared with blood,
+crying out: "Come forth, traitors!" At which uproar all the people
+rose to their feet, men began to lay hands on their weapons, and the
+kinsmen of the young men, who appeared to be giving each other fearful
+thrusts, ran towards the stage; when he who had come out first,
+turning towards the other young men, said: "Hold your hands,
+gentlemen, and sheathe your swords, for I have taken no harm; and
+although we are at daggers drawn and you believe that the play will
+not be performed, yet it will take place, and I, wounded as I am, will
+now begin the Prologue." And so after this jest, by which all the
+spectators and the actors themselves, only excepting the four
+mentioned above, were taken in, the comedy was begun and played so
+well, that afterwards, in the year 1540, when the Lord Duke Cosimo and
+the Lady Duchess Leonora were in Arezzo, Giovanni Antonio had to
+prepare the scenery anew on the Piazza del Vescovado and have it
+performed before their Excellencies. And even as the performers had
+given satisfaction on the first occasion, so at that time they gave so
+much satisfaction to the Lord Duke, that they were afterwards invited
+to Florence to perform at the next Carnival. In these two scenic
+preparations, then, Lappoli acquitted himself very well, and he was
+very highly praised.</p>
+
+<p>He then made an ornament after the manner of a triumphal arch, with
+scenes in the colour of bronze, which was placed about the altar of
+the Madonna delle Chiavi. After a time Giovanni Antonio settled in
+Arezzo, fully determined, now that he had a wife and children, to go
+roaming no more, and living on his income and on the offices that the
+citizens of that city enjoy; and so he continued without working much.
+Not long, indeed, after these events, he sought to obtain the
+commissions <span class="pagenum"><a id="Page_263" name="Page_263">[Pg 263]</a></span> for two altar-pieces that were to be painted in
+Arezzo, one for the Church and Company of S. Rocco, and the other for
+the high-altar of S. Domenico; but he did not succeed, for the reason
+that both those pictures were allotted to Giorgio Vasari, whose
+designs, among the many that were made, gave more satisfaction than
+any of the others. For the Company of the Ascension in that city
+Giovanni Antonio painted on a banner for carrying in processions
+Christ in the act of Resurrection, with many soldiers round the
+Sepulchre, and His Ascension into Heaven, with the Madonna surrounded
+by the twelve Apostles, which was all executed very well and with
+diligence. At Castello della Pieve he painted an altar-piece in oils
+of the Visitation of Our Lady, with some Saints about her, and in an
+altar-piece that was painted for the Pieve a San Stefano he depicted
+the Madonna and other Saints; which two works Lappoli executed much
+better than the others that he had painted up to that time, because he
+had been able to see at his leisure many works in relief and casts
+taken in gesso from the statues of Michelagnolo and from other ancient
+works, and brought by Giorgio Vasari to his house at Arezzo. The same
+master painted some pictures of Our Lady, which are dispersed
+throughout Arezzo and other places, and a Judith who is placing the
+head of Holofernes in a basket held by her serving-woman, which now
+belongs to Mons. M. Bernardetto Minerbetti, Bishop of Arezzo, who
+loved Giovanni Antonio much, as he loves all other men of talent, and
+received from him, besides other things, a young S. John the Baptist
+in the desert, almost wholly naked, which is held dear by him, since
+it is an excellent figure.</p>
+
+<p>Finally, recognizing that perfection in this art consists in nothing
+else but seeking in good time to become rich in invention and to study
+the nude continually, and thus to render facile the difficulties of
+execution, Giovanni Antonio repented that he had not spent in the
+study of art the time that he had given to his pleasures, perceiving
+that what can be done easily in youth cannot be done well in old age.
+But although he was always conscious of his error, yet he did not
+recognize it fully until, having set himself to study when already an
+old man, he saw a picture in oils, fourteen braccia long and six
+braccia and a half high, <span class="pagenum"><a id="Page_264" name="Page_264">[Pg 264]</a></span> executed in forty-two days by
+Giorgio Vasari, who painted it for the Refectory of the Monks of the
+Abbey of S. Fiore at Arezzo; in which work are painted the Nuptials of
+Esther and King Ahasuerus, and there are in it more than sixty figures
+larger than life. Going therefore at times to see Giorgio at work, and
+staying to discourse with him, Giovanni Antonio said: "Now I see that
+continual study and work is what lifts men out of laborious effort,
+and that our art does not come down upon us like the Holy Ghost."</p>
+
+<p>Giovanni Antonio did not work much in fresco, for the reason that the
+colours changed too much to please him; nevertheless, there may be
+seen over the Church of Murello a Piet� with two little naked Angels
+by his hand, executed passing well. Finally, after having lived like a
+man of good judgment and one not unpractised in the ways of the world,
+he fell sick of a most violent fever at the age of sixty, in the year
+1552, and died.</p>
+
+<p>A disciple of Giovanni Antonio was Bartolommeo Torri, the scion of a
+not ignoble family in Arezzo, who, making his way to Rome, and placing
+himself under Don Giulio Clovio, a most excellent miniaturist, devoted
+himself in so thorough a manner to design and to the study of the
+nude, but most of all to anatomy, that he became an able master, and
+was held to be the best draughtsman in Rome. And it is not long since
+Don Silvano Razzi related to me that Don Giulio Clovio had told him in
+Rome, after having praised this young man highly, the very thing that
+he has often declared to me&mdash;namely, that he had turned him out of his
+house for no other reason but his filthy anatomy, for he kept so many
+limbs and pieces of men under his bed and all over his rooms, that
+they poisoned the whole house. Besides this, by neglecting himself and
+thinking that living like an unwashed philosopher, accepting no rule
+of life, and avoiding the society of other men, was the way to become
+great and immortal, he ruined himself completely; for nature will not
+tolerate the unreasonable outrages that some men at times do to her.
+Having therefore fallen ill at the age of twenty-five, Bartolommeo
+returned to Arezzo, in order to regain his health and to seek to build
+himself up again; but he did not succeed, for he continued his usual
+studies and the <span class="pagenum"><a id="Page_265" name="Page_265">[Pg 265]</a></span> same irregularities, and in four months, a
+little after the death of Giovanni Antonio, he died and went to join
+him.</p>
+
+<p>The loss of this young man was an infinite grief to the whole city,
+for if he had lived, to judge from the great promise of his works, he
+was like to do extraordinary honour to his native place and to all
+Tuscany; and whoever sees any of the drawings that he made when still
+a mere lad, stands marvelling at them and full of compassion for his
+untimely death.</p>
+
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="soggi" id="soggi"></a><span class="pagenum"><a id="Page_267" name="Page_267">[Pg 267]</a></span> NICCOL� SOGGI</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="life_of_soggi" id="life_of_soggi"></a><span class="pagenum"><a id="Page_269" name="Page_269">[Pg 269]</a></span> LIFE OF NICCOL� SOGGI</h2>
+
+<h3>PAINTER</h3>
+
+
+<p>Among the many who were disciples of Pietro Perugino, there was not
+one, after Raffaello da Urbino, who was more studious or more diligent
+than Niccol� Soggi, whose Life we are now about to write. This master
+was born in Florence, the son of Jacopo Soggi, a worthy person, but
+not very rich; and in time he entered the service of M. Antonio dal
+Monte in Rome, because Jacopo had a farm at Marciano in Valdichiana,
+and, passing most of his time there, associated not a little with that
+same M. Antonio dal Monte, their properties being near together.</p>
+
+<p>Jacopo, then, perceiving that this son of his was much inclined to
+painting, placed him with Pietro Perugino; and in a short time, by
+means of continual study, he learned so much that it was not long
+before Pietro began to make use of him in his works, to the great
+advantage of Niccol�, who devoted himself in such a manner to drawing
+in perspective and copying from nature, that he afterwards became very
+excellent in both the one field and the other. Niccol� also gave much
+attention to making models of clay and wax, over which he laid
+draperies and soaked parchment: which was the reason that he rendered
+his manner so dry, that he always held to the same as long as he
+lived, nor could he ever get rid of it for all the pains that he took.</p>
+
+<p>The first work that this Niccol� executed after the death of his
+master Pietro was an altar-piece in oils in the Hospital for Women,
+founded by Bonifazio Lupi, in the Via San Gallo at Florence&mdash;that is,
+the side behind the altar, wherein is the Angel saluting Our Lady,
+with a building drawn in perspective, in which there are arches and a
+groined vaulting rising above pilasters after the manner of Pietro.
+Then, in the year 1512, after having executed many pictures of Our
+Lady for the <span class="pagenum"><a id="Page_270" name="Page_270">[Pg 270]</a></span> houses of citizens, and other little works such
+as are painted every day, hearing that great things were being done in
+Rome, he departed from Florence, thinking to make proficience in art
+and also to save some money, and went off to Rome. There, having paid
+a visit to the aforesaid M. Antonio dal Monte, who was then a
+Cardinal, he was not only welcomed warmly, but also straightway set to
+work to paint, in those early days of the pontificate of Leo, on the
+fa�ade of the palace where there is the statue of Maestro Pasquino, a
+great escutcheon of Pope Leo in fresco, between that of the Roman
+People and that of the Cardinal. In that work Niccol� did not acquit
+himself very well, for in painting some nude figures and others
+clothed that he placed there as ornaments for those escutcheons, he
+recognized that the study of models is bad for him who wishes to
+acquire a good manner. Thereupon, after the uncovering of that work,
+which did not prove to be of that excellence which many expected,
+Niccol� set himself to execute a picture in oils, in which he painted
+the Martyr S. Prassedia squeezing a sponge full of blood into a
+vessel; and he finished it with such diligence that he recovered in
+part the honour that he considered himself to have lost in painting
+the escutcheons described above. This picture, which was executed for
+the above-mentioned Cardinal dal Monte, who was titular of S.
+Prassedia, was placed in the centre of that church, over an altar
+beneath which is a well of the blood of Holy Martyrs&mdash;a beautiful
+idea, the picture alluding to the place where there was the blood of
+those Martyrs. After this Niccol� painted for his patron the Cardinal
+another picture in oils, three-quarters of a braccio in height, of Our
+Lady with the Child in her arms, S. John as a little boy, and some
+landscapes, all executed so well and with such diligence, that the
+whole work appears to be done in miniature, and not painted; which
+picture, one of the best works that Niccol� ever produced, was for
+many years in the apartment of that prelate. Afterwards, when the
+Cardinal arrived in Arezzo and lodged in the Abbey of S. Fiore, a seat
+of the Black Friars of S. Benedict, in return for the many courtesies
+that were shown to him, he presented that picture to the sacristy of
+that place, in which it has been treasured ever since, both as a good
+painting and in memory of the Cardinal.</p>
+
+<p><span class="pagenum"><a id="Page_271" name="Page_271">[Pg 271]</a></span> Niccol� himself went with the Cardinal to Arezzo, where he
+lived almost ever afterwards. At the time he formed a friendship with
+the painter Domenico Pecori, who was then painting an altar-piece with
+the Circumcision of Christ for the Company of the Trinit�; and such
+was the intimacy between them that Niccol� painted for Domenico in
+that altar-piece a building in perspective with columns and arches
+supporting a ceiling full of rosettes, according to the custom of
+those days, which was held at that time to be very beautiful. Niccol�
+also painted for the same Domenico a round picture of the Madonna with
+a multitude below, in oils and on cloth, for the baldachin of the
+Confraternity of Arezzo, which was burned, as has been related in the
+Life of Domenico Pecori,<a id="FNanchor32" name="FNanchor32"></a><a href="#Footnote32" title="Go to footnote 32" class="fnanchor">[32]</a> during a festival that was held in S.
+Francesco. Then, having received the commission for a chapel in that
+same S. Francesco, the second on the right hand as one enters the
+church, he painted there in distemper Our Lady, S. John the Baptist,
+S. Bernard, S. Anthony, S. Francis, and three Angels in the air who
+are singing, with God the Father in a pediment; which were executed by
+Niccol� almost entirely in distemper, with the point of the brush. But
+since the work has almost all peeled off on account of the strength of
+the distemper, it was labour thrown away. Niccol� did this in order to
+try new methods; and when he had recognized that the true method was
+working in fresco, he seized the first opportunity, and undertook to
+paint in fresco a chapel in S. Agostino in that city, beside the door
+on the left hand as one enters the church. In this chapel, which was
+allotted to him by one Scamarra, a master of furnaces, he painted a
+Madonna in the sky with a multitude beneath, and S. Donatus and S.
+Francis kneeling; but the best thing that he did in this work was a S.
+Rocco at the head of the chapel.</p>
+
+<p>This work giving great pleasure to Domenico Ricciardi of Arezzo, who
+had a chapel in the Church of the Madonna delle Lagrime, he entrusted
+the painting of the altar-piece of that chapel to Niccol�, who,
+setting his hand to the work, painted in it with much care and
+diligence the Nativity of Jesus Christ. And although he toiled a long
+time over finishing it, he executed it so well that he deserves to be
+excused for this, <span class="pagenum"><a id="Page_272" name="Page_272">[Pg 272]</a></span> or rather, merits infinite praise, for the
+reason that it is a most beautiful work; nor would anyone believe with
+what extraordinary consideration he painted every least thing in it,
+and a ruined building, near the hut wherein are the Infant Christ and
+the Virgin, is drawn very well in perspective. In the S. Joseph and
+some Shepherds are many heads portrayed from life, such as Stagio
+Sassoli, a painter and the friend of Niccol�, and Papino della Pieve,
+his disciple, who, if he had not died when still young, would have
+done very great honour both to himself and to his country; and three
+Angels in the air who are singing are so well executed that they would
+be enough by themselves to demonstrate the talent of Niccol� and the
+patience with which he laboured at this work up to the very last. And
+no sooner had he finished it than he was requested by the men of the
+Company of S. Maria della Neve, at Monte Sansovino, to paint for that
+Company an altar-piece wherein was to be the story of the Snow, which,
+falling on the site of S. Maria Maggiore at Rome on the 5th of August,
+was the reason of the building of that temple. Niccol�, then, executed
+that altar-piece for the above-mentioned Company with much diligence;
+and afterwards he executed at Marciano a work in fresco that won no
+little praise.</p>
+
+<p>Now in the year 1524, after M. Baldo Magini had caused Antonio, the
+brother of Giuliano da San Gallo, to build in the Madonna delle
+Carceri, in the town of Prato, a tabernacle of marble with two
+columns, architrave, cornice, and a quarter-round arch, Antonio
+resolved to bring it about that M. Baldo should give the commission
+for the picture which was to adorn that tabernacle to Niccol�, with
+whom he had formed a friendship when he was working in the Palace of
+the above-mentioned Cardinal dal Monte at Monte Sansovino. He
+presented him, therefore, to M. Baldo, who, although he had been
+minded to have it painted by Andrea del Sarto, as has been related in
+another place, resolved, at the entreaties and advice of Antonio, to
+allot it to Niccol�. And he, having set his hand to it, strove with
+all his power to make a beautiful work, but he did not succeed; for,
+apart from diligence, there is no excellence of design to be seen in
+it, nor any other quality worthy of much praise, because his hard
+manner, with his labours over his models of clay and <span class="pagenum"><a id="Page_273" name="Page_273">[Pg 273]</a></span> wax,
+almost always gave a laborious and displeasing effect to his work. And
+yet, with regard to the labours of art, that man could not have done
+more than he did or shown more lovingness; and since he knew that none
+...<a id="FNanchor33" name="FNanchor33"></a><a href="#Footnote33" title="Go to footnote 33" class="fnanchor">[33]</a> for many years he could never bring himself to believe that
+others surpassed him in excellence. In this work, then, there is a God
+the Father who is sending down the crown of virginity and humility
+upon the Madonna by the hands of some Angels who are round her, some
+of whom are playing various instruments. Niccol� made in the picture a
+portrait from life of M. Baldo, kneeling at the feet of S. Ubaldo the
+Bishop, and on the other side he painted S. Joseph; and those two
+figures are one on either side of the image of the Madonna, which
+worked miracles in that place. Niccol� afterwards painted a picture
+three braccia in height of the same M. Baldo Magini from life,
+standing with the Church of S. Fabiano di Prato in his hand, which he
+presented to the Chapter of the Canons of the Pieve; and this Niccol�
+executed for that Chapter, which, in memory of the benefit received,
+caused the picture to be placed in the sacristy, an honour well
+deserved by that remarkable man, who with excellent judgment conferred
+benefits on that church, the principal church of his native city, and
+so renowned for the Girdle of the Madonna, which is preserved there.
+This portrait was one of the best works that Niccol� ever executed in
+painting. It is also the belief of some that a little altar-piece that
+is in the Company of S. Pier Martire on the Piazza di S. Domenico, at
+Prato, in which are many portraits from life, is by the hand of the
+same Niccol�; but in my opinion, even if this be true, it was painted
+by him before any of the other pictures mentioned above.</p>
+
+<p>After these works, Niccol�&mdash;under whose discipline Domenico
+Giuntalodi, a young man of excellent ability belonging to Prato, had
+learned the rudiments of the art of painting, although, in consequence
+of having acquired the manner of Niccol�, he never became a great
+master in painting, as will be related&mdash;departed from Prato and came
+to work in Florence; but, having seen that the most important works in
+art were given to better and more eminent men than himself, and that
+his manner was not up to the standard of Andrea del Sarto, Pontormo,
+Rosso, and the <span class="pagenum"><a id="Page_274" name="Page_274">[Pg 274]</a></span> others, he made up his mind to return to
+Arezzo, in which city he had more friends, greater credit, and less
+competition. Which having done, no sooner had he arrived than he made
+known to M. Giuliano Bacci, one of the chief citizens of that place, a
+desire that he had in his heart, which was this, that he wished that
+Arezzo should become his country, and that therefore he would gladly
+undertake to execute some work which might maintain him for a time in
+the practice of his art, whereby he hoped to demonstrate to that city
+the nature of his talents. Whereupon Messer Giuliano, an ingenious man
+who desired that his native city should be embellished and should
+contain persons engaged in the arts, so went to work with the men then
+governing the Company of the Nunziata, who in those days had caused a
+great vaulting to be built in their church, with the intention of
+having it painted, that one arch of the wall-surface of that vaulting
+was allotted to Niccol�; and it was proposed that he should be
+commissioned to paint the rest, if the first part, which he had to do
+then, should please the men of the aforesaid Company. Having therefore
+set his hand to this work with great diligence, in two years Niccol�
+finished the half, but not more, of one arch, on which he painted in
+fresco the Tiburtine Sibyl showing to the Emperor Octavian the Virgin
+in Heaven with the Infant Jesus Christ in her arms, and Octavian in
+reverent adoration. In the figure of Octavian he portrayed the
+above-mentioned M. Giuliano Bacci, and his pupil Domenico in a tall
+young man draped in red, and others of his friends in other heads;
+and, in a word, he acquitted himself in this work in such a manner
+that it did not displease the men of that Company and the other men of
+that city. It is true, indeed, that everyone grew weary of seeing him
+take so long and toil so much over executing his works; but
+notwithstanding all this the rest would have been given to him to
+finish, if that had not been prevented by the arrival in Arezzo of the
+Florentine Rosso, a rare painter, to whom, after he had been put
+forward by the Aretine painter Giovanni Antonio Lappoli and M.
+Giovanni Pollastra, as has been related in another place, much favour
+was shown and the rest of that work allotted. At which Niccol� felt
+such disdain, that, if he had not taken a wife the year before and had
+a son by her, so that he was settled in Arezzo, he would have
+<span class="pagenum"><a id="Page_275" name="Page_275">[Pg 275]</a></span> departed straightway. However, having finally become
+pacified, he executed an altar-piece for the Church of Sargiano, a
+place two miles distant from Arezzo, where there are Frati Zoccolanti;
+in which he painted the Assumption of Our Lady into Heaven, with many
+little Angels supporting her, and S. Thomas below receiving the
+Girdle, while all around are S. Francis, S. Louis, S. John the
+Baptist, and S. Elizabeth, Queen of Hungary. In some of these figures,
+and particularly in some of the little Angels, he acquitted himself
+very well; and so also in the predella he painted some scenes with
+little figures, which are passing good. He executed, likewise, in the
+Convent of the Nuns of the Murate, who belong to the same Order, in
+that city, a Dead Christ with the Maries, which is wrought with a high
+finish for a picture in fresco. In the Abbey of S. Fiore, a seat of
+Black Friars, behind the Crucifix that is placed on the high-altar, he
+painted in oils, on a canvas, Christ praying in the Garden and the
+Angel showing to Him the Chalice of the Passion and comforting Him,
+which was certainly a work of no little beauty and excellence. And for
+the Nuns of S. Benedetto, of the Order of Camaldoli, at Arezzo, on an
+arch above a door by which one enters the convent, he painted the
+Madonna, S. Benedict, and S. Catharine, a work which was afterwards
+thrown to the ground in order to enlarge the church.</p>
+
+<p>In the township of Marciano in Valdichiana, where he passed much of
+his time, living partly on the revenues that he had in that place and
+partly on what he could earn there, Niccol� began an altar-piece of
+the Dead Christ and many other works, with which he occupied himself
+for a time. And meanwhile, having with him the above-mentioned
+Domenico Giuntalodi of Prato, whom he loved as a son and kept in his
+house, he strove to make him excellent in the matters of art, teaching
+him so well how to draw in perspective, to copy from nature, and to
+make designs, that he was already becoming very able in all these
+respects, showing a good and beautiful genius. And this Niccol� did,
+besides being moved by the love and affection that he bore to that
+young man, in the hope of having one who might help him now that he
+was nearing old age, and might give him some return in his last years
+for so much labour and lovingness. Niccol� was in truth most loving
+with every man, <span class="pagenum"><a id="Page_276" name="Page_276">[Pg 276]</a></span> true by nature, and much the friend of those
+who laboured in order to attain to something in the world of art; and
+what he knew he taught to them with extraordinary willingness.</p>
+
+<p>No long time after this, when Niccol� had returned from Marciano to
+Arezzo and Domenico had left him, the men of the Company of the Corpo
+di Cristo, in that city, had a commission to give for the painting of
+an altar-piece for the high-altar of the Church of S. Domenico. Now,
+Niccol� desiring to paint it, and likewise Giorgio Vasari, then a mere
+lad, the former did something which probably not many of the men of
+our art would do at the present day, which was as follows: Niccol�,
+who was one of the members of the above-mentioned Company, perceiving
+that many were disposed to have it painted by Giorgio, in order to
+bring him forward, and that the young man had a very great desire for
+it, resolved, after remarking Giorgio's zeal, to lay aside his own
+desire and need and to have the picture allotted by his companions to
+Giorgio, thinking more of the advantage that the young man might gain
+from the work than of his own profit and interest; and even as he
+wished, so exactly did the men of that Company decide.</p>
+
+<p>In the meantime Domenico Giuntalodi, having gone to Rome, found
+Fortune so propitious that he became known to Don Martino, the
+Ambassador of the King of Portugal, and went to live with him; and he
+painted for him a canvas with some twenty portraits from life, all of
+his followers and friends, with himself in the midst of them, engaged
+in conversation; which work so pleased Don Martino, that he looked
+upon Domenico as the first painter in the world. Afterwards Don
+Ferrante Gonzaga, having been made Viceroy of Sicily, and desiring to
+fortify the towns of that kingdom, wished to have about his person a
+man who might draw and put down on paper for him all that he thought
+of from day to day; and he wrote to Don Martino that he should find
+for him a young man who might be both able and willing to serve him in
+this way, and should send him off as soon as possible. Don Martino,
+therefore, first sent to Don Ferrante some designs by the hand of
+Domenico, among which was a Colosseum, engraved on copper by Girolamo
+Fagiuoli of Bologna for Antonio Salamanca, but drawn in perspective by
+Domenico; an old man <span class="pagenum"><a id="Page_277" name="Page_277">[Pg 277]</a></span> in a child's go-cart, drawn by the same
+hand and published in engraving, with letters that ran thus, "Ancora
+imparo"; and a little picture with the portrait of Don Martino
+himself. And shortly afterwards he sent Domenico, at the wish of the
+aforesaid lord, Don Ferrante, who had been much pleased with that
+young man's works. Having then arrived in Sicily, there were assigned
+to Domenico an honourable salary, a horse, and a servant, all at the
+expense of Don Ferrante; and not long afterwards he was set to work on
+the walls and fortresses of Sicily. Whereupon, abandoning his painting
+little by little, he devoted himself to something else which for a
+time was more profitable to him; for, being an ingenious person, he
+made use of men who were well adapted to heavy labour, kept beasts of
+burden in the charge of others, and caused sand and lime to be
+collected and furnaces to be set up; and no long time had passed
+before he found that he had saved so much that he was able to buy
+offices in Rome to the extent of two thousand crowns, and shortly
+afterwards some others. Then, after he had been made keeper of the
+wardrobe to Don Ferrante, it happened that his master was removed from
+the government of Sicily and sent to that of Milan; whereupon Domenico
+went with him, and, working on the fortifications of that State,
+contrived, what with being industrious and with being something of a
+miser, to become very rich; and what is more, he came into such credit
+that he managed almost everything in that government.</p>
+
+<p>Hearing of this, Niccol�, who was at Arezzo, now an old man, needy,
+and without any work to do, went to find Domenico in Milan, thinking
+that even as he had not failed Domenico when he was a young man, so
+Domenico should not fail him now, but should avail himself of his
+services, since he had many in his employ, and should be both able and
+willing to assist him in his poverty-stricken old age. But he found to
+his cost that the judgments of men, in expecting too much from others,
+are often deceived, and that the men who change their condition also
+change more often than not their nature and their will. For after
+arriving in Milan, where he found Domenico raised to such greatness
+that he had no little difficulty in getting speech of him, Niccol�
+related to him all his troubles, and then besought him that he should
+help him by making use of his <span class="pagenum"><a id="Page_278" name="Page_278">[Pg 278]</a></span> services; but Domenico, not
+remembering or not choosing to remember with what lovingness he had
+been brought up by Niccol� as if he had been his own son, gave him a
+miserably small sum of money and got rid of him as soon as he was
+able. And so Niccol� returned to Arezzo very sore at heart, having
+recognized that with the labour and expense with which, as he thought,
+he had reared a son, he had formed one who was little less than an
+enemy.</p>
+
+<p>In order to earn his bread, therefore, he went about executing all the
+work that came to his hand, as he had done many years before, and he
+painted among other things a canvas for the Commune of Monte
+Sansovino, containing the said town of Monte Sansovino and a Madonna
+in the sky, with two Saints at the sides; which picture was set up on
+an altar in the Madonna di Vertigli, a church belonging to the Monks
+of the Order of Camaldoli, not far distant from the Monte, where it
+has pleased and still pleases Our Lord daily to perform many miracles
+and to grant favours to those who recommend themselves to the Queen of
+Heaven. Afterwards, Julius III having been created Supreme Pontiff,
+Niccol�, who had been much connected with the house of Monte, made his
+way to Rome, although he was an old man of eighty, and, having kissed
+the foot of His Holiness, besought him that he should deign to make
+use of him in the buildings which were to be erected, so men said, at
+the Monte, a place which the Lord Duke of Florence had given in fief
+to the Pontiff. The Pope, then, having received him warmly, ordained
+that the means to live in Rome should be given to him without exacting
+any sort of exertion from him; and in this manner Niccol� spent
+several months in Rome, drawing many antiquities to pass the time.</p>
+
+<p>Meanwhile the Pope resolved to increase his native town of Monte
+Sansovino, and to make there, besides many ornamental works, an
+aqueduct, because that place suffered much from want of water; and
+Giorgio Vasari, who had orders from the Pope to cause those buildings
+to be begun, recommended Niccol� Soggi strongly to His Holiness,
+entreating him that Niccol� should be given the office of
+superintendent over those works. Whereupon Niccol� went to Arezzo
+filled with these hopes, but he had not been there many days when,
+worn out by the fatigues and <span class="pagenum"><a id="Page_279" name="Page_279">[Pg 279]</a></span> hardships of this world and by
+the knowledge that he had been abandoned by him who should have been
+the last to forsake him, he finished the course of his life and was
+buried in S. Domenico in that city.</p>
+
+<p>Not long afterwards Domenico Giuntalodi, Don Ferrante Gonzaga having
+died, departed from Milan with the intention of returning to Prato and
+of passing the rest of his life there in repose. However, finding
+there neither relatives nor friends, and recognizing that Prato was no
+abiding place for him, he repented too late that he had behaved
+ungratefully to Niccol�, and returned to Lombardy to serve the sons of
+Don Ferrante. But no long time passed before he fell sick unto death;
+whereupon he made a will leaving ten thousand crowns to his
+fellow-citizens of Prato, to the end that they might buy property to
+that amount and form a fund wherewith to maintain continually at their
+studies a certain number of students from Prato, in the manner in
+which they maintained certain others, as they still do, according to
+the terms of another bequest. And this has been carried out by the men
+of that town of Prato, who, grateful for such a benefit, which in
+truth has been a very great one and worthy of eternal remembrance,
+have placed in their Council Chamber the image of Domenico, as that of
+one who has deserved well of his country.</p>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="index" id="index"></a><span class="pagenum"><a id="Page_281" name="Page_281">[Pg 281]</a></span> INDEX</h2>
+
+
+
+
+<hr style="width: 65%;">
+<h2><a name="index_name_vol_6" id="index_name_vol_6"></a><span class="pagenum"><a id="Page_283" name="Page_283">[Pg 283]</a></span> INDEX OF NAMES
+
+OF THE CRAFTSMEN MENTIONED IN VOLUME VI</h2>
+
+
+<ul class="none">
+<li>Abacco, Antonio L',
+<a href="#Page_113"><b>113</b></a>,
+<a href="#Page_114"><b>114</b></a>,
+<a href="#Page_130"><b>130</b></a>,
+<a href="#Page_136"><b>136</b></a>,
+<a href="#Page_137"><b>137</b></a></li>
+
+<li>Abbot of S. Clemente (Don Bartolommeo della Gatta),
+<a href="#Page_255"><b>255</b></a></li>
+
+<li>Agnolo, Baccio d' (Baccio Baglioni), <i>Life</i>,
+<a href="#Page_65"><b>65</b></a>-68.
+<a href="#Page_69"><b>69</b></a>,
+<a href="#Page_72"><b>72</b></a></li>
+
+<li>Agnolo, Battista d' (Battista del Moro), <i>Life</i>,
+<a href="#Page_27"><b>27</b></a>-28.
+<a href="#Page_108"><b>108</b></a></li>
+
+<li>Agnolo, Domenico di Baccio d',
+<a href="#Page_68"><b>68</b></a>,
+<a href="#Page_70"><b>70</b></a>,
+<a href="#Page_72"><b>72</b></a></li>
+
+<li>Agnolo, Filippo di Baccio d',
+<a href="#Page_68"><b>68</b></a>,
+<a href="#Page_70"><b>70</b></a></li>
+
+<li>Agnolo, Giuliano di Baccio d', <i>Life</i>,
+<a href="#Page_68"><b>68</b></a>-72</li>
+
+<li>Agnolo, Marco di Battista d',
+<a href="#Page_27"><b>27</b></a>,
+<a href="#Page_28"><b>28</b></a></li>
+
+<li>Agnolo Bronzino,
+<a href="#Page_118"><b>118</b></a>,
+<a href="#Page_256"><b>256</b></a></li>
+
+<li>Agostino Viniziano (Agostino de' Musi), <i>Life</i>,
+<a href="#Page_102"><b>102</b></a>-103.
+<a href="#Page_106"><b>106</b></a></li>
+
+<li>Aimo, Domenico (Il Bologna),
+<a href="#Page_217"><b>217</b></a></li>
+
+<li>Alberti, Leon Batista,
+<a href="#Page_45"><b>45</b></a></li>
+
+<li>Alberto Monsignori (Bonsignori),
+<a href="#Page_29"><b>29</b></a></li>
+
+<li>Albrecht (Heinrich) Aldegrever,
+<a href="#Page_119"><b>119</b></a></li>
+
+<li>Albrecht D�rer, <i>Life</i>,
+<a href="#Page_92"><b>92</b></a>-98.
+<a href="#Page_99"><b>99</b></a>,
+<a href="#Page_102"><b>102</b></a>,
+<a href="#Page_119"><b>119</b></a>,
+<a href="#Page_165"><b>165</b></a></li>
+
+<li>Aldegrever, Albrecht (Heinrich),
+<a href="#Page_119"><b>119</b></a></li>
+
+<li>Alessandro Cesati (Il Greco), <i>Life</i>,
+<a href="#Page_85"><b>85</b></a></li>
+
+<li>Alessandro Falconetto,
+<a href="#Page_47"><b>47</b></a>,
+<a href="#Page_48"><b>48</b></a></li>
+
+<li>Alessandro Filipepi (Sandro Botticelli),
+<a href="#Page_91"><b>91</b></a></li>
+
+<li>Andrea Contucci (Andrea Sansovino),
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_133"><b>133</b></a></li>
+
+<li>Andrea dal Castagno,
+<a href="#Page_182"><b>182</b></a></li>
+
+<li>Andrea de' Ceri,
+<a href="#Page_190"><b>190</b></a>-192,
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Andrea del Sarto,
+<a href="#Page_60"><b>60</b></a>,
+<a href="#Page_106"><b>106</b></a>,
+<a href="#Page_255"><b>255</b></a>-257,
+<a href="#Page_272"><b>272</b></a>,
+<a href="#Page_273"><b>273</b></a></li>
+
+<li>Andrea Mantegna,
+<a href="#Page_15"><b>15</b></a>,
+<a href="#Page_29"><b>29</b></a>,
+<a href="#Page_30"><b>30</b></a>,
+<a href="#Page_91"><b>91</b></a></li>
+
+<li>Andrea Palladio,
+<a href="#Page_28"><b>28</b></a>,
+<a href="#Page_48"><b>48</b></a></li>
+
+<li>Andrea Sansovino (Andrea Contucci),
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_133"><b>133</b></a></li>
+
+<li>Angelico, Fra (Fra Giovanni da Fiesole),
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Anichini, Luigi,
+<a href="#Page_85"><b>85</b></a></li>
+
+<li>Anselmo Canneri,
+<a href="#Page_22"><b>22</b></a></li>
+
+<li>Antoine Lafrery (Antonio Lanferri),
+<a href="#Page_113"><b>113</b></a></li>
+
+<li>Antonio da San Gallo (the elder),
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_123"><b>123</b></a>,
+<a href="#Page_272"><b>272</b></a></li>
+
+<li>Antonio da San Gallo (the younger), <i>Life</i>,
+<a href="#Page_123"><b>123</b></a>-141.
+<a href="#Page_167"><b>167</b></a>,
+<a href="#Page_197"><b>197</b></a>,
+<a href="#Page_198"><b>198</b></a>,
+<a href="#Page_219"><b>219</b></a>,
+<a href="#Page_220"><b>220</b></a>,
+<a href="#Page_222"><b>222</b></a></li>
+
+<li>Antonio da Trento (Antonio Fantuzzi),
+<a href="#Page_108"><b>108</b></a></li>
+
+<li>Antonio del Pollaiuolo,
+<a href="#Page_182"><b>182</b></a>,
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Antonio di Giorgio Marchissi,
+<a href="#Page_126"><b>126</b></a></li>
+
+<li>Antonio di Marco di Giano (Il Carota),
+<a href="#Page_213"><b>213</b></a></li>
+
+<li>Antonio Fantuzzi (Antonio da Trento),
+<a href="#Page_108"><b>108</b></a></li>
+
+<li>Antonio l'Abacco,
+<a href="#Page_113"><b>113</b></a>,
+<a href="#Page_114"><b>114</b></a>,
+<a href="#Page_130"><b>130</b></a>,
+<a href="#Page_136"><b>136</b></a>,
+<a href="#Page_137"><b>137</b></a></li>
+
+<li>Antonio Lanferri (Antoine Lafrery),
+<a href="#Page_113"><b>113</b></a></li>
+
+<li>Antonio (or Vittore) Pisano (or Pisanello),
+<a href="#Page_35"><b>35</b></a></li>
+
+<li>Antonio Salamanca,
+<a href="#Page_276"><b>276</b></a></li>
+
+<li>Antonio Scarpagni (Scarpagnino or Zanfragnino,)
+<a href="#Page_10"><b>10</b></a></li>
+
+<li>Aretino, Leone (Leone Lioni),
+<a href="#Page_87"><b>87</b></a></li>
+
+<li>Aretusi, Pellegrino degli (Pellegrino da Modena, or de' Munari),
+<a href="#Page_125"><b>125</b></a></li>
+
+<li>Avanzi, Niccol�,
+<a href="#Page_79"><b>79</b></a>,
+<a href="#Page_80"><b>80</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Bacchiacca, Il (Francesco Ubertini),
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Baccio Baglioni (Baccio d' Agnolo), <i>Life</i>,
+<a href="#Page_65"><b>65</b></a>-68.
+<a href="#Page_69"><b>69</b></a>,
+<a href="#Page_72"><b>72</b></a></li>
+
+<li>Baccio Baldini,
+<a href="#Page_91"><b>91</b></a></li>
+
+<li>Baccio Bandinelli,
+<a href="#Page_69"><b>69</b></a>-71,
+<a href="#Page_103"><b>103</b></a>,
+<a href="#Page_105"><b>105</b></a>,
+<a href="#Page_111"><b>111</b></a></li>
+
+<li>Baccio d' Agnolo (Baccio Baglioni), <i>Life</i>,
+<a href="#Page_65"><b>65</b></a>-68.
+<a href="#Page_69"><b>69</b></a>,
+<a href="#Page_72"><b>72</b></a></li>
+
+<li>Baldassarre Peruzzi,
+<a href="#Page_107"><b>107</b></a>,
+<a href="#Page_167"><b>167</b></a>,
+<a href="#Page_174"><b>174</b></a>,
+<a href="#Page_177"><b>177</b></a>,
+<a href="#Page_239"><b>239</b></a></li>
+
+<li>Baldini, Baccio,
+<a href="#Page_91"><b>91</b></a></li>
+
+<li>Bandinelli, Baccio,
+<a href="#Page_69"><b>69</b></a>-71,
+<a href="#Page_103"><b>103</b></a>,
+<a href="#Page_105"><b>105</b></a>,
+<a href="#Page_111"><b>111</b></a></li>
+
+<li>Barile, Giovan,
+<a href="#Page_177"><b>177</b></a></li>
+
+<li>Barlacchi, Tommaso,
+<a href="#Page_104"><b>104</b></a>,
+<a href="#Page_113"><b>113</b></a></li>
+
+<li>Barozzo, Jacopo,
+<a href="#Page_114"><b>114</b></a></li>
+
+<li>Bartolommeo da Castiglione,
+<a href="#Page_152"><b>152</b></a></li>
+
+<li>Bartolommeo della Gatta, Don (Abbot of S. Clemente),
+<a href="#Page_255"><b>255</b></a></li>
+
+<li>Bartolommeo di San Marco, Fra,
+<a href="#Page_66"><b>66</b></a></li>
+
+<li>Bartolommeo Ridolfi,
+<a href="#Page_48"><b>48</b></a></li>
+
+<li>Bartolommeo Torri,
+<a href="#Page_264"><b>264</b></a>,
+<a href="#Page_265"><b>265</b></a></li>
+
+<li>Battista d' Agnolo (Battista del Moro), <i>Life</i>,
+<a href="#Page_27"><b>27</b></a>-28.
+<a href="#Page_108"><b>108</b></a></li>
+
+<li>Battista del Cervelliera,
+<a href="#Page_214"><b>214</b></a>,
+<a href="#Page_247"><b>247</b></a>,
+<a href="#Page_248"><b>248</b></a></li>
+
+<li>Battista del Moro (Battista d' Agnolo), <i>Life</i>,
+<a href="#Page_27"><b>27</b></a>-28.
+<a href="#Page_108"><b>108</b></a></li>
+
+<li>Battista del Tasso,
+<a href="#Page_213"><b>213</b></a></li>
+
+<li>Battista Franco,
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_114"><b>114</b></a>,
+<a href="#Page_156"><b>156</b></a></li>
+
+<li>Battista Gobbo,
+<a href="#Page_133"><b>133</b></a>,
+<a href="#Page_140"><b>140</b></a></li>
+
+<li>Battista of Vicenza (Battista Pittoni),
+<a href="#Page_108"><b>108</b></a></li>
+
+<li>Baviera,
+<a href="#Page_100"><b>100</b></a>,
+<a href="#Page_101"><b>101</b></a>,
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_209"><b>209</b></a></li>
+
+<li>Bazzi, Giovanni Antonio (Il Sodoma),
+<a href="#Page_236"><b>236</b></a>-238,
+<a href="#Page_247"><b>247</b></a>,
+<a href="#Page_249"><b>249</b></a></li>
+
+<li>Beatricio, Niccol� (Nicolas Beautrizet),
+<a href="#Page_114"><b>114</b></a></li>
+
+<li>Beccafumi, Domenico (Domenico di Pace), <i>Life</i>,
+<a href="#Page_235"><b>235</b></a>-251.
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_213"><b>213</b></a>,
+<a href="#Page_215"><b>215</b></a>,
+<a href="#Page_223"><b>223</b></a>,
+<a href="#Page_235"><b>235</b></a>-251</li>
+
+<li>Beham, Hans,
+<a href="#Page_119"><b>119</b></a></li>
+
+<li>Belli, Valerio (Valerio Vicentino), <i>Life</i>,
+<a href="#Page_82"><b>82</b></a>-84.
+<a href="#Page_76"><b>76</b></a>,
+<a href="#Page_79"><b>79</b></a></li>
+
+<li>Bellini, Giovanni,
+<a href="#Page_173"><b>173</b></a></li>
+
+<li>Bellini, Jacopo,
+<a href="#Page_11"><b>11</b></a>,
+<a href="#Page_35"><b>35</b></a></li>
+
+<li>Benedetto da Maiano,
+<a href="#Page_66"><b>66</b></a></li>
+
+<li>Benedetto Ghirlandajo,
+<a href="#Page_57"><b>57</b></a></li>
+
+<li>Benedetto Pagni,
+<a href="#Page_152"><b>152</b></a>,
+<a href="#Page_154"><b>154</b></a>-156,
+<a href="#Page_169"><b>169</b></a></li>
+
+<li>Benozzo Gozzoli,
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Benvenuto Cellini,
+<a href="#Page_86"><b>86</b></a>,
+<a href="#Page_87"><b>87</b></a></li>
+
+<li>Bernardi, Giovanni (Giovanni da Castel Bolognese), <i>Life</i>,
+<a href="#Page_76"><b>76</b></a>-79.
+<a href="#Page_83"><b>83</b></a>,
+<a href="#Page_84"><b>84</b></a></li>
+
+<li>Bernardino Pinturicchio,
+<a href="#Page_195"><b>195</b></a></li>
+
+<li>Bologna, Il (Domenico Aimo),
+<a href="#Page_217"><b>217</b></a></li>
+
+<li>Bolognese, Marc' Antonio (Marc' Antonio Raimondi, or de' Franci), <i>Life</i>,
+<a href="#Page_95"><b>95</b></a>-96,
+<a href="#Page_99"><b>99</b></a>-106.
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_120"><b>120</b></a></li>
+
+<li>Bonasone, Giulio,
+<a href="#Page_114"><b>114</b></a></li>
+
+<li>Bonsignori (Monsignori), Alberto,
+<a href="#Page_29"><b>29</b></a></li>
+
+<li>Bonsignori (Monsignori), Fra Cherubino,
+<a href="#Page_34"><b>34</b></a></li>
+
+<li>Bonsignori (Monsignori), Fra Girolamo, <i>Life</i>,
+<a href="#Page_34"><b>34</b></a>-35</li>
+
+<li>Bonsignori (Monsignori), Francesco, <i>Life</i>,
+<a href="#Page_29"><b>29</b></a>-35</li>
+
+<li>Borgo, Raffaello dal (Raffaello dal Colle),
+<a href="#Page_152"><b>152</b></a>,
+<a href="#Page_169"><b>169</b></a></li>
+
+<li>Borgo a San Sepolcro, Giovan Maria dal,
+<a href="#Page_256"><b>256</b></a></li>
+
+<li>Bosch, Hieronymus,
+<a href="#Page_118"><b>118</b></a></li>
+
+<li>Botticelli, Sandro (Alessandro Filipepi),
+<a href="#Page_91"><b>91</b></a></li>
+
+<li>Boyvin, Ren� (Renato),
+<a href="#Page_115"><b>115</b></a></li>
+
+<li>Bramante da Urbino,
+<a href="#Page_6"><b>6</b></a>,
+<a href="#Page_124"><b>124</b></a>,
+<a href="#Page_126"><b>126</b></a>,
+<a href="#Page_136"><b>136</b></a>,
+<a href="#Page_138"><b>138</b></a></li>
+
+<li>Brescianino (Girolamo Muziano, or Mosciano),
+<a href="#Page_114"><b>114</b></a></li>
+
+<li>Bronzino, Agnolo,
+<a href="#Page_118"><b>118</b></a>,
+<a href="#Page_256"><b>256</b></a></li>
+
+<li>Brunelleschi, Filippo,
+<a href="#Page_68"><b>68</b></a>,
+<a href="#Page_71"><b>71</b></a></li>
+
+<li>Brusciasorzi, Domenico (Domenico del Riccio),
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Bugiardini, Giuliano,
+<a href="#Page_183"><b>183</b></a></li>
+
+<li>Buonaccorsi, Perino (Perino del Vaga, or Perino de' Ceri), <i>Life</i>,
+<a href="#Page_189"><b>189</b></a>-225.
+<a href="#Page_78"><b>78</b></a>,
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_125"><b>125</b></a>,
+<a href="#Page_129"><b>129</b></a>,
+<a href="#Page_139"><b>139</b></a>,
+<a href="#Page_148"><b>148</b></a>,
+<a href="#Page_177"><b>177</b></a>,
+<a href="#Page_189"><b>189</b></a>-225,
+<a href="#Page_244"><b>244</b></a>,
+<a href="#Page_257"><b>257</b></a>-259</li>
+
+<li>Buonarroti, Michelagnolo,
+<a href="#Page_57"><b>57</b></a>,
+<a href="#Page_59"><b>59</b></a>,
+<a href="#Page_60"><b>60</b></a>,
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_68"><b>68</b></a>,
+<a href="#Page_78"><b>78</b></a>,
+<a href="#Page_79"><b>79</b></a>,
+<a href="#Page_85"><b>85</b></a>,
+<a href="#Page_92"><b>92</b></a>,
+<a href="#Page_107"><b>107</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_113"><b>113</b></a>,
+<a href="#Page_114"><b>114</b></a>,
+<a href="#Page_129"><b>129</b></a>,
+<a href="#Page_135"><b>135</b></a>,
+<a href="#Page_136"><b>136</b></a>,
+<a href="#Page_139"><b>139</b></a>,
+<a href="#Page_140"><b>140</b></a>,
+<a href="#Page_167"><b>167</b></a>,
+<a href="#Page_174"><b>174</b></a>-177,
+<a href="#Page_183"><b>183</b></a>,
+<a href="#Page_185"><b>185</b></a>,
+<a href="#Page_191"><b>191</b></a>,
+<a href="#Page_193"><b>193</b></a>,
+<a href="#Page_195"><b>195</b></a>,
+<a href="#Page_205"><b>205</b></a>,
+<a href="#Page_218"><b>218</b></a>,
+<a href="#Page_219"><b>219</b></a>,
+<a href="#Page_222"><b>222</b></a>,
+<a href="#Page_225"><b>225</b></a>,
+<a href="#Page_236"><b>236</b></a>,
+<a href="#Page_263"><b>263</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Cadore, Tiziano da (Tiziano Vecelli),
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_114"><b>114</b></a>,
+<a href="#Page_161"><b>161</b></a>,
+<a href="#Page_183"><b>183</b></a>,
+<a href="#Page_222"><b>222</b></a></li>
+
+<li>Calcar, Johann of (Jan Stephanus van Calcker),
+<a href="#Page_116"><b>116</b></a></li>
+
+<li>Caliari, Paolo (Paolo Veronese),
+<a href="#Page_22"><b>22</b></a>,
+<a href="#Page_27"><b>27</b></a></li>
+
+<li>Cammei, Domenico de',
+<a href="#Page_76"><b>76</b></a></li>
+
+<li>Canneri, Anselmo,
+<a href="#Page_22"><b>22</b></a></li>
+
+<li>Caraglio, Gian Jacopo,
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_110"><b>110</b></a>,
+<a href="#Page_209"><b>209</b></a></li>
+
+<li>Caravaggio, Polidoro da,
+<a href="#Page_177"><b>177</b></a>,
+<a href="#Page_196"><b>196</b></a></li>
+
+<li>Carota, Il (Antonio di Marco di Giano),
+<a href="#Page_213"><b>213</b></a></li>
+
+<li>Caroto, Giovan Francesco, <i>Life</i>,
+<a href="#Page_15"><b>15</b></a>-21.
+<a href="#Page_37"><b>37</b></a></li>
+
+<li>Caroto, Giovanni, <i>Life</i>,
+<a href="#Page_21"><b>21</b></a>-22.
+<a href="#Page_15"><b>15</b></a></li>
+
+<li>Carpi, Ugo da,
+<a href="#Page_106"><b>106</b></a>,
+<a href="#Page_107"><b>107</b></a></li>
+
+<li>Carrara, Danese da (Danese Cattaneo),
+<a href="#Page_26"><b>26</b></a>-28,
+<a href="#Page_54"><b>54</b></a></li>
+
+<li>Carrucci, Jacopo (Jacopo da Pontormo),
+<a href="#Page_60"><b>60</b></a>,
+<a href="#Page_255"><b>255</b></a>-257,
+<a href="#Page_273"><b>273</b></a></li>
+
+<li>Castagno, Andrea dal,
+<a href="#Page_182"><b>182</b></a></li>
+
+<li>Castel Bolognese, Giovanni da (Giovanni Bernardi), <i>Life</i>,
+<a href="#Page_76"><b>76</b></a>-79.
+<a href="#Page_83"><b>83</b></a>,
+<a href="#Page_84"><b>84</b></a></li>
+
+<li>Castelfranco, Giorgione da,
+<a href="#Page_23"><b>23</b></a>,
+<a href="#Page_173"><b>173</b></a>,
+<a href="#Page_174"><b>174</b></a></li>
+
+<li>Castiglione, Bartolommeo da,
+<a href="#Page_152"><b>152</b></a></li>
+
+<li>Catanei, Piero,
+<a href="#Page_250"><b>250</b></a></li>
+
+<li>Cattaneo, Danese (Danese da Carrara),
+<a href="#Page_26"><b>26</b></a>-28,
+<a href="#Page_54"><b>54</b></a></li>
+
+<li>Cavalieri, Giovan Battista de',
+<a href="#Page_113"><b>113</b></a></li>
+
+<li>Cavazzuola, Paolo (Paolo Morando), <i>Life</i>,
+<a href="#Page_39"><b>39</b></a>-42.
+<a href="#Page_15"><b>15</b></a>,
+<a href="#Page_24"><b>24</b></a>,
+<a href="#Page_25"><b>25</b></a>,
+<a href="#Page_29"><b>29</b></a>,
+<a href="#Page_39"><b>39</b></a>-42,
+<a href="#Page_50"><b>50</b></a></li>
+
+<li>Cellini, Benvenuto,
+<a href="#Page_86"><b>86</b></a>,
+<a href="#Page_87"><b>87</b></a></li>
+
+<li>Ceri, Andrea de',
+<a href="#Page_190"><b>190</b></a>-192,
+<a href="#Page_201"><b>201</b></a></li>
+
+<li>Ceri, Perino de' (Perino del Vaga, or Perino Buonaccorsi), <i>Life</i>,
+<a href="#Page_189"><b>189</b></a>-225.
+<a href="#Page_78"><b>78</b></a>,
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_125"><b>125</b></a>,
+<a href="#Page_129"><b>129</b></a>,
+<a href="#Page_139"><b>139</b></a>,
+<a href="#Page_148"><b>148</b></a>,
+<a href="#Page_177"><b>177</b></a>,
+<a href="#Page_189"><b>189</b></a>-225,
+<a href="#Page_244"><b>244</b></a>,
+<a href="#Page_257"><b>257</b></a>-259</li>
+
+<li>Cervelliera, Battista del,
+<a href="#Page_214"><b>214</b></a>,
+<a href="#Page_247"><b>247</b></a>,
+<a href="#Page_248"><b>248</b></a></li>
+
+<li>Cesati, Alessandro (Il Greco), <i>Life</i>,
+<a href="#Page_85"><b>85</b></a></li>
+
+<li>Cherubino Monsignori (Bonsignori), Fra,
+<a href="#Page_34"><b>34</b></a></li>
+
+<li>Cicogna, Girolamo,
+<a href="#Page_22"><b>22</b></a></li>
+
+<li>Cioli, Simone,
+<a href="#Page_133"><b>133</b></a></li>
+
+<li>Clovio, Don Giulio,
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_54"><b>54</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_264"><b>264</b></a></li>
+
+<li>Cock, Hieronymus, <i>Life</i>,
+<a href="#Page_116"><b>116</b></a>-120.
+<a href="#Page_108"><b>108</b></a></li>
+
+<li>Colle, Raffaello dal (Raffaello dal Borgo),
+<a href="#Page_152"><b>152</b></a>,
+<a href="#Page_169"><b>169</b></a></li>
+
+<li>Contucci, Andrea (Andrea Sansovino),
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_133"><b>133</b></a></li>
+
+<li>Coriolano, Cristofano,
+<a href="#Page_120"><b>120</b></a></li>
+
+<li>Corniole, Giovanni delle,
+<a href="#Page_76"><b>76</b></a>,
+<a href="#Page_84"><b>84</b></a></li>
+
+<li>Cortona, Luca da (Luca Signorelli),
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Cosimo (Jacopo) da Trezzo,
+<a href="#Page_86"><b>86</b></a></li>
+
+<li>Cosini, Silvio,
+<a href="#Page_210"><b>210</b></a></li>
+
+<li>Cousin, Jean (Giovanni Cugini),
+<a href="#Page_114"><b>114</b></a></li>
+
+<li>Coxie, Michael (Michele),
+<a href="#Page_116"><b>116</b></a>,
+<a href="#Page_178"><b>178</b></a></li>
+
+<li>Cristofano Coriolano,
+<a href="#Page_120"><b>120</b></a></li>
+
+<li>Cristofano Lombardi (Tofano Lombardino),
+<a href="#Page_167"><b>167</b></a></li>
+
+<li>Cronaca, Il (Simone del Pollaiuolo),
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_70"><b>70</b></a></li>
+
+<li>Cugini, Giovanni (Jean Cousin),
+<a href="#Page_114"><b>114</b></a></li>
+
+<li>Cungi, Leonardo,
+<a href="#Page_225"><b>225</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Danese Cattaneo (Danese da Carrara),
+<a href="#Page_26"><b>26</b></a>-28,
+<a href="#Page_54"><b>54</b></a></li>
+
+<li>Daniello Ricciarelli,
+<a href="#Page_113"><b>113</b></a>,
+<a href="#Page_219"><b>219</b></a>,
+<a href="#Page_224"><b>224</b></a></li>
+
+<li>David Ghirlandajo,
+<a href="#Page_57"><b>57</b></a></li>
+
+<li>Dente, Marco (Marco da Ravenna), <i>Life</i>,
+<a href="#Page_102"><b>102</b></a>-103.
+<a href="#Page_106"><b>106</b></a></li>
+
+<li>Domenico Aimo (Il Bologna),
+<a href="#Page_217"><b>217</b></a></li>
+
+<li>Domenico Beccafumi (Domenico di Pace), <i>Life</i>,
+<a href="#Page_235"><b>235</b></a>-251.
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_213"><b>213</b></a>,
+<a href="#Page_215"><b>215</b></a>,
+<a href="#Page_223"><b>223</b></a>,
+<a href="#Page_235"><b>235</b></a>-251</li>
+
+<li>Domenico Brusciasorzi (Domenico del Riccio),
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Domenico de' Cammei,
+<a href="#Page_76"><b>76</b></a></li>
+
+<li>Domenico del Riccio (Domenico Brusciasorzi),
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Domenico di Baccio d' Agnolo,
+<a href="#Page_68"><b>68</b></a>,
+<a href="#Page_70"><b>70</b></a>,
+<a href="#Page_72"><b>72</b></a></li>
+
+<li>Domenico di Pace (Domenico Beccafumi), <i>Life</i>,
+<a href="#Page_235"><b>235</b></a>-251.
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_213"><b>213</b></a>,
+<a href="#Page_215"><b>215</b></a>,
+<a href="#Page_223"><b>223</b></a>,
+<a href="#Page_235"><b>235</b></a>-251</li>
+
+<li>Domenico di Polo,
+<a href="#Page_84"><b>84</b></a></li>
+
+<li>Domenico Ghirlandajo,
+<a href="#Page_57"><b>57</b></a>,
+<a href="#Page_58"><b>58</b></a>,
+<a href="#Page_191"><b>191</b></a></li>
+
+<li>Domenico Giuntalodi,
+<a href="#Page_273"><b>273</b></a>-279</li>
+
+<li>Domenico Morone, <i>Life</i>,
+<a href="#Page_35"><b>35</b></a>-36.
+<a href="#Page_29"><b>29</b></a>,
+<a href="#Page_38"><b>38</b></a></li>
+
+<li>Domenico Pecori,
+<a href="#Page_255"><b>255</b></a>,
+<a href="#Page_258"><b>258</b></a>,
+<a href="#Page_271"><b>271</b></a></li>
+
+<li>Domenico Poggini,
+<a href="#Page_87"><b>87</b></a></li>
+
+<li>Domenico Viniziano,
+<a href="#Page_182"><b>182</b></a></li>
+
+<li>Don Bartolommeo della Gatta (Abbot of S. Clemente),
+<a href="#Page_255"><b>255</b></a></li>
+
+<li>Don Giulio Clovio,
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_54"><b>54</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_264"><b>264</b></a></li>
+
+<li>Donato (Donatello),
+<a href="#Page_220"><b>220</b></a></li>
+
+<li>Duccio,
+<a href="#Page_245"><b>245</b></a></li>
+
+<li>D�rer, Albrecht, <i>Life</i>,
+<a href="#Page_92"><b>92</b></a>-98.
+<a href="#Page_99"><b>99</b></a>,
+<a href="#Page_102"><b>102</b></a>,
+<a href="#Page_119"><b>119</b></a>,
+<a href="#Page_165"><b>165</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Enea Vico, <i>Life</i>,
+<a href="#Page_111"><b>111</b></a>-112</li>
+</ul>
+
+
+<ul class="none p2">
+<li>Faenza, Figurino da,
+<a href="#Page_169"><b>169</b></a></li>
+
+<li>Fagiuoli, Girolamo,
+<a href="#Page_87"><b>87</b></a>,
+<a href="#Page_276"><b>276</b></a></li>
+
+<li>Falconetto, Alessandro,
+<a href="#Page_47"><b>47</b></a>,
+<a href="#Page_48"><b>48</b></a></li>
+
+<li>Falconetto, Giovan Maria, <i>Life</i>,
+<a href="#Page_43"><b>43</b></a>-48.
+<a href="#Page_22"><b>22</b></a>,
+<a href="#Page_29"><b>29</b></a>,
+<a href="#Page_42"><b>42</b></a>,
+<a href="#Page_43"><b>43</b></a>-48</li>
+
+<li>Falconetto, Giovanni Antonio (the elder),
+<a href="#Page_42"><b>42</b></a></li>
+
+<li>Falconetto, Giovanni Antonio (the younger),
+<a href="#Page_42"><b>42</b></a>,
+<a href="#Page_43"><b>43</b></a></li>
+
+<li>Falconetto, Jacopo,
+<a href="#Page_42"><b>42</b></a>,
+<a href="#Page_43"><b>43</b></a></li>
+
+<li>Falconetto, Ottaviano,
+<a href="#Page_47"><b>47</b></a>,
+<a href="#Page_48"><b>48</b></a></li>
+
+<li>Falconetto, Provolo,
+<a href="#Page_47"><b>47</b></a>,
+<a href="#Page_48"><b>48</b></a></li>
+
+<li>Fantuzzi, Antonio (Antonio da Trento),
+<a href="#Page_108"><b>108</b></a></li>
+
+<li>Fattore, Il (Giovan Francesco Penni),
+<a href="#Page_146"><b>146</b></a>-148,
+<a href="#Page_150"><b>150</b></a>,
+<a href="#Page_151"><b>151</b></a>,
+<a href="#Page_153"><b>153</b></a>,
+<a href="#Page_177"><b>177</b></a>,
+<a href="#Page_193"><b>193</b></a>,
+<a href="#Page_194"><b>194</b></a>,
+<a href="#Page_207"><b>207</b></a>,
+<a href="#Page_216"><b>216</b></a></li>
+
+<li>Fermo Ghisoni,
+<a href="#Page_34"><b>34</b></a>,
+<a href="#Page_167"><b>167</b></a>,
+<a href="#Page_169"><b>169</b></a></li>
+
+<li>Fiacco (or Flacco), Orlando, <i>Life</i>,
+<a href="#Page_28"><b>28</b></a></li>
+
+<li>Fiesole, Fra Giovanni da (Fra Angelico),
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Fiesole, Maestro Giovanni da,
+<a href="#Page_210"><b>210</b></a></li>
+
+<li>Figurino da Faenza,
+<a href="#Page_169"><b>169</b></a></li>
+
+<li>Filipepi, Alessandro (Sandro Botticelli),
+<a href="#Page_91"><b>91</b></a></li>
+
+<li>Filippino (Filippo Lippi),
+<a href="#Page_66"><b>66</b></a></li>
+
+<li>Filippo Brunelleschi,
+<a href="#Page_68"><b>68</b></a>,
+<a href="#Page_71"><b>71</b></a></li>
+
+<li>Filippo di Baccio d' Agnolo,
+<a href="#Page_68"><b>68</b></a>,
+<a href="#Page_70"><b>70</b></a></li>
+
+<li>Filippo Lippi (Filippino),
+<a href="#Page_66"><b>66</b></a></li>
+
+<li>Filippo Lippi, Fra,
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Filippo Negrolo,
+<a href="#Page_86"><b>86</b></a></li>
+
+<li>Finiguerra, Maso,
+<a href="#Page_91"><b>91</b></a></li>
+
+<li>Flacco (or Fiacco), Orlando, <i>Life</i>,
+<a href="#Page_28"><b>28</b></a></li>
+
+<li>Floris, Franz (Franz de Vrient),
+<a href="#Page_119"><b>119</b></a>,
+<a href="#Page_120"><b>120</b></a></li>
+
+<li>Fra Angelico (Fra Giovanni da Fiesole),
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Fra Bartolommeo di San Marco,
+<a href="#Page_66"><b>66</b></a></li>
+
+<li>Fra Cherubino Monsignori (Bonsignori),
+<a href="#Page_34"><b>34</b></a></li>
+
+<li>Fra Filippo Lippi,
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Fra Giocondo, <i>Life</i>,
+<a href="#Page_3"><b>3</b></a>-11.
+<a href="#Page_28"><b>28</b></a>,
+<a href="#Page_47"><b>47</b></a>,
+<a href="#Page_126"><b>126</b></a></li>
+
+<li>Fra Giovanni da Fiesole (Fra Angelico),
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Fra Giovanni da Verona,
+<a href="#Page_38"><b>38</b></a>,
+<a href="#Page_39"><b>39</b></a>,
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_218"><b>218</b></a></li>
+
+<li>Fra Girolamo Monsignori (Bonsignori), <i>Life</i>,
+<a href="#Page_34"><b>34</b></a>-35</li>
+
+<li>Fra Sebastiano Viniziano del Piombo (Sebastiano Luciani), <i>Life</i>,
+<a href="#Page_173"><b>173</b></a>-186.
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_139"><b>139</b></a>,
+<a href="#Page_148"><b>148</b></a>,
+<a href="#Page_173"><b>173</b></a>-186,
+<a href="#Page_217"><b>217</b></a>,
+<a href="#Page_259"><b>259</b></a></li>
+
+<li>Francesco Bonsignori (Monsignori), <i>Life</i>,
+<a href="#Page_29"><b>29</b></a>-35</li>
+
+<li>Francesco da San Gallo,
+<a href="#Page_133"><b>133</b></a>,
+<a href="#Page_173"><b>173</b></a></li>
+
+<li>Francesco dai Libri (the elder), <i>Life</i>,
+<a href="#Page_49"><b>49</b></a>.
+<a href="#Page_29"><b>29</b></a></li>
+
+<li>Francesco dai Libri (the younger), <i>Life</i>,
+<a href="#Page_52"><b>52</b></a>-54</li>
+
+<li>Francesco de' Rossi (Francesco Salviati),
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_177"><b>177</b></a></li>
+
+<li>Francesco dell' Indaco,
+<a href="#Page_126"><b>126</b></a></li>
+
+<li>Francesco Francia,
+<a href="#Page_95"><b>95</b></a></li>
+
+<li>Francesco Granacci (Il Granaccio), <i>Life</i>,
+<a href="#Page_57"><b>57</b></a>-61.
+<a href="#Page_66"><b>66</b></a></li>
+
+<li>Francesco Marcolini,
+<a href="#Page_115"><b>115</b></a></li>
+
+<li>Francesco Mazzuoli (Parmigiano),
+<a href="#Page_107"><b>107</b></a>-109,
+<a href="#Page_114"><b>114</b></a>,
+<a href="#Page_259"><b>259</b></a></li>
+
+<li>Francesco Monsignori (Bonsignori), <i>Life</i>,
+<a href="#Page_29"><b>29</b></a>-35</li>
+
+<li>Francesco Morone, <i>Life</i>,
+<a href="#Page_36"><b>36</b></a>-39.
+<a href="#Page_29"><b>29</b></a>,
+<a href="#Page_36"><b>36</b></a>-39,
+<a href="#Page_40"><b>40</b></a>,
+<a href="#Page_41"><b>41</b></a>,
+<a href="#Page_50"><b>50</b></a></li>
+
+<li>Francesco Primaticcio,
+<a href="#Page_115"><b>115</b></a>,
+<a href="#Page_157"><b>157</b></a></li>
+
+<li>Francesco Salviati (Francesco de' Rossi),
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_177"><b>177</b></a></li>
+
+<li>Francesco Turbido (Il Moro), <i>Life</i>,
+<a href="#Page_22"><b>22</b></a>-28.
+<a href="#Page_14"><b>14</b></a>,
+<a href="#Page_15"><b>15</b></a>,
+<a href="#Page_21"><b>21</b></a>,
+<a href="#Page_22"><b>22</b></a>-28,
+<a href="#Page_40"><b>40</b></a>,
+<a href="#Page_50"><b>50</b></a>,
+<a href="#Page_164"><b>164</b></a></li>
+
+<li>Francesco Ubertini (Il Bacchiacca),
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Franci, Marc' Antonio de' (Marc' Antonio Bolognese, or Raimondi), <i>Life</i>,
+<a href="#Page_95"><b>95</b></a>-96,
+<a href="#Page_99"><b>99</b></a>-106.
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_120"><b>120</b></a></li>
+
+<li>Francia, Francesco,
+<a href="#Page_95"><b>95</b></a></li>
+
+<li>Franco, Battista,
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_114"><b>114</b></a>,
+<a href="#Page_156"><b>156</b></a></li>
+
+<li>Franz Floris (Franz de Vrient),
+<a href="#Page_119"><b>119</b></a>,
+<a href="#Page_120"><b>120</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Gabriele Giolito,
+<a href="#Page_115"><b>115</b></a></li>
+
+<li>Galeazzo Mondella,
+<a href="#Page_42"><b>42</b></a>,
+<a href="#Page_80"><b>80</b></a></li>
+
+<li>Galeotto, Pietro Paolo,
+<a href="#Page_87"><b>87</b></a></li>
+
+<li>Gasparo Misuroni (Misceroni),
+<a href="#Page_86"><b>86</b></a></li>
+
+<li>Gatta, Don Bartolommeo della (Abbot of S. Clemente),
+<a href="#Page_255"><b>255</b></a></li>
+
+<li>Georg Pencz,
+<a href="#Page_119"><b>119</b></a></li>
+
+<li>Gherardo,
+<a href="#Page_92"><b>92</b></a></li>
+
+<li>Ghirlandajo, Benedetto,
+<a href="#Page_57"><b>57</b></a></li>
+
+<li>Ghirlandajo, David,
+<a href="#Page_57"><b>57</b></a></li>
+
+<li>Ghirlandajo, Domenico,
+<a href="#Page_57"><b>57</b></a>,
+<a href="#Page_58"><b>58</b></a>,
+<a href="#Page_191"><b>191</b></a></li>
+
+<li>Ghirlandajo, Ridolfo,
+<a href="#Page_191"><b>191</b></a>,
+<a href="#Page_192"><b>192</b></a></li>
+
+<li>Ghisi (Mantovano), Giorgio,
+<a href="#Page_113"><b>113</b></a>,
+<a href="#Page_118"><b>118</b></a></li>
+
+<li>Ghisoni, Fermo,
+<a href="#Page_34"><b>34</b></a>,
+<a href="#Page_167"><b>167</b></a>,
+<a href="#Page_169"><b>169</b></a></li>
+
+<li>Gian Jacopo Caraglio,
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_110"><b>110</b></a>,
+<a href="#Page_209"><b>209</b></a></li>
+
+<li>Giannuzzi, Giulio Pippi de' (Giulio Romano), <i>Life</i>,
+<a href="#Page_145"><b>145</b></a>-169.
+<a href="#Page_20"><b>20</b></a>,
+<a href="#Page_24"><b>24</b></a>,
+<a href="#Page_103"><b>103</b></a>-105,
+<a href="#Page_110"><b>110</b></a>,
+<a href="#Page_114"><b>114</b></a>,
+<a href="#Page_145"><b>145</b></a>-169,
+<a href="#Page_177"><b>177</b></a>,
+<a href="#Page_193"><b>193</b></a>,
+<a href="#Page_194"><b>194</b></a>,
+<a href="#Page_207"><b>207</b></a>,
+<a href="#Page_216"><b>216</b></a>,
+<a href="#Page_221"><b>221</b></a>,
+<a href="#Page_259"><b>259</b></a></li>
+
+<li>Giannuzzi, Raffaello Pippi de',
+<a href="#Page_168"><b>168</b></a></li>
+
+<li>Giano, Antonio di Marco di (Il Carota),
+<a href="#Page_213"><b>213</b></a></li>
+
+<li>Giocondo, Fra, <i>Life</i>,
+<a href="#Page_3"><b>3</b></a>-11.
+<a href="#Page_28"><b>28</b></a>,
+<a href="#Page_47"><b>47</b></a>,
+<a href="#Page_126"><b>126</b></a></li>
+
+<li>Giolito, Gabriele,
+<a href="#Page_115"><b>115</b></a></li>
+
+<li>Giorgio Mantovano (Ghisi),
+<a href="#Page_113"><b>113</b></a>,
+<a href="#Page_118"><b>118</b></a></li>
+
+<li>Giorgio Vasari. See Vasari (Giorgio)</li>
+
+<li>Giorgione da Castelfranco,
+<a href="#Page_23"><b>23</b></a>,
+<a href="#Page_173"><b>173</b></a>,
+<a href="#Page_174"><b>174</b></a></li>
+
+<li>Giotto,
+<a href="#Page_114"><b>114</b></a>,
+<a href="#Page_202"><b>202</b></a>,
+<a href="#Page_219"><b>219</b></a>,
+<a href="#Page_220"><b>220</b></a>,
+<a href="#Page_235"><b>235</b></a></li>
+
+<li>Giovan Barile,
+<a href="#Page_177"><b>177</b></a></li>
+
+<li>Giovan Battista de' Cavalieri,
+<a href="#Page_113"><b>113</b></a></li>
+
+<li>Giovan Battista de' Rossi (Il Rosso),
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_115"><b>115</b></a>,
+<a href="#Page_257"><b>257</b></a>-261,
+<a href="#Page_273"><b>273</b></a>,
+<a href="#Page_274"><b>274</b></a></li>
+
+<li>Giovan Battista Mantovano (Sculptore),
+<a href="#Page_110"><b>110</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_157"><b>157</b></a>,
+<a href="#Page_164"><b>164</b></a>,
+<a href="#Page_165"><b>165</b></a>,
+<a href="#Page_169"><b>169</b></a></li>
+
+<li>Giovan Battista Rosso (or Rosto),
+<a href="#Page_164"><b>164</b></a></li>
+
+<li>Giovan Battista Sozzini,
+<a href="#Page_87"><b>87</b></a></li>
+
+<li>Giovan Francesco Caroto, <i>Life</i>,
+<a href="#Page_15"><b>15</b></a>-21.
+<a href="#Page_37"><b>37</b></a></li>
+
+<li>Giovan Francesco Penni (Il Fattore),
+<a href="#Page_146"><b>146</b></a>-148,
+<a href="#Page_150"><b>150</b></a>,
+<a href="#Page_151"><b>151</b></a>,
+<a href="#Page_153"><b>153</b></a>,
+<a href="#Page_177"><b>177</b></a>,
+<a href="#Page_193"><b>193</b></a>,
+<a href="#Page_194"><b>194</b></a>,
+<a href="#Page_207"><b>207</b></a>,
+<a href="#Page_216"><b>216</b></a></li>
+
+<li>Giovan Maria dal Borgo a San Sepolcro,
+<a href="#Page_256"><b>256</b></a></li>
+
+<li>Giovan Maria Falconetto, <i>Life</i>,
+<a href="#Page_43"><b>43</b></a>-48.
+<a href="#Page_22"><b>22</b></a>,
+<a href="#Page_29"><b>29</b></a>,
+<a href="#Page_42"><b>42</b></a>,
+<a href="#Page_43"><b>43</b></a>-48</li>
+
+<li>Giovanni Antonio Bazzi (Il Sodoma),
+<a href="#Page_236"><b>236</b></a>-238,
+<a href="#Page_247"><b>247</b></a>,
+<a href="#Page_249"><b>249</b></a></li>
+
+<li>Giovanni Antonio de' Rossi,
+<a href="#Page_86"><b>86</b></a></li>
+
+<li>Giovanni Antonio Falconetto (the elder),
+<a href="#Page_42"><b>42</b></a></li>
+
+<li>Giovanni Antonio Falconetto (the younger),
+<a href="#Page_42"><b>42</b></a>,
+<a href="#Page_43"><b>43</b></a></li>
+
+<li>Giovanni Antonio Lappoli, <i>Life</i>,
+<a href="#Page_255"><b>255</b></a>-265</li>
+
+<li>Giovanni Antonio Licinio (Pordenone),
+<a href="#Page_213"><b>213</b></a>,
+<a href="#Page_244"><b>244</b></a>,
+<a href="#Page_247"><b>247</b></a></li>
+
+<li>Giovanni Antonio Sogliani,
+<a href="#Page_214"><b>214</b></a>,
+<a href="#Page_215"><b>215</b></a>,
+<a href="#Page_247"><b>247</b></a>,
+<a href="#Page_248"><b>248</b></a></li>
+
+<li>Giovanni Battista Veronese,
+<a href="#Page_13"><b>13</b></a></li>
+
+<li>Giovanni Bellini,
+<a href="#Page_173"><b>173</b></a></li>
+
+<li>Giovanni Bernardi (Giovanni da Castel Bolognese), <i>Life</i>,
+<a href="#Page_76"><b>76</b></a>-79.
+<a href="#Page_83"><b>83</b></a>,
+<a href="#Page_84"><b>84</b></a></li>
+
+<li>Giovanni Caroto, <i>Life</i>,
+<a href="#Page_21"><b>21</b></a>-22.
+<a href="#Page_15"><b>15</b></a></li>
+
+<li>Giovanni Cugini (Jean Cousin),
+<a href="#Page_114"><b>114</b></a></li>
+
+<li>Giovanni da Castel Bolognese (Giovanni Bernardi), <i>Life</i>,
+<a href="#Page_76"><b>76</b></a>-79.
+<a href="#Page_83"><b>83</b></a>,
+<a href="#Page_84"><b>84</b></a></li>
+
+<li>Giovanni da Fiesole, Fra (Fra Angelico),
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Giovanni da Fiesole, Maestro,
+<a href="#Page_210"><b>210</b></a></li>
+
+<li>Giovanni da Lione,
+<a href="#Page_152"><b>152</b></a>,
+<a href="#Page_169"><b>169</b></a></li>
+
+<li>Giovanni da Udine (Giovanni Nanni, or Ricamatori),
+<a href="#Page_147"><b>147</b></a>,
+<a href="#Page_148"><b>148</b></a>,
+<a href="#Page_180"><b>180</b></a>,
+<a href="#Page_194"><b>194</b></a>-196</li>
+
+<li>Giovanni da Verona, Fra,
+<a href="#Page_38"><b>38</b></a>,
+<a href="#Page_39"><b>39</b></a>,
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_218"><b>218</b></a></li>
+
+<li>Giovanni delle Corniole,
+<a href="#Page_76"><b>76</b></a>,
+<a href="#Page_84"><b>84</b></a></li>
+
+<li>Giovanni di Goro,
+<a href="#Page_206"><b>206</b></a></li>
+
+<li>Giovanni Ricamatori (Giovanni da Udine, or Nanni),
+<a href="#Page_147"><b>147</b></a>,
+<a href="#Page_148"><b>148</b></a>,
+<a href="#Page_180"><b>180</b></a>,
+<a href="#Page_194"><b>194</b></a>-196</li>
+
+<li>Girolamo Cicogna,
+<a href="#Page_22"><b>22</b></a></li>
+
+<li>Girolamo da Treviso,
+<a href="#Page_211"><b>211</b></a>,
+<a href="#Page_212"><b>212</b></a>,
+<a href="#Page_244"><b>244</b></a></li>
+
+<li>Girolamo dai Libri, <i>Life</i>,
+<a href="#Page_49"><b>49</b></a>-52.
+<a href="#Page_29"><b>29</b></a>,
+<a href="#Page_37"><b>37</b></a>,
+<a href="#Page_49"><b>49</b></a>-52,
+<a href="#Page_54"><b>54</b></a></li>
+
+<li>Girolamo Fagiuoli,
+<a href="#Page_87"><b>87</b></a>,
+<a href="#Page_276"><b>276</b></a></li>
+
+<li>Girolamo Misuroni (Misceroni),
+<a href="#Page_86"><b>86</b></a></li>
+
+<li>Girolamo Monsignori (Bonsignori), Fra, <i>Life</i>,
+<a href="#Page_34"><b>34</b></a>-35</li>
+
+<li>Girolamo Mosciano (Girolamo Muziano, or Brescianino),
+<a href="#Page_114"><b>114</b></a></li>
+
+<li>Girolamo Siciolante (Girolamo Sermoneta),
+<a href="#Page_221"><b>221</b></a>,
+<a href="#Page_222"><b>222</b></a>,
+<a href="#Page_225"><b>225</b></a></li>
+
+<li>Giugni, Rosso de',
+<a href="#Page_87"><b>87</b></a></li>
+
+<li>Giuliano Bugiardini,
+<a href="#Page_183"><b>183</b></a></li>
+
+<li>Giuliano da Maiano,
+<a href="#Page_131"><b>131</b></a></li>
+
+<li>Giuliano da San Gallo,
+<a href="#Page_6"><b>6</b></a>,
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_123"><b>123</b></a>,
+<a href="#Page_124"><b>124</b></a>,
+<a href="#Page_126"><b>126</b></a></li>
+
+<li>Giuliano di Baccio d' Agnolo, <i>Life</i>,
+<a href="#Page_68"><b>68</b></a>-72</li>
+
+<li>Giuliano (di Niccol� Morelli),
+<a href="#Page_251"><b>251</b></a></li>
+
+<li>Giuliano Leno,
+<a href="#Page_130"><b>130</b></a>,
+<a href="#Page_150"><b>150</b></a></li>
+
+<li>Giulio Bonasone,
+<a href="#Page_114"><b>114</b></a></li>
+
+<li>Giulio Clovio, Don,
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_54"><b>54</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_264"><b>264</b></a></li>
+
+<li>Giulio Romano (Giulio Pippi de' Giannuzzi), <i>Life</i>,
+<a href="#Page_145"><b>145</b></a>-169.
+<a href="#Page_20"><b>20</b></a>,
+<a href="#Page_24"><b>24</b></a>,
+<a href="#Page_103"><b>103</b></a>-105,
+<a href="#Page_110"><b>110</b></a>,
+<a href="#Page_114"><b>114</b></a>,
+<a href="#Page_145"><b>145</b></a>-169,
+<a href="#Page_177"><b>177</b></a>,
+<a href="#Page_193"><b>193</b></a>,
+<a href="#Page_194"><b>194</b></a>,
+<a href="#Page_207"><b>207</b></a>,
+<a href="#Page_216"><b>216</b></a>,
+<a href="#Page_221"><b>221</b></a>,
+<a href="#Page_259"><b>259</b></a></li>
+
+<li>Giuntalodi, Domenico,
+<a href="#Page_273"><b>273</b></a>-279</li>
+
+<li>Giuseppe del Salviati (Giuseppe Porta),
+<a href="#Page_115"><b>115</b></a></li>
+
+<li>Giuseppe Niccol� (Joannicolo) Vicentino,
+<a href="#Page_108"><b>108</b></a></li>
+
+<li>Giuseppe Porta (Giuseppe del Salviati),
+<a href="#Page_115"><b>115</b></a></li>
+
+<li>Gobbo, Battista,
+<a href="#Page_133"><b>133</b></a>,
+<a href="#Page_140"><b>140</b></a></li>
+
+<li>Goro, Giovanni di,
+<a href="#Page_206"><b>206</b></a></li>
+
+<li>Gozzoli, Benozzo,
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Granacci, Francesco (Il Granaccio), <i>Life</i>,
+<a href="#Page_57"><b>57</b></a>-61.
+<a href="#Page_66"><b>66</b></a></li>
+
+<li>Greco, Il (Alessandro Cesati), <i>Life</i>,
+<a href="#Page_85"><b>85</b></a></li>
+
+<li>Guglielmo Milanese,
+<a href="#Page_217"><b>217</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Hans Beham,
+<a href="#Page_119"><b>119</b></a></li>
+
+<li>Hans Liefrinck,
+<a href="#Page_117"><b>117</b></a></li>
+
+<li>Heemskerk, Martin,
+<a href="#Page_116"><b>116</b></a></li>
+
+<li>Heinrich (Albrecht) Aldegrever,
+<a href="#Page_119"><b>119</b></a></li>
+
+<li>Hieronymus Bosch,
+<a href="#Page_118"><b>118</b></a></li>
+
+<li>Hieronymus Cock, <i>Life</i>,
+<a href="#Page_116"><b>116</b></a>-120.
+<a href="#Page_108"><b>108</b></a></li>
+
+<li>Holland, Lucas of (Luca di Leyden, or Lucas van Leyden), <i>Life</i>,
+<a href="#Page_96"><b>96</b></a>-99</li>
+</ul>
+
+
+<ul class="none p2">
+<li>Il Bacchiacca (Francesco Ubertini),
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Il Bologna (Domenico Aimo),
+<a href="#Page_217"><b>217</b></a></li>
+
+<li>Il Carota (Antonio di Marco di Giano),
+<a href="#Page_213"><b>213</b></a></li>
+
+<li>Il Cronaca (Simone del Pollaiuolo),
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_70"><b>70</b></a></li>
+
+<li>Il Fattore (Giovan Francesco Penni),
+<a href="#Page_146"><b>146</b></a>-148,
+<a href="#Page_150"><b>150</b></a>,
+<a href="#Page_151"><b>151</b></a>,
+<a href="#Page_153"><b>153</b></a>,
+<a href="#Page_177"><b>177</b></a>,
+<a href="#Page_193"><b>193</b></a>,
+<a href="#Page_194"><b>194</b></a>,
+<a href="#Page_207"><b>207</b></a>,
+<a href="#Page_216"><b>216</b></a></li>
+
+<li>Il Granaccio (Francesco Granacci), <i>Life</i>,
+<a href="#Page_57"><b>57</b></a>-61.
+<a href="#Page_66"><b>66</b></a></li>
+
+<li>Il Greco (Alessandro Cesati), <i>Life</i>,
+<a href="#Page_85"><b>85</b></a></li>
+
+<li>Il Moro (Francesco Turbido), <i>Life</i>,
+<a href="#Page_22"><b>22</b></a>-28.
+<a href="#Page_14"><b>14</b></a>,
+<a href="#Page_15"><b>15</b></a>,
+<a href="#Page_21"><b>21</b></a>,
+<a href="#Page_22"><b>22</b></a>-28,
+<a href="#Page_40"><b>40</b></a>,
+<a href="#Page_50"><b>50</b></a>,
+<a href="#Page_164"><b>164</b></a></li>
+
+<li>Il Rosso (Giovan Battista de' Rossi),
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_115"><b>115</b></a>,
+<a href="#Page_257"><b>257</b></a>-261,
+<a href="#Page_273"><b>273</b></a>,
+<a href="#Page_274"><b>274</b></a></li>
+
+<li>Il Sodoma (Giovanni Antonio Bazzi),
+<a href="#Page_236"><b>236</b></a>-238,
+<a href="#Page_247"><b>247</b></a>,
+<a href="#Page_249"><b>249</b></a></li>
+
+<li>Indaco, Francesco dell',
+<a href="#Page_126"><b>126</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Jacomo Melighino,
+<a href="#Page_139"><b>139</b></a>,
+<a href="#Page_140"><b>140</b></a></li>
+
+<li>Jacopo Barozzo,
+<a href="#Page_114"><b>114</b></a></li>
+
+<li>Jacopo Bellini,
+<a href="#Page_11"><b>11</b></a>,
+<a href="#Page_35"><b>35</b></a></li>
+
+<li>Jacopo da Pontormo (Jacopo Carrucci),
+<a href="#Page_60"><b>60</b></a>,
+<a href="#Page_255"><b>255</b></a>-257,
+<a href="#Page_273"><b>273</b></a></li>
+
+<li>Jacopo da Trezzo,
+<a href="#Page_86"><b>86</b></a></li>
+
+<li>Jacopo (Cosimo) da Trezzo,
+<a href="#Page_86"><b>86</b></a></li>
+
+<li>Jacopo Falconetto,
+<a href="#Page_42"><b>42</b></a>,
+<a href="#Page_43"><b>43</b></a></li>
+
+<li>Jacopo Sansovino,
+<a href="#Page_47"><b>47</b></a>,
+<a href="#Page_125"><b>125</b></a>,
+<a href="#Page_127"><b>127</b></a>,
+<a href="#Page_199"><b>199</b></a></li>
+
+<li>Jan Stephanus van Calcker (Johann of Calcar),
+<a href="#Page_116"><b>116</b></a></li>
+
+<li>Jean Cousin (Giovanni Cugini),
+<a href="#Page_114"><b>114</b></a></li>
+
+<li>Joannicolo (Giuseppe Niccol�) Vicentino,
+<a href="#Page_108"><b>108</b></a></li>
+
+<li>Johann of Calcar (Jan Stephanus van Calcker),
+<a href="#Page_116"><b>116</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Lafrery, Antoine (Antonio Lanferri),
+<a href="#Page_113"><b>113</b></a></li>
+
+<li>Lamberto Suave (Lambert Zutmann),
+<a href="#Page_110"><b>110</b></a></li>
+
+<li>Lanferri, Antonio (Antoine Lafrery),
+<a href="#Page_113"><b>113</b></a></li>
+
+<li>Lappoli, Giovanni Antonio, <i>Life</i>,
+<a href="#Page_255"><b>255</b></a>-265</li>
+
+<li>Lappoli, Matteo,
+<a href="#Page_255"><b>255</b></a></li>
+
+<li>Laureti, Tommaso (Tommaso Siciliano),
+<a href="#Page_186"><b>186</b></a></li>
+
+<li>Leno, Giuliano,
+<a href="#Page_130"><b>130</b></a>,
+<a href="#Page_150"><b>150</b></a></li>
+
+<li>Leon Batista Alberti,
+<a href="#Page_45"><b>45</b></a></li>
+
+<li>Leonardo Cungi,
+<a href="#Page_225"><b>225</b></a></li>
+
+<li>Leone Aretino (Leone Lioni),
+<a href="#Page_87"><b>87</b></a></li>
+
+<li>Leyden, Luca di (Lucas of Holland, or Lucas van Leyden), <i>Life</i>,
+<a href="#Page_96"><b>96</b></a>-99</li>
+
+<li>Liberale, <i>Life</i>,
+<a href="#Page_11"><b>11</b></a>-15.
+<a href="#Page_23"><b>23</b></a>,
+<a href="#Page_24"><b>24</b></a>,
+<a href="#Page_35"><b>35</b></a>,
+<a href="#Page_36"><b>36</b></a>,
+<a href="#Page_49"><b>49</b></a></li>
+
+<li>Libri, Francesco dai (the elder), <i>Life</i>,
+<a href="#Page_49"><b>49</b></a>.
+<a href="#Page_29"><b>29</b></a></li>
+
+<li>Libri, Francesco dai (the younger), <i>Life</i>,
+<a href="#Page_52"><b>52</b></a>-54</li>
+
+<li>Libri, Girolamo dai, <i>Life</i>,
+<a href="#Page_49"><b>49</b></a>-52.
+<a href="#Page_29"><b>29</b></a>,
+<a href="#Page_37"><b>37</b></a>,
+<a href="#Page_49"><b>49</b></a>-52,
+<a href="#Page_54"><b>54</b></a></li>
+
+<li>Licinio, Giovanni Antonio (Pordenone),
+<a href="#Page_213"><b>213</b></a>,
+<a href="#Page_244"><b>244</b></a>,
+<a href="#Page_247"><b>247</b></a></li>
+
+<li>Liefrinck, Hans,
+<a href="#Page_117"><b>117</b></a></li>
+
+<li>Lione, Giovanni da,
+<a href="#Page_152"><b>152</b></a>,
+<a href="#Page_169"><b>169</b></a></li>
+
+<li>Lioni, Leone (Leone Aretino),
+<a href="#Page_87"><b>87</b></a></li>
+
+<li>Lippi, Filippo (Filippino),
+<a href="#Page_66"><b>66</b></a></li>
+
+<li>Lippi, Fra Filippo,
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Lodovico Marmita,
+<a href="#Page_84"><b>84</b></a></li>
+
+<li>Lombardino, Tofano (Cristofano Lombardi),
+<a href="#Page_167"><b>167</b></a></li>
+
+<li>Luca da Cortona (Luca Signorelli),
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Luca di Leyden (Lucas of Holland, or Lucas van Leyden), <i>Life</i>,
+<a href="#Page_96"><b>96</b></a>-99</li>
+
+<li>Luca Penni,
+<a href="#Page_115"><b>115</b></a></li>
+
+<li>Luca Signorelli (Luca da Cortona),
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Lucas of Holland (Luca di Leyden, or Lucas van Leyden), <i>Life</i>,
+<a href="#Page_96"><b>96</b></a>-99</li>
+
+<li>Luciani, Sebastiano (Fra Sebastiano Viniziano del Piombo), <i>Life</i>,
+<a href="#Page_173"><b>173</b></a>-186.
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_139"><b>139</b></a>,
+<a href="#Page_148"><b>148</b></a>,
+<a href="#Page_173"><b>173</b></a>-186,
+<a href="#Page_217"><b>217</b></a>,
+<a href="#Page_259"><b>259</b></a></li>
+
+<li>Luigi Anichini,
+<a href="#Page_85"><b>85</b></a></li>
+
+<li>Luzio Romano,
+<a href="#Page_212"><b>212</b></a>,
+<a href="#Page_222"><b>222</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Maestro Giovanni da Fiesole,
+<a href="#Page_210"><b>210</b></a></li>
+
+<li>Maestro Niccol�,
+<a href="#Page_164"><b>164</b></a></li>
+
+<li>Maestro Salvestro,
+<a href="#Page_87"><b>87</b></a></li>
+
+<li>Maiano, Benedetto da,
+<a href="#Page_66"><b>66</b></a></li>
+
+<li>Maiano, Giuliano da,
+<a href="#Page_131"><b>131</b></a></li>
+
+<li>Manno,
+<a href="#Page_78"><b>78</b></a></li>
+
+<li>Mantegna, Andrea,
+<a href="#Page_15"><b>15</b></a>,
+<a href="#Page_29"><b>29</b></a>,
+<a href="#Page_30"><b>30</b></a>,
+<a href="#Page_91"><b>91</b></a></li>
+
+<li>Mantovano (Ghisi), Giorgio,
+<a href="#Page_113"><b>113</b></a>,
+<a href="#Page_118"><b>118</b></a></li>
+
+<li>Mantovano (Sculptore), Giovan Battista,
+<a href="#Page_110"><b>110</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_157"><b>157</b></a>,
+<a href="#Page_164"><b>164</b></a>,
+<a href="#Page_165"><b>165</b></a>,
+<a href="#Page_169"><b>169</b></a></li>
+
+<li>Mantovano, Marcello (Marcello Venusti),
+<a href="#Page_220"><b>220</b></a>,
+<a href="#Page_225"><b>225</b></a></li>
+
+<li>Mantovano, Rinaldo,
+<a href="#Page_155"><b>155</b></a>,
+<a href="#Page_156"><b>156</b></a>,
+<a href="#Page_160"><b>160</b></a>,
+<a href="#Page_161"><b>161</b></a>,
+<a href="#Page_169"><b>169</b></a></li>
+
+<li>Marc' Antonio Bolognese (Marc' Antonio Raimondi, or de' Franci), <i>Life</i>,
+<a href="#Page_95"><b>95</b></a>-96,
+<a href="#Page_99"><b>99</b></a>-1
+<a href="#Page_6"><b>6</b></a>.
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_120"><b>120</b></a></li>
+
+<li>Marcello Mantovano (Marcello Venusti),
+<a href="#Page_220"><b>220</b></a>,
+<a href="#Page_225"><b>225</b></a></li>
+
+<li>Marchissi, Antonio di Giorgio,
+<a href="#Page_126"><b>126</b></a></li>
+
+<li>Marco da Ravenna (Marco Dente), <i>Life</i>,
+<a href="#Page_102"><b>102</b></a>-103.
+<a href="#Page_106"><b>106</b></a></li>
+
+<li>Marco da Siena,
+<a href="#Page_223"><b>223</b></a></li>
+
+<li>Marco Dente (Marco da Ravenna), <i>Life</i>,
+<a href="#Page_102"><b>102</b></a>-103.
+<a href="#Page_106"><b>106</b></a></li>
+
+<li>Marco di Battista d' Agnolo,
+<a href="#Page_27"><b>27</b></a>,
+<a href="#Page_28"><b>28</b></a></li>
+
+<li>Marcolini, Francesco,
+<a href="#Page_115"><b>115</b></a></li>
+
+<li>Marmita,
+<a href="#Page_84"><b>84</b></a></li>
+
+<li>Marmita, Lodovico,
+<a href="#Page_84"><b>84</b></a></li>
+
+<li>Martin Heemskerk,
+<a href="#Page_116"><b>116</b></a></li>
+
+<li>Martin Schongauer, <i>Life</i>,
+<a href="#Page_91"><b>91</b></a>-92</li>
+
+<li>Masaccio,
+<a href="#Page_202"><b>202</b></a>,
+<a href="#Page_203"><b>203</b></a></li>
+
+<li>Maso Finiguerra,
+<a href="#Page_91"><b>91</b></a></li>
+
+<li>Masolino da Panicale,
+<a href="#Page_203"><b>203</b></a></li>
+
+<li>Matteo dal Nassaro, <i>Life</i>,
+<a href="#Page_79"><b>79</b></a>-82.
+<a href="#Page_76"><b>76</b></a></li>
+
+<li>Matteo Lappoli,
+<a href="#Page_255"><b>255</b></a></li>
+
+<li>Maturino,
+<a href="#Page_177"><b>177</b></a>,
+<a href="#Page_196"><b>196</b></a></li>
+
+<li>Mazzuoli, Francesco (Parmigiano),
+<a href="#Page_107"><b>107</b></a>-109,
+<a href="#Page_114"><b>114</b></a>,
+<a href="#Page_259"><b>259</b></a></li>
+
+<li>Melighino, Jacomo,
+<a href="#Page_139"><b>139</b></a>,
+<a href="#Page_140"><b>140</b></a></li>
+
+<li>Michael (Michele Coxie),
+<a href="#Page_116"><b>116</b></a>,
+<a href="#Page_178"><b>178</b></a></li>
+
+<li>Michelagnolo Buonarroti,
+<a href="#Page_57"><b>57</b></a>,
+<a href="#Page_59"><b>59</b></a>,
+<a href="#Page_60"><b>60</b></a>,
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_68"><b>68</b></a>,
+<a href="#Page_78"><b>78</b></a>,
+<a href="#Page_79"><b>79</b></a>,
+<a href="#Page_85"><b>85</b></a>,
+<a href="#Page_92"><b>92</b></a>,
+<a href="#Page_107"><b>107</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_113"><b>113</b></a>,
+<a href="#Page_114"><b>114</b></a>,
+<a href="#Page_129"><b>129</b></a>,
+<a href="#Page_135"><b>135</b></a>,
+<a href="#Page_136"><b>136</b></a>,
+<a href="#Page_139"><b>139</b></a>,
+<a href="#Page_140"><b>140</b></a>,
+<a href="#Page_167"><b>167</b></a>,
+<a href="#Page_174"><b>174</b></a>-177,
+<a href="#Page_183"><b>183</b></a>,
+<a href="#Page_185"><b>185</b></a>,
+<a href="#Page_191"><b>191</b></a>,
+<a href="#Page_193"><b>193</b></a>,
+<a href="#Page_195"><b>195</b></a>,
+<a href="#Page_205"><b>205</b></a>,
+<a href="#Page_218"><b>218</b></a>,
+<a href="#Page_219"><b>219</b></a>,
+<a href="#Page_222"><b>222</b></a>,
+<a href="#Page_225"><b>225</b></a>,
+<a href="#Page_236"><b>236</b></a>,
+<a href="#Page_263"><b>263</b></a></li>
+
+<li>Michele (Michael Coxie),
+<a href="#Page_116"><b>116</b></a>,
+<a href="#Page_178"><b>178</b></a></li>
+
+<li>Michele San Michele,
+<a href="#Page_25"><b>25</b></a>,
+<a href="#Page_26"><b>26</b></a>,
+<a href="#Page_47"><b>47</b></a>,
+<a href="#Page_130"><b>130</b></a></li>
+
+<li>Michelino,
+<a href="#Page_76"><b>76</b></a></li>
+
+<li>Milanese, Guglielmo,
+<a href="#Page_217"><b>217</b></a></li>
+
+<li>Minio, Tiziano (Tiziano da Padova),
+<a href="#Page_47"><b>47</b></a></li>
+
+<li>Misuroni (Misceroni), Gasparo,
+<a href="#Page_86"><b>86</b></a></li>
+
+<li>Misuroni (Misceroni), Girolamo,
+<a href="#Page_86"><b>86</b></a></li>
+
+<li>Modena, Pellegrino da (Pellegrino degli Aretusi, or de' Munari),
+<a href="#Page_125"><b>125</b></a></li>
+
+<li>Mondella, Galeazzo,
+<a href="#Page_42"><b>42</b></a>,
+<a href="#Page_80"><b>80</b></a></li>
+
+<li>Monsignori (Bonsignori), Alberto,
+<a href="#Page_29"><b>29</b></a></li>
+
+<li>Monsignori (Bonsignori), Fra Cherubino,
+<a href="#Page_34"><b>34</b></a></li>
+
+<li>Monsignori (Bonsignori), Fra Girolamo, <i>Life</i>,
+<a href="#Page_34"><b>34</b></a>-35</li>
+
+<li>Monsignori (Bonsignori), Francesco, <i>Life</i>,
+<a href="#Page_29"><b>29</b></a>-35</li>
+
+<li>Montelupo, Raffaello da,
+<a href="#Page_133"><b>133</b></a>,
+<a href="#Page_222"><b>222</b></a></li>
+
+<li>Morando, Paolo (Paolo Cavazzuola), <i>Life</i>,
+<a href="#Page_39"><b>39</b></a>-42.
+<a href="#Page_15"><b>15</b></a>,
+<a href="#Page_24"><b>24</b></a>,
+<a href="#Page_25"><b>25</b></a>,
+<a href="#Page_29"><b>29</b></a>,
+<a href="#Page_39"><b>39</b></a>-42,
+<a href="#Page_50"><b>50</b></a></li>
+
+<li>Morelli, Giuliano di Niccol�,
+<a href="#Page_251"><b>251</b></a></li>
+
+<li>Moro, Battista del (Battista d' Agnolo), <i>Life</i>,
+<a href="#Page_27"><b>27</b></a>-28.
+<a href="#Page_108"><b>108</b></a></li>
+
+<li>Moro, Il (Francesco Turbido), <i>Life</i>,
+<a href="#Page_22"><b>22</b></a>-28.
+<a href="#Page_14"><b>14</b></a>,
+<a href="#Page_15"><b>15</b></a>,
+<a href="#Page_21"><b>21</b></a>,
+<a href="#Page_22"><b>22</b></a>-28,
+<a href="#Page_40"><b>40</b></a>,
+<a href="#Page_50"><b>50</b></a>,
+<a href="#Page_164"><b>164</b></a></li>
+
+<li>Morone, Domenico, <i>Life</i>,
+<a href="#Page_35"><b>35</b></a>-36.
+<a href="#Page_29"><b>29</b></a>,
+<a href="#Page_38"><b>38</b></a></li>
+
+<li>Morone, Francesco, <i>Life</i>,
+<a href="#Page_36"><b>36</b></a>-39.
+<a href="#Page_29"><b>29</b></a>,
+<a href="#Page_36"><b>36</b></a>-39,
+<a href="#Page_40"><b>40</b></a>,
+<a href="#Page_41"><b>41</b></a>,
+<a href="#Page_50"><b>50</b></a></li>
+
+<li>Mosca, Simone,
+<a href="#Page_133"><b>133</b></a></li>
+
+<li>Mosciano, Girolamo (Girolamo Muziano, or Brescianino),
+<a href="#Page_114"><b>114</b></a></li>
+
+<li>Munari, Pellegrino de' (Pellegrino da Modena, or degli Aretusi),
+<a href="#Page_125"><b>125</b></a></li>
+
+<li>Musi, Agostino de' (Agostino Viniziano), <i>Life</i>,
+<a href="#Page_102"><b>102</b></a>-103.
+<a href="#Page_106"><b>106</b></a></li>
+
+<li>Muziano, Girolamo (Girolamo Mosciano, or Brescianino),
+<a href="#Page_114"><b>114</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Nanni, Giovanni (Giovanni da Udine, or Ricamatori),
+<a href="#Page_147"><b>147</b></a>,
+<a href="#Page_148"><b>148</b></a>,
+<a href="#Page_180"><b>180</b></a>,
+<a href="#Page_194"><b>194</b></a>-196</li>
+
+<li>Nassaro, Matteo dal, <i>Life</i>,
+<a href="#Page_79"><b>79</b></a>-82.
+<a href="#Page_76"><b>76</b></a></li>
+
+<li>Navarra, Pietro,
+<a href="#Page_126"><b>126</b></a></li>
+
+<li>Negrolo, Filippo,
+<a href="#Page_86"><b>86</b></a></li>
+
+<li>Niccola Viniziano,
+<a href="#Page_209"><b>209</b></a></li>
+
+<li>Niccol� (called Tribolo),
+<a href="#Page_133"><b>133</b></a></li>
+
+<li>Niccol�, Maestro,
+<a href="#Page_164"><b>164</b></a></li>
+
+<li>Niccol� Avanzi,
+<a href="#Page_79"><b>79</b></a>,
+<a href="#Page_80"><b>80</b></a></li>
+
+<li>Niccol� Beatricio (Nicolas Beautrizet),
+<a href="#Page_114"><b>114</b></a></li>
+
+<li>Niccol� Soggi, <i>Life</i>,
+<a href="#Page_269"><b>269</b></a>-279.
+<a href="#Page_261"><b>261</b></a></li>
+
+<li>Nicolas Beautrizet (Niccol� Beatricio),
+<a href="#Page_114"><b>114</b></a></li>
+
+<li>Nunziata, Toto del,
+<a href="#Page_191"><b>191</b></a>,
+<a href="#Page_196"><b>196</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Orlando Fiacco (or Fiacco), <i>Life</i>,
+<a href="#Page_28"><b>28</b></a></li>
+
+<li>Ottaviano Falconetto,
+<a href="#Page_47"><b>47</b></a>,
+<a href="#Page_48"><b>48</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Pace, Domenico di (Domenico Beccafumi), <i>Life</i>,
+<a href="#Page_235"><b>235</b></a>-251.
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_213"><b>213</b></a>,
+<a href="#Page_215"><b>215</b></a>,
+<a href="#Page_223"><b>223</b></a>,
+<a href="#Page_235"><b>235</b></a>-251</li>
+
+<li>Padova, Tiziano da (Tiziano Minio),
+<a href="#Page_47"><b>47</b></a></li>
+
+<li>Pagni, Benedetto,
+<a href="#Page_152"><b>152</b></a>,
+<a href="#Page_154"><b>154</b></a>-156,
+<a href="#Page_169"><b>169</b></a></li>
+
+<li>Palladio, Andrea,
+<a href="#Page_28"><b>28</b></a>,
+<a href="#Page_48"><b>48</b></a></li>
+
+<li>Panicale, Masolino da,
+<a href="#Page_203"><b>203</b></a></li>
+
+<li>Paolo Caliari (Paolo Veronese),
+<a href="#Page_22"><b>22</b></a>,
+<a href="#Page_27"><b>27</b></a></li>
+
+<li>Paolo Cavazzuola (Paolo Morando), <i>Life</i>,
+<a href="#Page_39"><b>39</b></a>-42.
+<a href="#Page_15"><b>15</b></a>,
+<a href="#Page_24"><b>24</b></a>,
+<a href="#Page_25"><b>25</b></a>,
+<a href="#Page_29"><b>29</b></a>,
+<a href="#Page_39"><b>39</b></a>-42,
+<a href="#Page_50"><b>50</b></a></li>
+
+<li>Paolo Veronese (Paolo Caliari),
+<a href="#Page_22"><b>22</b></a>,
+<a href="#Page_27"><b>27</b></a></li>
+
+<li>Papacello, Tommaso,
+<a href="#Page_152"><b>152</b></a></li>
+
+<li>Papino della Pieve,
+<a href="#Page_272"><b>272</b></a></li>
+
+<li>Parmigiano (Francesco Mazzuoli),
+<a href="#Page_107"><b>107</b></a>-109,
+<a href="#Page_114"><b>114</b></a>,
+<a href="#Page_259"><b>259</b></a></li>
+
+<li>Pastorino da Siena,
+<a href="#Page_87"><b>87</b></a>,
+<a href="#Page_219"><b>219</b></a></li>
+
+<li>Pecori, Domenico,
+<a href="#Page_255"><b>255</b></a>,
+<a href="#Page_258"><b>258</b></a>,
+<a href="#Page_271"><b>271</b></a></li>
+
+<li>Pellegrino da Modena (Pellegrino degli Aretusi, or de' Munari),
+<a href="#Page_125"><b>125</b></a></li>
+
+<li>Pencz, Georg,
+<a href="#Page_119"><b>119</b></a></li>
+
+<li>Penni, Giovan Francesco (Il Fattore),
+<a href="#Page_146"><b>146</b></a>-148,
+<a href="#Page_150"><b>150</b></a>,
+<a href="#Page_151"><b>151</b></a>,
+<a href="#Page_153"><b>153</b></a>,
+<a href="#Page_177"><b>177</b></a>,
+<a href="#Page_193"><b>193</b></a>,
+<a href="#Page_194"><b>194</b></a>,
+<a href="#Page_207"><b>207</b></a>,
+<a href="#Page_216"><b>216</b></a></li>
+
+<li>Penni, Luca,
+<a href="#Page_115"><b>115</b></a></li>
+
+<li>Perino del Vaga (Perino Buonaccorsi, or Perino de' Ceri), <i>Life</i>,
+<a href="#Page_189"><b>189</b></a>-225.
+<a href="#Page_78"><b>78</b></a>,
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_125"><b>125</b></a>,
+<a href="#Page_129"><b>129</b></a>,
+<a href="#Page_139"><b>139</b></a>,
+<a href="#Page_148"><b>148</b></a>,
+<a href="#Page_177"><b>177</b></a>,
+<a href="#Page_189"><b>189</b></a>-
+<a href="#Page_225"><b>225</b></a>,
+<a href="#Page_244"><b>244</b></a>,
+<a href="#Page_257"><b>257</b></a>-259</li>
+
+<li>Perugino, Pietro (Pietro Vannucci),
+<a href="#Page_235"><b>235</b></a>,
+<a href="#Page_269"><b>269</b></a></li>
+
+<li>Peruzzi, Baldassarre,
+<a href="#Page_107"><b>107</b></a>,
+<a href="#Page_167"><b>167</b></a>,
+<a href="#Page_174"><b>174</b></a>,
+<a href="#Page_177"><b>177</b></a>,
+<a href="#Page_239"><b>239</b></a></li>
+
+<li>Pescia, Pier Maria da,
+<a href="#Page_76"><b>76</b></a></li>
+
+<li>Pier Francesco da Viterbo,
+<a href="#Page_130"><b>130</b></a>,
+<a href="#Page_132"><b>132</b></a></li>
+
+<li>Pier Francesco di Jacopo di Sandro,
+<a href="#Page_257"><b>257</b></a></li>
+
+<li>Pier Maria da Pescia,
+<a href="#Page_76"><b>76</b></a></li>
+
+<li>Piero Catanei,
+<a href="#Page_250"><b>250</b></a></li>
+
+<li>Piero del Pollaiuolo,
+<a href="#Page_182"><b>182</b></a>,
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Pietrasanta, Stagio da,
+<a href="#Page_214"><b>214</b></a></li>
+
+<li>Pietro Navarra,
+<a href="#Page_126"><b>126</b></a></li>
+
+<li>Pietro Paolo Galeotto,
+<a href="#Page_87"><b>87</b></a></li>
+
+<li>Pietro Perugino (Pietro Vannucci),
+<a href="#Page_235"><b>235</b></a>,
+<a href="#Page_269"><b>269</b></a></li>
+
+<li>Pieve, Papino della,
+<a href="#Page_272"><b>272</b></a></li>
+
+<li>Piloto,
+<a href="#Page_201"><b>201</b></a>,
+<a href="#Page_205"><b>205</b></a>,
+<a href="#Page_207"><b>207</b></a></li>
+
+<li>Pinturicchio, Bernardino,
+<a href="#Page_195"><b>195</b></a></li>
+
+<li>Piombo, Fra Sebastiano Viniziano del (Sebastiano Luciani), <i>Life</i>,
+<a href="#Page_173"><b>173</b></a>-186.
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_139"><b>139</b></a>,
+<a href="#Page_148"><b>148</b></a>,
+<a href="#Page_173"><b>173</b></a>-186,
+<a href="#Page_217"><b>217</b></a>,
+<a href="#Page_259"><b>259</b></a></li>
+
+<li>Pisano (or Pisanello), Vittore (or Antonio),
+<a href="#Page_35"><b>35</b></a></li>
+
+<li>Pittoni, Battista (Battista of Vicenza),
+<a href="#Page_108"><b>108</b></a></li>
+
+<li>Poggini, Domenico,
+<a href="#Page_87"><b>87</b></a></li>
+
+<li>Polidoro da Caravaggio,
+<a href="#Page_177"><b>177</b></a>,
+<a href="#Page_196"><b>196</b></a></li>
+
+<li>Pollaiuolo, Antonio del,
+<a href="#Page_182"><b>182</b></a>,
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Pollaiuolo, Piero del,
+<a href="#Page_182"><b>182</b></a>,
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Pollaiuolo, Simone del (Il Cronaca),
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_70"><b>70</b></a></li>
+
+<li>Polo, Domenico di,
+<a href="#Page_84"><b>84</b></a></li>
+
+<li>Pontormo, Jacopo da (Jacopo Carrucci),
+<a href="#Page_60"><b>60</b></a>,
+<a href="#Page_255"><b>255</b></a>-257,
+<a href="#Page_273"><b>273</b></a></li>
+
+<li>Pordenone (Giovanni Antonio Licinio),
+<a href="#Page_213"><b>213</b></a>,
+<a href="#Page_244"><b>244</b></a>,
+<a href="#Page_247"><b>247</b></a></li>
+
+<li>Porta, Giuseppe (Giuseppe del Salviati),
+<a href="#Page_115"><b>115</b></a></li>
+
+<li>Primaticcio, Francesco,
+<a href="#Page_115"><b>115</b></a>,
+<a href="#Page_157"><b>157</b></a></li>
+
+<li>Provolo Falconetto,
+<a href="#Page_47"><b>47</b></a>,
+<a href="#Page_48"><b>48</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Raffaello da Montelupo,
+<a href="#Page_133"><b>133</b></a>,
+<a href="#Page_222"><b>222</b></a></li>
+
+<li>Raffaello da Urbino (Raffaello Sanzio),
+<a href="#Page_6"><b>6</b></a>,
+<a href="#Page_38"><b>38</b></a>,
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_69"><b>69</b></a>,
+<a href="#Page_99"><b>99</b></a>-104,
+<a href="#Page_106"><b>106</b></a>-108,
+<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_127"><b>127</b></a>,
+<a href="#Page_130"><b>130</b></a>,
+<a href="#Page_145"><b>145</b></a>-148,
+<a href="#Page_153"><b>153</b></a>,
+<a href="#Page_156"><b>156</b></a>,
+<a href="#Page_165"><b>165</b></a>,
+<a href="#Page_174"><b>174</b></a>-178,
+<a href="#Page_181"><b>181</b></a>,
+<a href="#Page_183"><b>183</b></a>,
+<a href="#Page_193"><b>193</b></a>-195,
+<a href="#Page_207"><b>207</b></a>,
+<a href="#Page_209"><b>209</b></a>,
+<a href="#Page_218"><b>218</b></a>,
+<a href="#Page_221"><b>221</b></a>,
+<a href="#Page_236"><b>236</b></a>,
+<a href="#Page_269"><b>269</b></a></li>
+
+<li>Raffaello dal Colle (Raffaello dal Borgo),
+<a href="#Page_152"><b>152</b></a>,
+<a href="#Page_169"><b>169</b></a></li>
+
+<li>Raffaello Pippi de' Giannuzzi,
+<a href="#Page_168"><b>168</b></a></li>
+
+<li>Raffaello Sanzio (Raffaello da Urbino),
+<a href="#Page_6"><b>6</b></a>,
+<a href="#Page_38"><b>38</b></a>,
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_69"><b>69</b></a>,
+<a href="#Page_99"><b>99</b></a>-104,
+<a href="#Page_106"><b>106</b></a>-108,
+<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_127"><b>127</b></a>,
+<a href="#Page_130"><b>130</b></a>,
+<a href="#Page_145"><b>145</b></a>-148,
+<a href="#Page_153"><b>153</b></a>,
+<a href="#Page_156"><b>156</b></a>,
+<a href="#Page_165"><b>165</b></a>,
+<a href="#Page_174"><b>174</b></a>-178,
+<a href="#Page_181"><b>181</b></a>,
+<a href="#Page_183"><b>183</b></a>,
+<a href="#Page_193"><b>193</b></a>-195,
+<a href="#Page_207"><b>207</b></a>,
+<a href="#Page_209"><b>209</b></a>,
+<a href="#Page_218"><b>218</b></a>,
+<a href="#Page_221"><b>221</b></a>,
+<a href="#Page_236"><b>236</b></a>,
+<a href="#Page_269"><b>269</b></a></li>
+
+<li>Raimondi, Marc' Antonio (Marc' Antonio Bolognese, or de' Franci), <i>Life</i>,
+<a href="#Page_95"><b>95</b></a>-96,
+<a href="#Page_99"><b>99</b></a>-106.
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_120"><b>120</b></a></li>
+
+<li>Ravenna, Marco da (Marco Dente), <i>Life</i>,
+<a href="#Page_102"><b>102</b></a>-103.
+<a href="#Page_106"><b>106</b></a></li>
+
+<li>Reggio, Sebastiano da,
+<a href="#Page_165"><b>165</b></a></li>
+
+<li>Renato (Ren� Boyvin),
+<a href="#Page_115"><b>115</b></a></li>
+
+<li>Ricamatori, Giovanni (Giovanni da Udine, or Nanni),
+<a href="#Page_147"><b>147</b></a>,
+<a href="#Page_148"><b>148</b></a>,
+<a href="#Page_180"><b>180</b></a>,
+<a href="#Page_194"><b>194</b></a>-196</li>
+
+<li>Ricciarelli, Daniello,
+<a href="#Page_113"><b>113</b></a>,
+<a href="#Page_219"><b>219</b></a>,
+<a href="#Page_224"><b>224</b></a></li>
+
+<li>Riccio, Domenico del (Domenico Brusciasorzi),
+<a href="#Page_82"><b>82</b></a></li>
+
+<li>Ridolfi, Bartolommeo,
+<a href="#Page_48"><b>48</b></a></li>
+
+<li>Ridolfo Ghirlandajo,
+<a href="#Page_191"><b>191</b></a>,
+<a href="#Page_192"><b>192</b></a></li>
+
+<li>Rinaldo Mantovano,
+<a href="#Page_155"><b>155</b></a>,
+<a href="#Page_156"><b>156</b></a>,
+<a href="#Page_160"><b>160</b></a>,
+<a href="#Page_161"><b>161</b></a>,
+<a href="#Page_169"><b>169</b></a></li>
+
+<li>Romano, Giulio (Giulio Pippi de' Giannuzzi), <i>Life</i>,
+<a href="#Page_145"><b>145</b></a>-169.
+<a href="#Page_20"><b>20</b></a>,
+<a href="#Page_24"><b>24</b></a>,
+<a href="#Page_103"><b>103</b></a>-105,
+<a href="#Page_110"><b>110</b></a>,
+<a href="#Page_114"><b>114</b></a>,
+<a href="#Page_145"><b>145</b></a>-169,
+<a href="#Page_177"><b>177</b></a>,
+<a href="#Page_193"><b>193</b></a>,
+<a href="#Page_194"><b>194</b></a>,
+<a href="#Page_207"><b>207</b></a>,
+<a href="#Page_216"><b>216</b></a>,
+<a href="#Page_221"><b>221</b></a>,
+<a href="#Page_259"><b>259</b></a></li>
+
+<li>Romano, Luzio,
+<a href="#Page_212"><b>212</b></a>,
+<a href="#Page_222"><b>222</b></a></li>
+
+<li>Rossi, Francesco de' (Francesco Salviati),
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_177"><b>177</b></a></li>
+
+<li>Rossi, Giovan Battista de' (Il Rosso),
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_115"><b>115</b></a>,
+<a href="#Page_257"><b>257</b></a>-261,
+<a href="#Page_273"><b>273</b></a>,
+<a href="#Page_274"><b>274</b></a></li>
+
+<li>Rossi, Giovanni Antonio de',
+<a href="#Page_86"><b>86</b></a></li>
+
+<li>Rosso (or Rosto), Giovan Battista,
+<a href="#Page_164"><b>164</b></a></li>
+
+<li>Rosso, Il (Giovan Battista de' Rossi),
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_115"><b>115</b></a>,
+<a href="#Page_257"><b>257</b></a>-261,
+<a href="#Page_273"><b>273</b></a>,
+<a href="#Page_274"><b>274</b></a></li>
+
+<li>Rosso de' Giugni,
+<a href="#Page_87"><b>87</b></a></li>
+
+<li>Rosto (or Rosso), Giovan Battista,
+<a href="#Page_164"><b>164</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Salamanca, Antonio,
+<a href="#Page_276"><b>276</b></a></li>
+
+<li>Salvestro, Maestro,
+<a href="#Page_87"><b>87</b></a></li>
+
+<li>Salviati, Francesco (Francesco de' Rossi),
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_177"><b>177</b></a></li>
+
+<li>Salviati, Giuseppe del (Giuseppe Porta),
+<a href="#Page_115"><b>115</b></a></li>
+
+<li>S. Clemente, Abbot of (Don Bartolommeo della Gatta),
+<a href="#Page_255"><b>255</b></a></li>
+
+<li>San Gallo, Antonio da (the elder),
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_123"><b>123</b></a>,
+<a href="#Page_272"><b>272</b></a></li>
+
+<li>San Gallo, Antonio da (the younger), <i>Life</i>,
+<a href="#Page_123"><b>123</b></a>-141.
+<a href="#Page_167"><b>167</b></a>,
+<a href="#Page_197"><b>197</b></a>,
+<a href="#Page_198"><b>198</b></a>,
+<a href="#Page_219"><b>219</b></a>,
+<a href="#Page_220"><b>220</b></a>,
+<a href="#Page_222"><b>222</b></a></li>
+
+<li>San Gallo, Francesco da,
+<a href="#Page_133"><b>133</b></a>,
+<a href="#Page_173"><b>173</b></a></li>
+
+<li>San Gallo, Giuliano da,
+<a href="#Page_6"><b>6</b></a>,
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_123"><b>123</b></a>,
+<a href="#Page_124"><b>124</b></a>,
+<a href="#Page_126"><b>126</b></a></li>
+
+<li>San Marco, Fra Bartolommeo di,
+<a href="#Page_66"><b>66</b></a></li>
+
+<li>San Michele, Michele,
+<a href="#Page_25"><b>25</b></a>,
+<a href="#Page_26"><b>26</b></a>,
+<a href="#Page_47"><b>47</b></a>,
+<a href="#Page_130"><b>130</b></a></li>
+
+<li>Sandro, Pier Francesco di Jacopo di,
+<a href="#Page_257"><b>257</b></a></li>
+
+<li>Sandro Botticelli (Alessandro Filipepi),
+<a href="#Page_91"><b>91</b></a></li>
+
+<li>Sansovino, Andrea (Andrea Contucci),
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_133"><b>133</b></a></li>
+
+<li>Sansovino, Jacopo,
+<a href="#Page_47"><b>47</b></a>,
+<a href="#Page_125"><b>125</b></a>,
+<a href="#Page_127"><b>127</b></a>,
+<a href="#Page_199"><b>199</b></a></li>
+
+<li>Sanzio, Raffaello (Raffaello da Urbino),
+<a href="#Page_6"><b>6</b></a>,
+<a href="#Page_38"><b>38</b></a>,
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_69"><b>69</b></a>,
+<a href="#Page_99"><b>99</b></a>-104,
+<a href="#Page_106"><b>106</b></a>-108,
+<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_127"><b>127</b></a>,
+<a href="#Page_130"><b>130</b></a>,
+<a href="#Page_145"><b>145</b></a>-148,
+<a href="#Page_153"><b>153</b></a>,
+<a href="#Page_156"><b>156</b></a>,
+<a href="#Page_165"><b>165</b></a>,
+<a href="#Page_174"><b>174</b></a>-178,
+<a href="#Page_181"><b>181</b></a>,
+<a href="#Page_183"><b>183</b></a>,
+<a href="#Page_193"><b>193</b></a>-195,
+<a href="#Page_207"><b>207</b></a>,
+<a href="#Page_209"><b>209</b></a>,
+<a href="#Page_218"><b>218</b></a>,
+<a href="#Page_221"><b>221</b></a>,
+<a href="#Page_236"><b>236</b></a>,
+<a href="#Page_269"><b>269</b></a></li>
+
+<li>Sarto, Andrea del,
+<a href="#Page_60"><b>60</b></a>,
+<a href="#Page_106"><b>106</b></a>,
+<a href="#Page_255"><b>255</b></a>-257,
+<a href="#Page_272"><b>272</b></a>,
+<a href="#Page_273"><b>273</b></a></li>
+
+<li>Sassoli, Stagio,
+<a href="#Page_272"><b>272</b></a></li>
+
+<li>Scarpagni, Antonio (Scarpagnino or Zanfragnino),
+<a href="#Page_10"><b>10</b></a></li>
+
+<li>Schongauer, Martin, <i>Life</i>,
+<a href="#Page_91"><b>91</b></a>-92</li>
+
+<li>Sculptore (Mantovano), Giovan Battista,
+<a href="#Page_110"><b>110</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_157"><b>157</b></a>,
+<a href="#Page_164"><b>164</b></a>,
+<a href="#Page_165"><b>165</b></a>,
+<a href="#Page_169"><b>169</b></a></li>
+
+<li>Sebastiano da Reggio,
+<a href="#Page_165"><b>165</b></a></li>
+
+<li>Sebastiano Luciani (Fra Sebastiano Viniziano del Piombo), <i>Life</i>,
+<a href="#Page_173"><b>173</b></a>-186.
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_139"><b>139</b></a>,
+<a href="#Page_148"><b>148</b></a>,
+<a href="#Page_173"><b>173</b></a>-186,
+<a href="#Page_217"><b>217</b></a>,
+<a href="#Page_259"><b>259</b></a></li>
+
+<li>Sebastiano Serlio,
+<a href="#Page_113"><b>113</b></a></li>
+
+<li>Sebastiano Viniziano del Piombo, Fra (Sebastiano Luciani), <i>Life</i>,
+<a href="#Page_173"><b>173</b></a>-186.
+<a href="#Page_108"><b>108</b></a>,
+<a href="#Page_139"><b>139</b></a>,
+<a href="#Page_148"><b>148</b></a>,
+<a href="#Page_173"><b>173</b></a>-186,
+<a href="#Page_217"><b>217</b></a>,
+<a href="#Page_259"><b>259</b></a></li>
+
+<li>Serlio, Sebastiano,
+<a href="#Page_113"><b>113</b></a></li>
+
+<li>Sermoneta, Girolamo (Girolamo Siciolante),
+<a href="#Page_221"><b>221</b></a>,
+<a href="#Page_222"><b>222</b></a>,
+<a href="#Page_225"><b>225</b></a></li>
+
+<li>Siciliano, Tommaso (Tommaso Laureti),
+<a href="#Page_186"><b>186</b></a></li>
+
+<li>Siciolante, Girolamo (Girolamo Sermoneta),
+<a href="#Page_221"><b>221</b></a>,
+<a href="#Page_222"><b>222</b></a>,
+<a href="#Page_225"><b>225</b></a></li>
+
+<li>Siena, Marco da,
+<a href="#Page_223"><b>223</b></a></li>
+
+<li>Siena, Pastorino da,
+<a href="#Page_87"><b>87</b></a>,
+<a href="#Page_219"><b>219</b></a></li>
+
+<li>Signorelli, Luca (Luca da Cortona),
+<a href="#Page_246"><b>246</b></a></li>
+
+<li>Silvio Cosini,
+<a href="#Page_210"><b>210</b></a></li>
+
+<li>Simone Cioli,
+<a href="#Page_133"><b>133</b></a></li>
+
+<li>Simone del Pollaiuolo (Il Cronaca),
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_70"><b>70</b></a></li>
+
+<li>Simone Mosca,
+<a href="#Page_133"><b>133</b></a></li>
+
+<li>Sodoma, Il (Giovanni Antonio Bazzi),
+<a href="#Page_236"><b>236</b></a>-238,
+<a href="#Page_247"><b>247</b></a>,
+<a href="#Page_249"><b>249</b></a></li>
+
+<li>Soggi, Niccol�, <i>Life</i>,
+<a href="#Page_269"><b>269</b></a>-279.
+<a href="#Page_261"><b>261</b></a></li>
+
+<li>Sogliani, Giovanni Antonio,
+<a href="#Page_214"><b>214</b></a>,
+<a href="#Page_215"><b>215</b></a>,
+<a href="#Page_247"><b>247</b></a>,
+<a href="#Page_248"><b>248</b></a></li>
+
+<li>Sozzini, Giovan Battista,
+<a href="#Page_87"><b>87</b></a></li>
+
+<li>Stagio da Pietrasanta,
+<a href="#Page_214"><b>214</b></a></li>
+
+<li>Stagio Sassoli,
+<a href="#Page_272"><b>272</b></a></li>
+
+<li>Stefano, Vincenzio di,
+<a href="#Page_11"><b>11</b></a></li>
+
+<li>Stefano Veronese (Stefano da Zevio),
+<a href="#Page_35"><b>35</b></a>,
+<a href="#Page_42"><b>42</b></a></li>
+
+<li>Suave, Lamberto (Lambert Zutmann),
+<a href="#Page_110"><b>110</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Tasso, Battista del,
+<a href="#Page_213"><b>213</b></a></li>
+
+<li>Tiziano da Cadore (Tiziano Vecelli),
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_114"><b>114</b></a>,
+<a href="#Page_161"><b>161</b></a>,
+<a href="#Page_183"><b>183</b></a>,
+<a href="#Page_222"><b>222</b></a></li>
+
+<li>Tiziano da Padova (Tiziano Minio),
+<a href="#Page_47"><b>47</b></a></li>
+
+<li>Tiziano Vecelli (Tiziano da Cadore),
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_114"><b>114</b></a>,
+<a href="#Page_161"><b>161</b></a>,
+<a href="#Page_183"><b>183</b></a>,
+<a href="#Page_222"><b>222</b></a></li>
+
+<li>Tofano Lombardino (Cristofano Lombardi),
+<a href="#Page_167"><b>167</b></a></li>
+
+<li>Tommaso Barlacchi,
+<a href="#Page_104"><b>104</b></a>,
+<a href="#Page_113"><b>113</b></a></li>
+
+<li>Tommaso Laureti (Tommaso Siciliano),
+<a href="#Page_186"><b>186</b></a></li>
+
+<li>Tommaso Papacello,
+<a href="#Page_152"><b>152</b></a></li>
+
+<li>Tommaso Siciliano (Tommaso Laureti),
+<a href="#Page_186"><b>186</b></a></li>
+
+<li>Torri, Bartolommeo,
+<a href="#Page_264"><b>264</b></a>,
+<a href="#Page_265"><b>265</b></a></li>
+
+<li>Toto del Nunziata,
+<a href="#Page_191"><b>191</b></a>,
+<a href="#Page_196"><b>196</b></a></li>
+
+<li>Trento, Antonio da (Antonio Fantuzzi),
+<a href="#Page_108"><b>108</b></a></li>
+
+<li>Treviso, Girolamo da,
+<a href="#Page_211"><b>211</b></a>,
+<a href="#Page_212"><b>212</b></a>,
+<a href="#Page_244"><b>244</b></a></li>
+
+<li>Trezzo, Cosimo (Jacopo) da,
+<a href="#Page_86"><b>86</b></a></li>
+
+<li>Trezzo, Jacopo da,
+<a href="#Page_86"><b>86</b></a></li>
+
+<li>Tribolo (Niccol�),
+<a href="#Page_133"><b>133</b></a></li>
+
+<li>Turbido, Francesco (Il Moro), <i>Life</i>,
+<a href="#Page_22"><b>22</b></a>-28.
+<a href="#Page_14"><b>14</b></a>,
+<a href="#Page_15"><b>15</b></a>,
+<a href="#Page_21"><b>21</b></a>,
+<a href="#Page_22"><b>22</b></a>-28,
+<a href="#Page_40"><b>40</b></a>,
+<a href="#Page_50"><b>50</b></a>,
+<a href="#Page_164"><b>164</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Ubertini, Francesco (Il Bacchiacca),
+<a href="#Page_60"><b>60</b></a></li>
+
+<li>Udine, Giovanni da (Giovanni Nanni, or Ricamatori),
+<a href="#Page_147"><b>147</b></a>,
+<a href="#Page_148"><b>148</b></a>,
+<a href="#Page_180"><b>180</b></a>,
+<a href="#Page_194"><b>194</b></a>-196</li>
+
+<li>Ugo da Carpi,
+<a href="#Page_106"><b>106</b></a>,
+<a href="#Page_107"><b>107</b></a></li>
+
+<li>Urbino, Bramante da,
+<a href="#Page_6"><b>6</b></a>,
+<a href="#Page_124"><b>124</b></a>,
+<a href="#Page_126"><b>126</b></a>,
+<a href="#Page_136"><b>136</b></a>,
+<a href="#Page_138"><b>138</b></a></li>
+
+<li>Urbino, Raffaello da (Raffaello Sanzio),
+<a href="#Page_6"><b>6</b></a>,
+<a href="#Page_38"><b>38</b></a>,
+<a href="#Page_66"><b>66</b></a>,
+<a href="#Page_69"><b>69</b></a>,
+<a href="#Page_99"><b>99</b></a>-104,
+<a href="#Page_106"><b>106</b></a>-108,
+<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_127"><b>127</b></a>,
+<a href="#Page_130"><b>130</b></a>,
+<a href="#Page_145"><b>145</b></a>-148,
+<a href="#Page_153"><b>153</b></a>,
+<a href="#Page_156"><b>156</b></a>,
+<a href="#Page_165"><b>165</b></a>,
+<a href="#Page_174"><b>174</b></a>-178,
+<a href="#Page_181"><b>181</b></a>,
+<a href="#Page_183"><b>183</b></a>,
+<a href="#Page_193"><b>193</b></a>-195,
+<a href="#Page_207"><b>207</b></a>,
+<a href="#Page_209"><b>209</b></a>,
+<a href="#Page_218"><b>218</b></a>,
+<a href="#Page_221"><b>221</b></a>,
+<a href="#Page_236"><b>236</b></a>,
+<a href="#Page_269"><b>269</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Vaga,
+<a href="#Page_191"><b>191</b></a>,
+<a href="#Page_192"><b>192</b></a></li>
+
+<li>Vaga, Perino del (Perino Buonaccorsi, or Perino de' Ceri), <i>Life</i>,
+<a href="#Page_189"><b>189</b></a>-225.
+<a href="#Page_78"><b>78</b></a>,
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_125"><b>125</b></a>,
+<a href="#Page_129"><b>129</b></a>,
+<a href="#Page_139"><b>139</b></a>,
+<a href="#Page_148"><b>148</b></a>,
+<a href="#Page_177"><b>177</b></a>,
+<a href="#Page_189"><b>189</b></a>-225,
+<a href="#Page_244"><b>244</b></a>,
+<a href="#Page_257"><b>257</b></a>-259</li>
+
+<li>Valerio Vicentino (Valerio Belli), <i>Life</i>,
+<a href="#Page_82"><b>82</b></a>-84.
+<a href="#Page_76"><b>76</b></a>-79</li>
+
+<li>Valverde,
+<a href="#Page_116"><b>116</b></a></li>
+
+<li>Vannucci, Pietro (Pietro Perugino),
+<a href="#Page_235"><b>235</b></a>,
+<a href="#Page_269"><b>269</b></a></li>
+
+<li>Vasari, Giorgio&mdash;</li>
+<li><span class="add1em">as art-collector,</span>
+<a href="#Page_3"><b>3</b></a>,
+<a href="#Page_22"><b>22</b></a>,
+<a href="#Page_54"><b>54</b></a>,
+<a href="#Page_60"><b>60</b></a>,
+<a href="#Page_120"><b>120</b></a>,
+<a href="#Page_157"><b>157</b></a>,
+<a href="#Page_175"><b>175</b></a>,
+<a href="#Page_225"><b>225</b></a>,
+<a href="#Page_230"><b>230</b></a>,
+<a href="#Page_250"><b>250</b></a>,
+<a href="#Page_256"><b>256</b></a>,
+<a href="#Page_260"><b>260</b></a>,
+<a href="#Page_263"><b>263</b></a></li>
+<li><span class="add1em">as author,</span>
+<a href="#Page_3"><b>3</b></a>,
+<a href="#Page_6"><b>6</b></a>,
+<a href="#Page_10"><b>10</b></a>,
+<a href="#Page_11"><b>11</b></a>,
+<a href="#Page_13"><b>13</b></a>,
+<a href="#Page_15"><b>15</b></a>,
+<a href="#Page_22"><b>22</b></a>,
+<a href="#Page_23"><b>23</b></a>,
+<a href="#Page_27"><b>27</b></a>,
+<a href="#Page_28"><b>28</b></a>,
+<a href="#Page_32"><b>32</b></a>,
+<a href="#Page_35"><b>35</b></a>,
+<a href="#Page_39"><b>39</b></a>,
+<a href="#Page_42"><b>42</b></a>,
+<a href="#Page_46"><b>46</b></a>,
+<a href="#Page_48"><b>48</b></a>,
+<a href="#Page_53"><b>53</b></a>,
+<a href="#Page_54"><b>54</b></a>,
+<a href="#Page_57"><b>57</b></a>-59,
+<a href="#Page_65"><b>65</b></a>,
+<a href="#Page_75"><b>75</b></a>,
+<a href="#Page_76"><b>76</b></a>,
+<a href="#Page_79"><b>79</b></a>,
+<a href="#Page_82"><b>82</b></a>,
+<a href="#Page_84"><b>84</b></a>-87,
+<a href="#Page_91"><b>91</b></a>,
+<a href="#Page_93"><b>93</b></a>-95,
+<a href="#Page_105"><b>105</b></a>-107,
+<a href="#Page_112"><b>112</b></a>,
+<a href="#Page_113"><b>113</b></a>,
+<a href="#Page_120"><b>120</b></a>,
+<a href="#Page_123"><b>123</b></a>,
+<a href="#Page_133"><b>133</b></a>,
+<a href="#Page_152"><b>152</b></a>,
+<a href="#Page_153"><b>153</b></a>,
+<a href="#Page_159"><b>159</b></a>,
+<a href="#Page_161"><b>161</b></a>,
+<a href="#Page_165"><b>165</b></a>-167,
+<a href="#Page_175"><b>175</b></a>,
+<a href="#Page_176"><b>176</b></a>,
+<a href="#Page_178"><b>178</b></a>,
+<a href="#Page_190"><b>190</b></a>,
+<a href="#Page_194"><b>194</b></a>,
+<a href="#Page_196"><b>196</b></a>,
+<a href="#Page_202"><b>202</b></a>,
+<a href="#Page_204"><b>204</b></a>,
+<a href="#Page_207"><b>207</b></a>,
+<a href="#Page_210"><b>210</b></a>-213,
+<a href="#Page_215"><b>215</b></a>,
+<a href="#Page_217"><b>217</b></a>,
+<a href="#Page_221"><b>221</b></a>,
+<a href="#Page_223"><b>223</b></a>,
+<a href="#Page_229"><b>229</b></a>-231,
+<a href="#Page_235"><b>235</b></a>,
+<a href="#Page_239"><b>239</b></a>,
+<a href="#Page_246"><b>246</b></a>,
+<a href="#Page_248"><b>248</b></a>-250,
+<a href="#Page_258"><b>258</b></a>,
+<a href="#Page_261"><b>261</b></a>,
+<a href="#Page_264"><b>264</b></a>,
+<a href="#Page_269"><b>269</b></a>,
+<a href="#Page_273"><b>273</b></a></li>
+<li><span class="add1em">as painter,</span>
+<a href="#Page_22"><b>22</b></a>,
+<a href="#Page_72"><b>72</b></a>,
+<a href="#Page_120"><b>120</b></a>,
+<a href="#Page_215"><b>215</b></a>,
+<a href="#Page_221"><b>221</b></a>,
+<a href="#Page_263"><b>263</b></a>,
+<a href="#Page_264"><b>264</b></a>,
+<a href="#Page_276"><b>276</b></a></li>
+<li><span class="add1em">as architect,</span>
+<a href="#Page_70"><b>70</b></a>,
+<a href="#Page_139"><b>139</b></a>,
+<a href="#Page_278"><b>278</b></a></li>
+
+<li>Vecelli, Tiziano (Tiziano da Cadore),
+<a href="#Page_109"><b>109</b></a>,
+<a href="#Page_111"><b>111</b></a>,
+<a href="#Page_114"><b>114</b></a>,
+<a href="#Page_161"><b>161</b></a>,
+<a href="#Page_183"><b>183</b></a>,
+<a href="#Page_222"><b>222</b></a></li>
+
+<li>Venusti, Marcello (Marcello Mantovano),
+<a href="#Page_220"><b>220</b></a>,
+<a href="#Page_225"><b>225</b></a></li>
+
+<li>Verese,
+<a href="#Page_118"><b>118</b></a></li>
+
+<li>Verona, Fra Giovanni da,
+<a href="#Page_38"><b>38</b></a>,
+<a href="#Page_39"><b>39</b></a>,
+<a href="#Page_51"><b>51</b></a>,
+<a href="#Page_218"><b>218</b></a></li>
+
+<li>Veronese, Giovanni Battista,
+<a href="#Page_13"><b>13</b></a></li>
+
+<li>Veronese, Paolo (Paolo Caliari),
+<a href="#Page_22"><b>22</b></a>,
+<a href="#Page_27"><b>27</b></a></li>
+
+<li>Veronese, Stefano (Stefano da Zevio),
+<a href="#Page_35"><b>35</b></a>,
+<a href="#Page_42"><b>42</b></a></li>
+
+<li>Vicentino, Joannicolo (Giuseppe Niccol�),
+<a href="#Page_108"><b>108</b></a></li>
+
+<li>Vicentino, Valerio (Valerio Belli), <i>Life</i>,
+<a href="#Page_82"><b>82</b></a>-84.
+<a href="#Page_76"><b>76</b></a>,
+<a href="#Page_79"><b>79</b></a></li>
+
+<li>Vicenza, Battista of (Battista Pittoni),
+<a href="#Page_108"><b>108</b></a></li>
+
+<li>Vico, Enea, <i>Life</i>,
+<a href="#Page_111"><b>111</b></a>-112</li>
+
+<li>Vincenzio di Stefano,
+<a href="#Page_11"><b>11</b></a></li>
+
+<li>Viniziano, Agostino (Agostino de' Musi), <i>Life</i>,
+<a href="#Page_102"><b>102</b></a>-103.
+<a href="#Page_106"><b>106</b></a></li>
+
+<li>Viniziano, Domenico,
+<a href="#Page_182"><b>182</b></a></li>
+
+<li>Viniziano, Niccola,
+<a href="#Page_209"><b>209</b></a></li>
+
+<li>Viterbo, Pier Francesco da,
+<a href="#Page_130"><b>130</b></a>,
+<a href="#Page_132"><b>132</b></a></li>
+
+<li>Vitruvius,
+<a href="#Page_5"><b>5</b></a>,
+<a href="#Page_45"><b>45</b></a>,
+<a href="#Page_140"><b>140</b></a></li>
+
+<li>Vittore (or Antonio) Pisano (or Pisanello),
+<a href="#Page_35"><b>35</b></a></li>
+
+<li>Vrient, Franz de (Franz Floris),
+<a href="#Page_119"><b>119</b></a>,
+<a href="#Page_120"><b>120</b></a></li>
+</ul>
+
+
+<ul class="none p2">
+<li>Zanfragnino (Antonio Scarpagni, or Scarpagnino),
+<a href="#Page_10"><b>10</b></a></li>
+
+<li>Zeuxis,
+<a href="#Page_239"><b>239</b></a></li>
+
+<li>Zevio, Stefano da (Stefano Veronese),
+<a href="#Page_35"><b>35</b></a>,
+<a href="#Page_42"><b>42</b></a></li>
+
+<li>Zoppo,
+<a href="#Page_81"><b>81</b></a></li>
+
+<li>Zutmann, Lambert (Lamberto Suave),
+<a href="#Page_110"><b>110</b></a></li>
+</ul>
+
+
+<h4>END OF VOL VI.</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> Canal of the slaughter-houses.</p></div>
+
+<div class="footnote"><p><a name="Footnote2" id="Footnote2"></a><a href="#FNanchor2"><span class="label">[2]</span></a> Small canal of the corn-magazines.</p></div>
+
+<div class="footnote"><p><a name="Footnote3" id="Footnote3"></a><a href="#FNanchor3"><span class="label">[3]</span></a> Scarpagnino.</p></div>
+
+<div class="footnote"><p><a name="Footnote4" id="Footnote4"></a><a href="#FNanchor4"><span class="label">[4]</span></a> See note on page 57, Vol. I.</p></div>
+
+<div class="footnote"><p><a name="Footnote5" id="Footnote5"></a><a href="#FNanchor5"><span class="label">[5]</span></a> See note on page 57, Vol. I.</p></div>
+
+<div class="footnote"><p><a name="Footnote6" id="Footnote6"></a><a href="#FNanchor6"><span class="label">[6]</span></a> See note on page 57, Vol. I.</p></div>
+
+<div class="footnote"><p><a name="Footnote7" id="Footnote7"></a><a href="#FNanchor7"><span class="label">[7]</span></a> From "terra," earth.</p></div>
+
+<div class="footnote"><p><a name="Footnote8" id="Footnote8"></a><a href="#FNanchor8"><span class="label">[8]</span></a> See note on page 57, Vol. I.</p></div>
+
+<div class="footnote"><p><a name="Footnote9" id="Footnote9"></a><a href="#FNanchor9"><span class="label">[9]</span></a> <i>I.e.</i>, "of the books."</p></div>
+
+<div class="footnote"><p><a name="Footnote10" id="Footnote10"></a><a href="#FNanchor10"><span class="label">[10]</span></a> From the "canti," or "songs," that were sung in them.</p></div>
+
+<div class="footnote"><p><a name="Footnote11" id="Footnote11"></a><a href="#FNanchor11"><span class="label">[11]</span></a> The "Potenze" were merry companies composed of the men
+of the various quarters in costume. Each quarter had its own,
+representing an Emperor, King, or Prince, and his Court.</p></div>
+
+<div class="footnote"><p><a name="Footnote12" id="Footnote12"></a><a href="#FNanchor12"><span class="label">[12]</span></a> Giovanni of the Cornelians.</p></div>
+
+<div class="footnote"><p><a name="Footnote13" id="Footnote13"></a><a href="#FNanchor13"><span class="label">[13]</span></a> Domenico of the Cameos.</p></div>
+
+<div class="footnote"><p><a name="Footnote14" id="Footnote14"></a><a href="#FNanchor14"><span class="label">[14]</span></a> Luca di Leyden.</p></div>
+
+<div class="footnote"><p><a name="Footnote15" id="Footnote15"></a><a href="#FNanchor15"><span class="label">[15]</span></a> Lambert Zutmann.</p></div>
+
+<div class="footnote"><p><a name="Footnote16" id="Footnote16"></a><a href="#FNanchor16"><span class="label">[16]</span></a> Jean Cousin.</p></div>
+
+<div class="footnote"><p><a name="Footnote17" id="Footnote17"></a><a href="#FNanchor17"><span class="label">[17]</span></a> Nicolas Beautrizet.</p></div>
+
+<div class="footnote"><p><a name="Footnote18" id="Footnote18"></a><a href="#FNanchor18"><span class="label">[18]</span></a> Ren� Boyvin.</p></div>
+
+<div class="footnote"><p><a name="Footnote19" id="Footnote19"></a><a href="#FNanchor19"><span class="label">[19]</span></a> Michael Coxie.</p></div>
+
+<div class="footnote"><p><a name="Footnote20" id="Footnote20"></a><a href="#FNanchor20"><span class="label">[20]</span></a> Albrecht Aldegrever.</p></div>
+
+<div class="footnote"><p><a name="Footnote21" id="Footnote21"></a><a href="#FNanchor21"><span class="label">[21]</span></a> Georg Pencz.</p></div>
+
+<div class="footnote"><p><a name="Footnote22" id="Footnote22"></a><a href="#FNanchor22"><span class="label">[22]</span></a> Hans Beham.</p></div>
+
+<div class="footnote"><p><a name="Footnote23" id="Footnote23"></a><a href="#FNanchor23"><span class="label">[23]</span></a> Cristofano Coriolano.</p></div>
+
+<div class="footnote"><p><a name="Footnote24" id="Footnote24"></a><a href="#FNanchor24"><span class="label">[24]</span></a> The "palma" as used here is equal to about nine inches.</p></div>
+
+<div class="footnote"><p><a name="Footnote25" id="Footnote25"></a><a href="#FNanchor25"><span class="label">[25]</span></a> The "canna" is equal to four braccia.</p></div>
+
+<div class="footnote"><p><a name="Footnote26" id="Footnote26"></a><a href="#FNanchor26"><span class="label">[26]</span></a> Giuliano Leno.</p></div>
+
+<div class="footnote"><p><a name="Footnote27" id="Footnote27"></a><a href="#FNanchor27"><span class="label">[27]</span></a> Or Perino.</p></div>
+
+<div class="footnote"><p><a name="Footnote28" id="Footnote28"></a><a href="#FNanchor28"><span class="label">[28]</span></a> Vasari sometimes groups under this name all the male
+figures that appear in a picture of the Deposition from the Cross.</p></div>
+
+<div class="footnote"><p><a name="Footnote29" id="Footnote29"></a><a href="#FNanchor29"><span class="label">[29]</span></a> Zaleucus.</p></div>
+
+<div class="footnote"><p><a name="Footnote30" id="Footnote30"></a><a href="#FNanchor30"><span class="label">[30]</span></a> Here there is a blank in the text.</p></div>
+
+<div class="footnote"><p><a name="Footnote31" id="Footnote31"></a><a href="#FNanchor31"><span class="label">[31]</span></a> Don Bartolommeo della Gatta, Abbot of S. Clemente.</p></div>
+
+<div class="footnote"><p><a name="Footnote32" id="Footnote32"></a><a href="#FNanchor32"><span class="label">[32]</span></a> See p. 208, Vol. III.</p></div>
+
+<div class="footnote"><p><a name="Footnote33" id="Footnote33"></a><a href="#FNanchor33"><span class="label">[33]</span></a> These words are missing in the text.</p></div>
+</div>
+
+<div class="trans-note">
+<p>Transcriber's note: Bold text is marked with =."</p>
+
+<p>Obvious printer's errors have been corrected,
+all other inconsistencies are as in the original. The author's spelling
+has been maintained.</p>
+</div>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
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+</body>
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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. 06 (of 10) Fra Giocondo to Niccolo Soggi
+
+Author: Giorgio Vasari
+
+Translator: Gaston du C. De Vere
+
+Release Date: March 27, 2009 [EBook #28422]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK EMINENT PAINTERS ***
+
+
+
+
+Produced by Mark C. Orton, Christine P. Travers and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+(This file was produced from images generously made
+available by The Internet Archive/Canadian Libraries)
+
+
+
+
+
+[Transcriber's note: Bold text is marked with =."
+
+Obvious printer's errors have been corrected,
+all other inconsistencies are as in the original. The author's spelling
+has been maintained.]
+
+
+
+
+LIVES OF THE MOST EMINENT PAINTERS SCULPTORS & ARCHITECTS BY GIORGIO
+VASARI:
+
+VOLUME VI. FRA GIOCONDO TO NICCOLO SOGGI 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 VI
+
+                                                                    PAGE
+
+    FRA GIOCONDO, LIBERALE, AND OTHERS                                 1
+
+    FRANCESCO GRANACCI [IL GRANACCIO]                                 55
+
+    BACCIO D' AGNOLO                                                  63
+
+    VALERIO VICENTINO [VALERIO BELLI], GIOVANNI DA CASTEL BOLOGNESE
+      [GIOVANNI BERNARDI], MATTEO DAL NASSARO, AND OTHERS             73
+
+    MARC' ANTONIO BOLOGNESE, AND OTHERS                               89
+
+    ANTONIO DA SAN GALLO                                             121
+
+    GIULIO ROMANO                                                    143
+
+    FRA SEBASTIANO VINIZIANO DEL PIOMBO                              171
+
+    PERINO DEL VAGA                                                  187
+
+    GIORGIO VASARI, TO THE CRAFTSMEN IN DESIGN                       227
+
+    DOMENICO BECCAFUMI                                               233
+
+    GIOVANNI ANTONIO LAPPOLI                                         253
+
+    NICCOLO SOGGI                                                    267
+
+    INDEX OF NAMES                                                   281
+
+
+
+
+ILLUSTRATIONS TO VOLUME VI
+
+PLATES IN COLOUR
+
+                                                             FACING PAGE
+    GIOVAN FRANCESCO CAROTO
+        Elisabetta Gonzaga, Duchess of Mantua
+            Florence: Uffizi, 1121                                    16
+
+    FRANCESCO MONSIGNORI (BONSIGNORI)
+        Portrait of a Gentleman
+            London: N.G., 736                                         28
+
+    FRANCESCO MORONE
+        Madonna and Child
+            London: N.G., 285                                         32
+
+    GIROLAMO DAI LIBRI
+        Madonna and Child, with S. Anne
+            London: N.G., 748                                         48
+
+    FRANCESCO GRANACCI (IL GRANACCIO)
+        The Holy Family
+            Florence: Pitti, 199                                      58
+
+    FRA SEBASTIANO VINIZIANO DEL PIOMBO
+        Portrait of a Lady
+            Florence: Uffizi, 1123                                   174
+
+    DOMENICO BECCAFUMI
+        S. Catharine before the Crucifix
+            Siena: Pinacoteca, 420                                   238
+
+
+PLATES IN MONOCHROME
+
+    LIBERALE OF VERONA
+        S. Mary Magdalene with Saints
+            Verona: S. Anastasia                                      10
+
+    LIBERALE OF VERONA
+        Miniature
+            Siena: Duomo Library                                      14
+
+    GIOVAN FRANCESCO CAROTO
+        Madonna and Child, with S. Anne and Saints
+            Verona: S. Fermo Maggiore                                 18
+
+    FRANCESCO TURBIDO (IL MORO)
+        Portrait of a Man
+            Munich: Pinacothek, 1125                                  24
+
+    FRANCESCO MONSIGNORI (BONSIGNORI)
+        S. Sebastian
+            Berlin: Kaiser Friedrich Museum, 46c                      30
+
+    FRANCESCO MORONE
+        The Crucifixion
+            Verona: S. Bernardino                                     34
+
+    PAOLO CAVAZZUOLA
+        The Deposition
+            Verona: Museo Civico, 392                                 40
+
+    GIOVAN MARIA (FALCONETTO)
+        Palazzo del Capitanio
+            Padua                                                     46
+
+    GIROLAMO DAI LIBRI
+        Madonna and Child, with Saints
+            Verona: Museo Civico, 290                                 50
+
+    FRANCESCO GRANACCI (IL GRANACCIO)
+        The Madonna giving the Girdle to S. Thomas
+            Florence: Uffizi, 1280                                    62
+
+    GIOVANNI DA CASTEL BOLOGNESE (GIOVANNI BERNARDI)
+        Cassetta Farnese
+            Naples: Museo Nazionale                                   78
+
+    VALERIO VICENTINO (VALERIO BELLI)
+        Casket of Rock Crystal
+            Florence: Uffizi                                          82
+
+    ALESSANDRO CESATI
+    BENVENUTO CELLINI
+        Medals
+            London: British Museum                                    84
+
+    PASTORINO OF SIENA
+    DOMENICO POGGINI
+        Medals
+            London: British Museum                                    84
+
+    MARTIN SCHONGAUER
+        Christ and the Virgin Enthroned
+            London: British Museum, B. 71                             92
+
+    ALBRECHT DUeRER
+        Hercules
+            London: British Museum, B. 73                             92
+
+    ALBRECHT DUeRER
+        Christ taking leave of His Mother
+            London: British Museum, B. 92                             94
+
+    ALBRECHT DUeRER
+        S. Jerome in his Study
+            London: British Museum, B. 60                             96
+
+    LUCAS VAN LEYDEN
+        "Ecce Homo" of 1510
+            London: British Museum                                    98
+
+    MARC' ANTONIO BOLOGNESE
+        The Death of Lucretia
+            London: British Museum, B. 192                           102
+
+    MARC' ANTONIO BOLOGNESE (AFTER BANDINELLI)
+        The Martyrdom of S. Lawrence (engraving)
+            London: British Museum                                   104
+
+    ANTONIO DA SAN GALLO (THE YOUNGER) (WITH MICHELAGNOLO BUONARROTI)
+        Palazzo Farnese
+            Rome                                                     138
+
+    GIULIO ROMANO
+        Detail: The Battle of Constantine
+            Rome: The Vatican                                        146
+
+    GIULIO ROMANO
+        The Marriage Banquet of Cupid and Psyche
+            Mantua: Palazzo del Te                                   154
+
+    GIULIO ROMANO
+        The Destruction of the Giants by the Thunderbolts of Jove
+            Mantua: Palazzo del Te, Sala dei Giganti                 160
+
+    FRA SEBASTIANO VINIZIANO DEL PIOMBO
+        The Flagellation
+            Rome: S. Pietro in Montorio                              176
+
+    FRA SEBASTIANO VINIZIANO DEL PIOMBO
+        Andrea Doria
+            Rome: Palazzo Doria                                      182
+
+    PERINO DEL VAGA
+        The Passage of the Red Sea
+            Rome: The Vatican, Loggia                                192
+
+
+
+
+FRA GIOCONDO, LIBERALE, AND OTHER CRAFTSMEN OF VERONA
+
+
+
+
+LIVES OF FRA GIOCONDO, LIBERALE, AND OTHER CRAFTSMEN OF VERONA
+
+
+If writers of history were to live a few years longer than the number
+commonly granted as the span of human life, I, for my part, have no
+manner of doubt that they would have something to add to the accounts of
+the past previously written by them, for the reason that, even as it is
+not possible for a single man, be he ever so diligent, to learn the
+exact truth in a flash, or to discover all the details of his subject in
+the little time at his command, so it is as clear as the light of day
+that Time, who is said to be the father of truth, is always revealing
+new things every day to the seeker after knowledge. If, many years ago,
+when I first wrote and also published these Lives of the Painters and
+other Craftsmen, I had possessed that full information which I have
+since received concerning Fra Giocondo of Verona, a man of rare parts
+and a master of all the most noble faculties, I would without a doubt
+have made that honourable record of him which I am now about to make for
+the benefit of craftsmen, or rather, of the world; and not of him only,
+but also of many other masters of Verona, who have been truly excellent.
+And let no one marvel that I place them all under the image of one only,
+because, not having been able to obtain portraits of them all, I am
+forced to do this; but, so far as in me lies, not one of them shall
+thereby have his excellence defrauded of its due.
+
+Now, since the order of time and merit so demands, I shall speak first
+of Fra Giocondo. This man, when he assumed the habit of S. Dominic, was
+called not simply Fra Giocondo, but Fra Giovanni Giocondo. How the name
+Giovanni dropped from him I know not, but I do know that he was always
+called Fra Giocondo by everyone. And although his chief profession was
+that of letters, and he was not only a very good philosopher and
+theologian, but also an excellent Greek scholar (which was a rare thing
+at that time, when learning and letters were just beginning to revive in
+Italy), nevertheless he was also a very fine architect, being a man who
+always took supreme delight in that art, as Scaliger relates in his
+epistle against Cardan, and the learned Bude in his book "De Asse," and
+in the observations that he wrote on the Pandects.
+
+Fra Giocondo, then, who was a fine scholar, a capable architect, and an
+excellent master of perspective, spent many years near the person of the
+Emperor Maximilian, and was master in the Greek and Latin tongues to the
+learned Scaliger, who writes that he heard him dispute with profound
+learning on matters of the greatest subtlety before the same Maximilian.
+It is related by persons still living, who remember the facts very
+clearly, that at the time when Verona was under the power of that
+Emperor the bridge which is called the Ponte della Pietra, in that city,
+was being restored, and it was seen to be necessary to refound the
+central pier, which had been destroyed many times in the past, and Fra
+Giocondo gave the design for refounding it, and also for safeguarding it
+in such a manner that it might never be destroyed again. His method of
+safeguarding it was as follows: he gave orders that the pier should be
+kept always bound together with long double piles fixed below the water
+on every side, to the end that these might so protect it that the river
+should not be able to undermine it; for the place where it is built is
+in the main current of the river, the bed of which is so soft that no
+solid ground can be found on which to lay its foundations. And
+excellent, in truth, as is evident from the result, was the advice of
+Fra Giocondo, for the reason that the pier has stood firm from that time
+to our own, as it still does, without ever showing a crack; and there is
+hope that, by the observation of the suggestions given by that good
+monk, it will stand for ever.
+
+In his youth Fra Giocondo spent many years in Rome, giving his attention
+to the study of antiquities, and not of buildings only, but also of the
+ancient inscriptions that are in the tombs, and the other relics of
+antiquity, both in Rome itself and its neighbourhood, and in every part
+of Italy; and he collected all these inscriptions and memorials into a
+most beautiful book, which he sent as a present, according to the
+account of the citizens of Verona mentioned above, to the elder Lorenzo
+de' Medici, the Magnificent, to whom, by reason of the great
+friendliness and favour that he showed to all men of talent, both Fra
+Giocondo and Domizio Calderino, his companion and compatriot, were
+always most deeply devoted. Of this book Poliziano makes mention in his
+Mugellane, in which he uses various parts of it as authorities, calling
+Fra Giocondo a profound master in antiquities.
+
+The same Giocondo wrote some observations, which are in print, on the
+Commentaries of Caesar; and he was the first who made a drawing of the
+bridge built by Caesar over the River Rhone, and described by him in
+those same Commentaries, but misunderstood in the time of Fra Giocondo.
+Him the aforesaid Bude confesses to have had as his master in the study
+of architecture, thanking God that he had been taught his Vitruvius by a
+teacher so learned and so diligent as was that monk, who corrected in
+that author a vast number of errors not recognized up to that time; and
+this he was able to do with ease, because he was a master of every kind
+of learning, and had a good knowledge of both the Greek tongue and the
+Latin. This and other things declares Bude, extolling Fra Giocondo as an
+excellent architect, and adding that by the researches of the same monk
+there were discovered in an old library in Paris the greater part of the
+Epistles of Pliny, which, after having been so long out of the hands of
+mankind, were printed by Aldus Manutius, as may be read in a Latin
+letter written by him and printed with the same.
+
+When living in Paris in the service of King Louis XII, Fra Giocondo
+built two superb bridges over the Seine, covered with shops--works truly
+worthy of that magnanimous King and of the marvellous intellect of Fra
+Giocondo. Wherefore that master, in addition to the inscription in his
+praise that may still be seen on those works, won the honour of being
+celebrated by Sannazzaro, a rare poet, in this most beautiful distich:
+
+  Jocundus geminum imposuit tibi, Sequana, pontem;
+    Hunc tu jure potes dicere pontificem.
+
+Besides this, he executed a vast number of other works for that King
+throughout all his kingdom; but of these, after having made mention of
+those above, as being the greatest, I shall say no more.
+
+Then, happening to be in Rome at the death of Bramante, he was placed,
+in company with Raffaello da Urbino and Giuliano da San Gallo, in charge
+of the Church of S. Pietro, to the end that the structure begun by
+Bramante might be carried forward. Now, from the circumstance that it
+had been erected in haste, and for other reasons given in another place,
+it was threatening to fall in many parts, and by the advice of Fra
+Giocondo, Raffaello, and Giuliano, the foundations were in great measure
+renewed; in which work persons who were present and are still living
+declare that those masters adopted the following method. They excavated
+below the foundations many large pits after the manner of wells, but
+square, at a proper distance one from another, which they filled with
+masonry; and between every two of these piers, or rather pits filled
+with masonry, they threw very strong arches across the space below,
+insomuch that the whole building came to be placed on new foundations
+without suffering any shock, and was secured for ever from the danger of
+showing any more cracks.
+
+But the work for which it seems to me that Fra Giocondo deserves the
+greatest praise is one on account of which an everlasting gratitude is
+due to him not only from the Venetians, but from the whole world as
+well. For he reflected that the life of the Republic of Venice depended
+in great measure on the preservation of its impregnable position on the
+lagoons on which that city, as it were by a miracle, is built; and that,
+whenever those lagoons silted up with earth, the air would become
+infected and pestilential, and the city consequently uninhabitable, or
+at the least exposed to all the dangers that threaten cities on the
+mainland. He set himself, therefore, to think in what way it might be
+possible to provide for the preservation of the lagoons and of the site
+on which the city had been built in the beginning. And having found a
+way, Fra Giocondo told the Signori that, if they did not quickly come to
+some resolution about preventing such an evil, in a few years, to judge
+by that which could be seen to have happened in part, they would become
+aware of their error, without being in time to be able to retrieve it.
+Roused by this warning, and hearing the powerful arguments of Fra
+Giocondo, the Signori summoned an assembly of the best engineers and
+architects that there were in Italy, at which many opinions were given
+and many designs made; but that of Fra Giocondo was held to be the best,
+and was put into execution. They made a beginning, therefore, with
+excavating a great canal, which was to divert two-thirds or at least
+one-half of the water brought down by the River Brenta, and to conduct
+that water by a long detour so as to debouch into the lagoons of
+Chioggia; and thus that river, no longer flowing into the lagoons at
+Venice, has not been able to fill them up by bringing down earth, as it
+has done at Chioggia, where it has filled and banked up the lagoons in
+such a manner that, where there was formerly water, many tracts of land
+and villas have sprung up, to the great benefit of the city of Venice.
+Wherefore it is the opinion of many persons, and in particular of the
+Magnificent Messer Luigi Cornaro, a Venetian gentleman of ripe wisdom
+gained both by learning and by long experience, that, if it had not been
+for the warning of Fra Giocondo, all the silting up that took place in
+the lagoons of Chioggia would have happened, and perhaps on a greater
+scale, in those of Venice, inflicting incredible damage and almost ruin
+on that city. The same Messer Luigi, who was very much the friend of Fra
+Giocondo, as he is and always has been of all men of talent, declares
+that his native city of Venice owes an eternal debt of gratitude for
+this to the memory of Fra Giocondo, who on this account, he says, might
+reasonably be called the second founder of Venice; and that he almost
+deserves more praise for having preserved by that expedient the grandeur
+and nobility of that marvellous and puissant city, than do those who
+built it at the beginning in such a weak and ill-considered fashion,
+seeing that the benefit received from him will be to all eternity, as it
+has been hitherto, of incalculable utility and advantage to Venice.
+
+Not many years after Fra Giocondo had executed this divine work, the
+Venetians suffered a great loss in the burning of the Rialto, the place
+in which are the magazines of their most precious merchandise--the
+treasure, as it were, of that city. This happened at the very time when
+that Republic had been reduced by long-continued wars and by the loss
+of the greater part, or rather almost the whole, of her dominions on the
+mainland to a desperate condition; and the Signori then governing were
+full of doubt and hesitation as to what they should do. However, the
+rebuilding of that place being a matter of the greatest importance, they
+resolved that it should be reconstructed at all costs. And wishing to
+give it all possible grandeur, in keeping with the greatness and
+magnificence of that Republic, and having already recognized the talent
+of Fra Giocondo and his great ability in architecture, they gave him the
+commission to make a design for that structure; whereupon he drew one in
+the following manner. He proposed to occupy all the space that lies
+between the Canale delle Beccherie,[1] in the Rialto, and the Rio del
+Fondaco delle Farine,[2] taking as much ground between one canal and the
+other as would make a perfect square--that is, the length of the sides
+of this fabric was to be as great as the space which one covers at the
+present day in walking from the debouchure of one of those canals into
+the Grand Canal to that of the other. He intended, also, that the same
+two canals should debouch on the other side into a common canal, which
+was to run from the one to the other, so that the fabric might be left
+entirely surrounded by water, having the Grand Canal on one side, the
+two smaller canals on two other sides, and on the last the new canal
+that was to be made. Then he desired that between the water and the
+buildings, right round the square, there should be made, or rather
+should be left, a beach or quay of some breadth, which might serve as a
+piazza for the selling in duly appointed places of the vegetables,
+fruits, fish, and other things, that come from many parts to the city.
+It was also his opinion that right round the outer side of the buildings
+there should be erected shops looking out upon those same quays, and
+that these shops should serve only for the sale of eatables of every
+kind. And in these four sides the design of Fra Giocondo had four
+principal gates--namely, one to each side, placed in the centre, one
+directly opposite to another. But before going into the central piazza,
+by whichever side one entered, one would have found both on the right
+hand and on the left a street which ran round the block of buildings
+and had shops on either side, with handsome workshops above them and
+magazines for the use of those shops, which were all to be devoted to
+the sale of woven fabrics--that is, fine woollen cloth and silk, which
+are the two chief products of that city. This street, in short, was to
+contain all the shops that are called the Tuscan's and the
+silk-merchant's.
+
+From this double range of shops there was to be access by way of the
+four gates into the centre of the whole block--that is to say, into a
+vast piazza surrounded on every side by spacious and beautiful loggie
+for the accommodation of the merchants and for the use of the great
+number of people who flock together for the purposes of their trade and
+commerce to that city, which is the custom-house of all Italy, or rather
+of Europe. Under those loggie, on every side, were to be the shops of
+the bankers, goldsmiths, and jewellers; and in the centre was to be
+built a most beautiful temple dedicated to S. Matthew, in which the
+people of quality might be able to hear the divine offices in the
+morning. With regard to this temple, however, some persons declare that
+Fra Giocondo changed his mind, and wished to build two under the loggie,
+so as not to obstruct the piazza. And, in addition, this superb
+structure was to have so many other conveniences, embellishments, and
+adornments, all in their proper places, that whoever sees at the present
+day the beautiful design that Fra Giocondo made for the whole, declares
+that nothing more lovely, more magnificent, or planned with better
+order, could be imagined or conceived by the most excellent of
+craftsmen, be his genius never so happy.
+
+It was proposed, also, with the advice of the same master, and as a
+completion to this work, to build the Bridge of the Rialto of stone,
+covered with shops, which would have been a marvellous thing. But this
+enterprise was not carried into effect, for two reasons: first, because
+the Republic, on account of the extraordinary expenses incurred in the
+last war, happened to be drained dry of money; and, secondly, because a
+gentleman of great position and much authority at that time (of the
+family, so it is said, of Valereso), being a man of little judgment in
+such matters, and perchance influenced by some private interest, chose
+to favour one Maestro Zanfragnino,[3] who, so I am informed, is still
+alive, and who had worked for him on buildings of his own. This
+Zanfragnino--a fit and proper name for a master of his calibre--made the
+design for that medley of marble which was afterwards carried into
+execution, and which is still to be seen; and many who are still alive,
+and remember the circumstances very well, are even yet not done with
+lamenting that foolish choice.
+
+Fra Giocondo, having seen that shapeless design preferred to his
+beautiful one, and having perceived how much more virtue there often is
+in favour than in merit with nobles and great persons, felt such disdain
+that he departed from Venice, nor would he ever return, although he was
+much entreated to do it. And the design, with others by the same monk,
+remained in the house of the Bragadini, opposite to S. Marina, in the
+possession of Frate Angelo, a member of that family and a friar of S.
+Dominic, who, by reason of his many merits, afterwards became Bishop of
+Vicenza.
+
+Fra Giocondo was very versatile, and delighted, in addition to the
+pursuits already mentioned, in simples and in agriculture. Thus Messer
+Donato Giannotti, the Florentine, who was very much his friend for many
+years in France, relates that once, when living in that country, the
+monk reared a peach-tree in an earthen pot, and that this little tree,
+when he saw it, was so laden with fruit that it was a marvellous sight.
+On one occasion, by the advice of some friends, he had set it in a place
+where the King was to pass and would be able to see it, when certain
+courtiers, who passed by first, plucked all the peaches off that little
+tree, as suchlike people were sure to do, and, playing about with one
+another, scattered what they could not eat along the whole length of the
+street, to the great displeasure of Fra Giocondo. The matter coming to
+the ears of the King, he first laughed over the jest with the courtiers,
+and then, after thanking the monk for what he had done to please him,
+gave him a present of such a kind that he was consoled.
+
+[Illustration: THE MAGDALENE WITH SAINTS
+
+(_After the painting by =Liberale da Verona=. Verona: S. Anastasia_)
+
+_Anderson_]
+
+Fra Giocondo was a man of saintly and most upright life, much beloved by
+all the great men of letters of his age, and in particular by Domizio
+Calderino, Matteo Bosso, and Paolo Emilio, the writer of the History of
+France, all three his compatriots. Very much his friends, likewise, were
+Sannazzaro, Bude, and Aldus Manutius, with all the Academy of Rome; and
+he had a disciple in Julius Caesar Scaliger, one of the most learned men
+of our times. Finally, being very old, he died, but precisely at what
+time and in what place this happened, and consequently where he was
+buried, is not known.
+
+Even as it is true that the city of Verona is very similar to Florence
+in situation, manners, and other respects, so it is also true that in
+the first as well as in the second there have always flourished men of
+the finest genius in all the noblest and most honourable professions.
+Saying nothing of the learned, for with them I have nothing to do here,
+and continuing to speak of the men of our arts, who have always had an
+honourable abode in that most noble city, I come to Liberale of Verona,
+a disciple of Vincenzio di Stefano, a native of the same city, already
+mentioned in another place, who executed for the Church of Ognissanti,
+belonging to the Monks of S. Benedict, at Mantua, in the year 1463, a
+Madonna that was a very praiseworthy example of the work of those times.
+Liberale imitated the manner of Jacopo Bellini, for when a young man,
+while the said Jacopo was painting the Chapel of S. Niccolo at Verona,
+he gave his attention under Bellini to the studies of design in such
+thorough fashion that, forgetting all that he had learned from Vincenzio
+di Stefano, he acquired the manner of Bellini and retained it ever
+after.
+
+The first paintings of Liberale were in the Chapel of the Monte della
+Pieta in S. Bernardino, in his native city; and there, in the principal
+picture, he painted a Deposition from the Cross, with certain Angels,
+some of whom have in their hands the Mysteries (for so they are called)
+of the Passion, and all with their weeping faces show grief at the Death
+of the Saviour. Very natural, in truth, are these figures, as are other
+works of the same kind by this master, who strove to show in many places
+that he was able to paint weeping countenances. This may also be seen in
+S. Anastasia, a church of Friars of S. Dominic, likewise in Verona,
+where he painted a Dead Christ with the Maries mourning for Him on the
+pediment of the Chapel of the Buonaveri; and he executed many pictures
+in the same manner of painting as the work mentioned above, which are
+dispersed among the houses of various gentlemen in Verona.
+
+In the same chapel he painted a God the Father surrounded by many Angels
+who are playing instruments and singing, with three figures on either
+side--S. Peter, S. Dominic, and S. Thomas Aquinas on one side, and S.
+Lucia, S. Agnese, and another female Saint on the other; but the first
+three are much the finer, being executed in a better manner and with
+more relief. On the main wall of that chapel he painted Our Lady, with
+the Infant Christ marrying S. Catharine, the Virgin-Martyr; and in this
+work he made a portrait of Messer Piero Buonaveri, the owner of the
+chapel. Around this group are some Angels presenting flowers, with some
+heads that are smiling, executed with such grace in their gladness, that
+they prove that he was able to paint a smiling face as well as he had
+painted tears in other figures. In the altar-piece of the same chapel he
+painted S. Mary Magdalene in the air, supported by some Angels, with S.
+Catharine below--a work which was held to be very beautiful. On the
+altar of the Madonna in the Church of S. Maria della Scala, belonging to
+the Servite Friars, he executed the story of the Magi on two
+folding-doors that enclose that Madonna, which is held in vast
+veneration in that city; but the work did not long remain there, for it
+was removed because it was being spoilt by the smoke of the candles, and
+placed in the sacristy, where it is much admired by the painters of
+Verona.
+
+In the tramezzo[4] of the Church of S. Bernardino, above the Chapel of
+the Company of the Magdalene, he painted in fresco the story of the
+Purification, wherein is a figure of Simeon that is much extolled, as
+also is that of the Infant Christ, who with great affection is kissing
+that old man, who is holding Him in his arms; and very beautiful,
+likewise, is a priest standing there on one side, who, with his arms
+extended and his face uplifted towards Heaven, appears to be thanking
+God for the salvation of the world. Beside this chapel is a picture of
+the story of the Magi by the hand of the same Liberale; and in the
+pediment of the picture there is the Death of the Madonna, executed
+with little figures, which are highly extolled. Great, indeed, was his
+delight in painting works with little figures, with which he always took
+such pains that they seem to be the work rather of an illuminator than
+of a painter, as may be seen in the Duomo of the same city, where there
+is a picture by his hand of the story of the Magi, with a vast number of
+little figures, horses, dogs, and various other animals, and near them a
+group of rosy-coloured Cherubim, who serve as a support to the Mother of
+Jesus. In this picture the heads are so finished, and everything is
+executed with such diligence, that, as I have said, it appears to be the
+work of an illuminator.
+
+He also painted stories of Our Lady on a small predella, likewise after
+the manner of miniatures, for the Chapel of the Madonna in the Duomo.
+But this was afterwards removed from that chapel by order of Monsignor
+Messer Giovan Matteo Giberti, Bishop of Verona, and placed in the Palace
+of the Vescovado, which is the residence of the Bishops, in that chapel
+wherein they hear Mass every morning. And there that predella stands in
+company with a most beautiful Crucifix in relief, executed by Giovanni
+Battista Veronese, a sculptor, who now lives in Mantua. Liberale also
+painted a panel-picture for the Chapel of the Allegni in S. Vitale,
+containing a figure of S. Mestro, the Confessor, a Veronese and a man of
+great sanctity, whom he placed between a S. Francis and a S. Dominic.
+For the Chapel of S. Girolamo in the Vittoria, a church and convent of
+certain Eremite Friars, he executed at the commission of the
+Scaltritegli family an altar-piece of S. Jerome in the habit of a
+Cardinal, with a S. Francis and a S. Paul, all much extolled. And in the
+tramezzo[5] of the Church of S. Giovanni in Monte he painted the
+Circumcision of Christ and other works, which were destroyed not long
+since, because it was considered that the tramezzo impaired the beauty
+of the church.
+
+Being then summoned to Siena by the General of the Monks of Monte
+Oliveto, Liberale illuminated many books for that Order; and in these he
+succeeded so well, that he was commissioned in consequence to illuminate
+some that had been left unfinished--that is to say, only written--in
+the library of the Piccolomini. He also illuminated some books of
+plain-song for the Duomo of that city, where he would have remained
+longer, executing many works that he had in hand; but, being driven away
+by envy and persecution, he set off to return to Verona, with eight
+hundred crowns that he had earned, which he lent afterwards to the Monks
+of Monte Oliveto at S. Maria in Organo, from whom he drew interest to
+support him from day to day.
+
+Having thus returned to Verona, he gave his attention for the rest of
+his life more to illumination than to any other kind of work. At
+Bardolino, a place on the Lake of Garda, he painted a panel-picture
+which is now in the Pieve; and another for the Church of S. Tommaso
+Apostolo. For the Chapel of S. Bernardo, likewise, in the Church of S.
+Fermo, a convent of Friars of S. Francis, he painted a panel-picture of
+the first-named Saint, with some scenes from his life in the predella.
+In the same place, also, and in others, he executed many nuptial
+pictures, one of which, containing the Madonna with the Child in her
+arms marrying S. Catharine, is in the house of Messer Vincenzio de'
+Medici at Verona.
+
+On the corner of the house of the Cartai, on the way from the Ponte
+Nuovo to S. Maria in Organo, in Verona, he painted a Madonna and S.
+Joseph in fresco, a work which was much extolled. Liberale would have
+liked to paint the Chapel of the Riva family, which had been built in
+order to honour the memory of Giovanni Riva, a captain of men-at-arms at
+the battle of the Taro, in the Church of S. Eufemia; but he did not
+receive the commission, which was given to some strangers, and he was
+told that he was too old and that his sight was failing him. When this
+chapel was opened, a vast number of faults were perceived in it, and
+Liberale said that he who had given the commission had been much more
+blind than himself.
+
+[Illustration: MINIATURE
+
+(_After_ Liberale da Verona. _Siena: Duomo Library_)
+
+_Anderson_]
+
+Finally, being eighty-four years of age, or even more, Liberale allowed
+himself to be ruled by his relatives, and particularly by a married
+daughter, who, like the rest, treated him very badly. At which, having
+grown angry both with her and with his other relatives, and happening to
+have under his charge one Francesco Turbido, called Il Moro, then a
+young man, who was a diligent painter and much affected towards him,
+he appointed him as heir to the house and garden that he had at S.
+Giovanni in Valle, a very pleasant part of the city; and with him he
+took up his quarters, saying that he would rather give the enjoyment of
+his property to one who loved virtue than to those who ill-treated their
+nearest of kin. But no long time passed before he died, which was on the
+day of S. Chiara in the year 1536, at the age of eighty-five; and he was
+buried in S. Giovanni in Valle.
+
+His disciples were Giovan Francesco Caroto and Giovanni Caroto,
+Francesco Turbido, called Il Moro, and Paolo Cavazzuola, of whom, since
+they were truly excellent masters, I shall make mention in their due
+order.
+
+Giovan Francesco Caroto was born at Verona in the year 1470, and after
+having learned the first rudiments of letters, being drawn to painting,
+he abandoned the studies of grammar and placed himself to learn painting
+under the Veronese Liberale, undertaking to recompense him for his
+pains. Young as he was, then, Giovan Francesco devoted himself with such
+love and diligence to design, that even in his earliest years he was a
+great assistance to Liberale both in that and in colouring. No long time
+after, when his judgment had increased with his years, he saw the works
+of Andrea Mantegna in Verona; and thinking, as indeed was the truth,
+that these were of another manner and better than those of his master,
+he so wrought upon his father that he was given leave, with the gracious
+consent of Liberale, to apprentice himself to Mantegna. Having gone to
+Mantua, therefore, and having placed himself under Mantegna, in a short
+time he made such proficience that Andrea sent out works by Caroto as
+works by his own hand. In short, before many years had passed by, he had
+become an able master. The first works that he executed after leaving
+the discipline of Mantegna were on the altar of the three Magi in the
+Church of the Hospital of S. Cosimo at Verona, where he painted on the
+folding-doors that enclose that altar the Circumcision of Christ and the
+Flight into Egypt, with other figures. In the Church of the Frati
+Ingiesuati, called S. Girolamo, in two angles of a chapel, he painted
+the Madonna and the Angel of the Annunciation. And for the Prior of the
+Friars of S. Giorgio he executed a little panel-picture of the Manger,
+in which he may be seen to have greatly improved his manner, since the
+heads of the shepherds and of all the other figures have expressions so
+sweet and so beautiful, that this work was much extolled, and that
+rightly; and if it were not that the priming of gesso is peeling off
+through having been badly prepared, so that the picture is gradually
+perishing, it would be enough by itself to keep him alive for ever in
+the memory of his fellow-citizens.
+
+Next, having been commissioned by the men who governed the Company of
+the Angel Raphael to paint their chapel in the Church of S. Eufemia, he
+executed therein two stories of the Angel Raphael in fresco, and in the
+altar-piece, in oils, three large Angels, Raphael in the centre, and
+Gabriel and Michael on either side, and all with good draughtsmanship
+and colouring. He was reproached, indeed, for having made the legs of
+those Angels too slender and wanting in softness; to which he made a
+pleasant and gracious answer, saying that even as Angels were
+represented with wings and with bodies, so to speak, celestial and
+ethereal, as if they were birds, so it was only right to make their legs
+lean and slender, to the end that they might fly and soar upwards with
+greater ease. For that altar of the Church of S. Giorgio where there is
+a Christ bearing His Cross, he painted S. Rocco and S. Sebastian, with
+some scenes in the predella executed with very beautiful little figures.
+And by order of the Company of the Madonna he painted on the predella of
+the altar of that Company, in S. Bernardino, the Nativity of the Madonna
+and the Massacre of the Innocents, with a great variety of attitudes in
+the murderers and in the groups of children whom their mothers are
+defending with all their might. This work is held in great veneration,
+and is kept covered, the better to preserve it; and it was the reason
+that the men of the Fraternity of S. Stefano commissioned him to paint
+three pictures with similar figures for their altar in the old Duomo of
+Verona, containing three little scenes from the life of Our Lady--her
+Marriage, the Nativity of Christ, and the story of the Magi.
+
+[Illustration: GIOVAN FRANCESCO CAROTO: ELISABETTA GONZAGA, DUCHESS OF
+MANTUA
+
+(_Florence: Uffizi, 1121. Panel_)]
+
+After these works, thinking that he had gained enough credit in Verona,
+Giovan Francesco was minded to depart and make trial of other places;
+but his friends and relatives, pressing him much, persuaded him to
+take to wife a young woman of noble birth, the daughter of Messer
+Braliassarti Grandoni, whom he married in 1505. In a short time,
+however, after he had had a son by her, she died in child-birth; and
+Giovan Francesco, thus left free, departed from Verona and went off to
+Milan, where Signor Anton Maria Visconti received him into his house and
+caused him to execute many works for its adornment.
+
+Meanwhile there was brought to Milan by a Fleming a head of a young man,
+taken from life and painted in oils, which was admired by everyone in
+that city; but Giovan Francesco, seeing it, laughed and said: "I am
+confident that I can do a better." At which the Fleming mocked him, but
+after many words the matter came to this, that Giovan Francesco was to
+try his hand, losing his own picture and twenty-five crowns if he lost,
+and winning the Fleming's head and likewise twenty-five crowns if he
+won. Setting to work, therefore, with all his powers, Giovan Francesco
+made a portrait of an aged gentleman with shaven face, with a falcon on
+his wrist; but, although this was a good likeness, the head of the
+Fleming was judged to be the better. Giovan Francesco did not make a
+good choice in executing his portrait, for he took a head that could not
+do him honour; whereas, if he had chosen a handsome young man, and had
+made as good a likeness of him as he did of the old man, he would at
+least have equalled his adversary's picture, even if he had not
+surpassed it. But for all this the head of Giovan Francesco did not fail
+to win praise, and the Fleming showed him courtesy, for he contented
+himself with the head of the shaven old man, and, being a noble and
+courteous person, would by no means accept the five-and-twenty crowns.
+This picture came after some time into the possession of Madonna
+Isabella d'Este, Marchioness of Mantua, who paid a very good price for
+it to the Fleming and placed it as a choice work in her study, in which
+she had a vast number of very beautiful coins, pictures, works in
+marble, and castings.
+
+After completing his work for Visconti, Giovan Francesco, being invited
+by Guglielmo, Marquis of Montferrat, went willingly to serve him, as
+Visconti straitly besought him to do. On his arrival, a fine provision
+was assigned to him; and, setting to work, he painted for that noble at
+Casale, in a chapel where he heard Mass, as many pictures as were
+necessary to fill it and adorn it on every side, with subjects from the
+Old Testament and the New, which were executed by him with supreme
+diligence, as was also the chief altar-piece. He then executed many
+works throughout the apartments of that Castle, which brought him very
+great fame. And in S. Domenico, by order of that Marquis, he painted the
+whole of the principal chapel for the adornment of the tomb wherein he
+was to be laid to rest; in which work Giovan Francesco acquitted himself
+so well, that he was rightly rewarded with honourable gifts by the
+liberality of his patron, who also favoured him by making him one of his
+own chamberlains, as may be seen from an instrument that is in the
+possession of his heirs at Verona. He made portraits of that lord and of
+his wife, with many pictures that they sent to France, and also the
+portrait of Guglielmo, their eldest child, who was then a boy, and
+likewise portraits of their daughters and of all the ladies who were in
+the service of the Marchioness.
+
+On the death of the Marquis Guglielmo, Giovan Francesco departed from
+Casale, after first selling all the property that he had in those parts,
+and made his way to Verona, where he so arranged his affairs and those
+of his son, to whom he gave a wife, that in a short time he found
+himself in possession of more than seven thousand ducats. But he did not
+therefore abandon his painting; indeed, having a quiet mind, and not
+being obliged to rack his brain for a livelihood, he gave more attention
+to it than ever. It is true that either from envy or for some other
+reason he was accused of being a painter who could do nothing but little
+figures; wherefore, in executing the altar-piece of the Chapel of the
+Madonna in S. Fermo, a convent of Friars of S. Francis, wishing to show
+that the accusation was a calumny, he painted the figures larger than
+life, and so well, that they were the best that he had ever done. In the
+air is Our Lady seated in the lap of S. Anne, with some Angels standing
+upon clouds, and beneath are S. Peter, S. John the Baptist, S. Rocco,
+and S. Sebastian; and not far away, in a most beautiful landscape, is S.
+Francis receiving the Stigmata. This work, indeed, is held by craftsmen
+to be not otherwise than good.
+
+[Illustration: MADONNA AND CHILD WITH S. ANNE AND SAINTS
+
+(_After the painting by =Giovan Francesco Caroto=. Verona: S. Fermo
+Maggiore_)
+
+_Alinari_]
+
+For the Chapel of the Cross in S. Bernardino, a seat of the Frati
+Zoccolanti, he painted Christ kneeling on one knee and taking leave of
+His Mother. In this work, stirred to emulation by the many notable
+pictures by the hands of other masters that are in that place, he strove
+to surpass them all; wherefore, in truth, he acquitted himself very
+well, and was praised by all who saw it, save only by the Guardian of
+that convent, who, like the boorish and solemn fool that he was,
+reproved Giovan Francesco with biting words, saying that he had made
+Christ show such little reverence to His Mother as to kneel only upon
+one knee. To which Giovan Francesco answered by saying: "Father, first
+do me the favour of kneeling down and rising up again, and I will then
+tell you for what reason I have painted Christ so." The Guardian, after
+much persuasion, knelt down, placing on the ground first his right knee
+and then his left; and in rising up he raised first the left and then
+the right. Which done, Giovan Francesco said: "Did you observe, Father
+Guardian, that you neither knelt down nor rose up with both knees
+together? I tell you, therefore, that this Christ of mine is right,
+because one might say that He is either coming to His knees before His
+Mother, or beginning, after having knelt a while, to raise one leg in
+order to rise." At which the Guardian had to appear a little appeased,
+although he went off muttering under his breath.
+
+Giovan Francesco was very sharp in his answers; and it is also related
+of him that once, being told by a priest that his figures were too
+seductive for altar-pieces, he replied: "A lusty fellow you must be, if
+painted figures so move you. Think how much you are to be trusted in
+places where there are living people for you to touch." At Isola, a
+place on the Lake of Garda, he painted two panel-pictures for the Church
+of the Zoccolanti; and at Malsessino, a township above that same lake,
+he painted a very beautiful Madonna over the door of a church, and some
+Saints within the church, at the request of Fracastoro, a very famous
+poet, who was much his friend. For Count Giovan Francesco Giusti,
+executing a subject conceived by that nobleman, he painted a young man
+wholly naked except for the parts of shame, and in an attitude of
+indecision as to whether he shall rise up or not; and on one side he had
+a most beautiful young woman representing Minerva, who with one hand
+was pointing out to him a figure of Fame on high, and with the other was
+urging him to follow her; but Sloth and Idleness, who were behind the
+young man, were striving to detain him. Below these was a figure with an
+uncouth face, rather that of a slave and a plebeian than of one of noble
+blood, who had two great snails clinging to his elbows and was seated on
+a crab, and near him was another figure with the hands full of poppies.
+This invention, in which are other beautiful details and fancies, was
+executed by Giovan Francesco with supreme diligence and love; and it
+serves as the head-board of a bedstead at that nobleman's lovely place
+near Verona, which is called S. Maria in Stella.
+
+The same master painted the whole of a little chamber with various
+scenes in little figures, for Count Raimondo della Torre. And since he
+delighted to work in relief, he executed not only models for his own
+purposes and for the arrangement of draperies, but also other things of
+his own fancy, of which there are some to be seen in the house of his
+heirs, and in particular a scene in half-relief, which is not otherwise
+than passing good. He also executed portraits on medallions, and some
+are still to be seen, such as that of Guglielmo, Marquis of Montferrat,
+which has on the reverse a Hercules slaying ..., with a motto that runs:
+"Monstra domat." He painted portraits of Count Raimondo della Torre,
+Messer Giulio his brother, and Messer Girolamo Fracastoro.
+
+But when Giovan Francesco became old, he began gradually to lose his
+mastery over art, as may be seen from the organ-doors in S. Maria della
+Scala, from the panel-picture of the Movi family, wherein is a
+Deposition from the Cross, and from the Chapel of S. Martino in S.
+Anastasia. Giovan Francesco had always a great opinion of himself, and
+not for anything in the world would he have ever copied another man's
+work in his own. Now Bishop Giovan Matteo Giberti wished him to paint
+some stories of the Madonna in the great chapel of the Duomo, and had
+the designs for these drawn in Rome by Giulio Romano, who was very much
+his friend (for Giberti was Datary to Pope Clement VII). But, when the
+Bishop had returned to Verona, Giovan Francesco would never consent to
+execute these designs; at which the Bishop, in disdain, caused them to
+be put into execution by Francesco, called Il Moro.
+
+Giovan Francesco held an opinion, in which he was not far from the
+truth, that varnishing pictures spoiled them, and made them become old
+sooner than they otherwise would; and for this reason he used varnish in
+the darks while painting, together with certain purified oils. He was
+also the first who executed landscapes well in Verona; wherefore there
+are some by his hand to be seen in that city, which are very beautiful.
+Finally, when seventy-six years of age, Giovan Francesco died the death
+of a good Christian, leaving his grandchildren and his brother, Giovanni
+Caroto, passing well provided. This Giovanni, after first applying
+himself to art under his brother, and then spending some time in Venice,
+had just returned to Verona when Giovan Francesco passed to the other
+life; and thus he took a hand with the grandchildren in inspecting the
+things of art that had been left to them. Among these they found a
+portrait of an old man in armour, very beautiful both in drawing and in
+colour, which was the best work by the hand of Giovan Francesco that was
+ever seen; and likewise a little picture containing a Deposition from
+the Cross, which was presented to Signor Spitech, a man of great
+authority with the King of Poland, who had come at that time to some
+baths that are in the territory of Verona. Giovan Francesco was buried
+in the Madonna dell' Organo, in the Chapel of S. Niccolo, which he
+himself had adorned with his paintings.
+
+Giovanni Caroto, brother of Giovan Francesco, although he followed the
+manner of the latter, yet gained less reputation in the practice of
+painting. This master painted the altar-piece in the above-mentioned
+Chapel of S. Niccolo, wherein is the Madonna enthroned on clouds; and
+below this he placed a portrait of himself, taken from life, and that of
+his wife Placida. He also painted some little figures of female Saints
+for the altar of the Schioppi in the Church of S. Bartolommeo, together
+with a portrait of Madonna Laura degli Schioppi, who had caused that
+chapel to be built, and who was much celebrated by the writers of those
+times no less for her virtues than for her beauty. Giovanni likewise
+painted a S. Martin in a little altar-piece for S. Giovanni in Fonte,
+near the Duomo; and he made a portrait of Messer Marc' Antonio della
+Torre (who afterwards became a man of learning and gave public lectures
+at Padua and Pavia) as a young man, and also one of Messer Giulio; which
+heads are in the possession of their heirs at Verona. For the Prior of
+S. Giorgio he painted a picture of Our Lady, which, as a good painting,
+has been kept ever since, as it still is, in the chamber of the Priors.
+And he painted another picture, representing the transformation of
+Actaeon into a stag, for the organist Brunetto, who afterwards presented
+it to Girolamo Cicogna, an excellent embroiderer, and engineer to Bishop
+Giberti; and it now belongs to Messer Vincenzio Cicogna, his son.
+
+Giovanni took ground-plans of all the ancient buildings of Verona, with
+the triumphal arches and the Colosseum. These were revised by the
+Veronese architect Falconetto, and they were meant for the adornment of
+the book of the Antiquities of Verona, which had been written after his
+own original research by Messer Torello Saraina, who afterwards had the
+book printed. This book was sent to me by Giovanni Caroto when I was in
+Bologna (where I was executing the work of the Refectory of S. Michele
+in Bosco), together with the portrait of the reverend Father, Don
+Cipriano da Verona, who was twice General of the Monks of Monte Oliveto;
+and the portrait, which was sent to me by Giovanni to the end that I
+might make use of it, as I did, for one of those pictures, is now in my
+house at Florence, with other paintings by the hands of various masters.
+
+Finally, having lived without children and without ambition, but with
+good means, Giovanni died at about the age of sixty, full of gladness
+because he saw some of his disciples, particularly Anselmo Canneri and
+Paolo Veronese, already in good repute. Paolo is now working in Venice,
+and is held to be a good master; and Anselmo has executed many works
+both in oils and in fresco, and in particular at the Villa Soranza on
+the Tesino, and in the Palace of the Soranzi at Castelfranco, and also
+in many other places, but more at Vicenza than anywhere else. But to
+return to Giovanni; he was buried in S. Maria dell' Organo, where he had
+painted a chapel with his own hand.
+
+Francesco Turbido, called Il Moro, a painter of Verona, learned the
+first rudiments of art, when still quite young, from Giorgione da
+Castelfranco, whom he imitated ever afterwards in colouring and in
+softness of painting. But just when Il Moro was making progress, he came
+to words with I know not whom, and handled him so roughly, that he was
+forced to leave Venice and return to Verona. There, abandoning his
+painting, since he was somewhat ready with his hands and associated with
+the young noblemen, being a person of very good breeding, he lived for a
+time without doing any work. And associating in this way, in particular,
+with the Counts Sanbonifazi and the Counts Giusti, two illustrious
+families of Verona, he became so intimate with them that he lived in
+their houses as if he had been born in them; and, what is more, no long
+time passed before Count Zenovello Giusti gave him a natural daughter of
+his own for a wife, and granted him a commodious apartment in his own
+house for himself, his wife, and the children that were born to them.
+
+It is said that Francesco, while living in the service of those
+noblemen, always carried a pencil in his pouch; and wherever he went, if
+only he had time, he would draw a head or something else on the walls.
+Wherefore the same Count Zenovello, seeing him to be so much inclined to
+painting, relieved him of his other duties, like the generous nobleman
+that he was, and made him give his whole attention to art; and since
+Francesco had all but forgotten everything, he placed himself, through
+the good offices of that patron, under Liberale, a famous painter and
+illuminator of that time. And thus, practising under that master without
+ever ceasing, he went on making such progress from one day to another,
+that not only did all that he had forgotten awaken in his memory, but he
+also acquired in a short time as much more knowledge as sufficed to make
+him an able craftsman. It is true, however, that, although he always
+held to the manner of Liberale, he yet imitated the softness and
+well-blended colouring of Giorgione, his first instructor, believing
+that the works of Liberale, while good in other respects, suffered from
+a certain dryness.
+
+Now Liberale, having recognized the beauty of Francesco's spirit,
+conceived such an affection for him, that he loved him ever afterwards
+as a son, and, when death came upon him, left him heir to all his
+possessions. And thus, after the death of Liberale, Francesco followed
+in his steps and executed many works, which are dispersed among various
+private houses. Of those in Verona which deserve to be extolled above
+all others, the first is the great chapel of the Duomo, on the vaulting
+of which are four large pictures painted in fresco, wherein are the
+Nativity of the Madonna and the Presentation in the Temple, and, in the
+picture in the centre, which appears to recede inwards, three Angels in
+the air, who are seen foreshortened from below, and are holding a crown
+of stars wherewith to crown the Madonna, who is in the recess, in the
+act of ascending into Heaven, accompanied by many Angels, while the
+Apostles are gazing upwards in attitudes of great variety; and these
+Apostles are figures twice the size of life. All these pictures were
+executed by Il Moro after the designs of Giulio Romano, according to the
+wish of Bishop Giovan Matteo Giberti, who gave the commission for the
+work, and who, as has been said, was very much the friend of that same
+Giulio.
+
+After this Il Moro painted the facade of the house of the Manuelli,
+which stands on the abutment of the Ponte Nuovo, and a facade for
+Torello Saraina, the doctor, who wrote the above-mentioned book of the
+Antiquities of Verona. In Friuli, likewise, he painted in fresco the
+principal chapel of the Abbey of Rosazzo, for Bishop Giovan Matteo, who
+held it "in commendam," and, being a noble and truly religious
+dignitary, rebuilt it; for it had been allowed to fall completely into
+ruin, as such buildings are generally found to be, by those who had held
+it "in commendam" before him, attending only to the drawing of the
+revenues and spending not a farthing in the service of God and of the
+Church.
+
+[Illustration: PORTRAIT OF A MAN
+
+(_After the painting by =Francesco Turbido [Il Moro]=. Munich:
+Pinacoteca, 1125_)
+
+_Bruckmann_]
+
+Il Moro afterwards painted many works in oils at Verona and in Venice.
+On the outer wall (of a chapel) in S. Maria in Organo he executed in
+fresco the figures that are still there, with the exception of the Angel
+Michael and the Angel Raphael, which are by the hand of Paolo
+Cavazzuola. For the same chapel he painted an altar-piece in oils,
+wherein he made a portrait of Messer Jacopo Fontani, who gave the
+commission for the work, in a figure of S. James, in addition to the
+Madonna and other very beautiful figures. And in a large semicircle
+above that altar-piece, occupying the whole width of the chapel, he
+painted the Transfiguration of Our Lord, and the Apostles beneath, which
+were held to be among the best figures that he ever executed. For the
+Chapel of the Bombardieri, in S. Eufemia, he painted an altar-piece with
+S. Barbara in the heavens, in the centre, and a S. Anthony below, with
+his hand on his beard, which is a most beautiful head, and on the other
+side a S. Rocco, which is also held to be a very good figure; whence
+this work is rightly looked upon as one executed with supreme diligence
+and unity of colouring. In a picture on the altar of the Santificazione,
+in the Madonna della Scala, he painted a S. Sebastian, in competition
+with Paolo Cavazzuola, who executed a S. Rocco in another picture; and
+he afterwards painted an altar-piece that was taken to Bagolino, a place
+in the mountains of Brescia.
+
+Il Moro executed many portraits, and his heads are in truth beautiful to
+a marvel, and very good likenesses of those whom they were meant to
+represent. At Verona he executed a portrait of Count Francesco
+Sanbonifazio, who, on account of the length of his body, was called the
+Long Count; with that of one of the Franchi, which was an amazing head.
+He also painted the portrait of Messer Girolamo Verita, which remained
+unfinished, because Il Moro was inclined to be dilatory in his work; and
+this, still unfinished, is in the possession of the sons of that good
+nobleman. Among many other portraits, likewise, he executed one of the
+Venetian, Monsignor de' Martini, a knight of Rhodes, and to the same man
+he sold a head of marvellous beauty and excellence, which he had painted
+many years before as the portrait of a Venetian gentleman, the son of
+one who was then Captain in Verona. This head, through the avarice of
+the Venetian, who never paid him, was left in the hands of Francesco,
+and he disposed of it to Monsignor de' Martini, who had the Venetian
+dress changed into that of a shepherd or herdsman. It is as rare a
+portrait as ever issued from the hand of any craftsman, and it is now in
+the house of the heirs of the same Monsignor de' Martini, where it is
+rightly held in vast veneration. In Venice he painted a portrait of
+Messer Alessandro Contarini, Procurator of S. Mark and Proveditor of the
+forces, and one of Messer Michele San Michele for one of Messer
+Michele's dearest friends, who took the portrait to Orvieto; and it is
+said that he executed another of the same architect, Messer Michele,
+which is now in the possession of Messer Paolo Ramusio, the son of
+Messer Giovan Battista. He also painted a portrait of Fracastoro, a very
+famous poet, at the instance of Monsignor Giberti, by whom it was sent
+to Giovio, who placed it in his museum.
+
+Il Moro executed many other works, of which there is no need to make
+mention, although they are all well worthy of remembrance, because he
+was as diligent a colourist as any master that lived in his day, and
+because he bestowed much time and labour on his work. So great, indeed,
+was his diligence, that it brought upon him more blame than praise, as
+may also be seen at times to happen to others, for the reason that he
+accepted any commission and took the earnest-money from every patron,
+and trusted to the will of God to finish the work; and if he did this in
+his youth, everyone may imagine what he must have done in his last
+years, when to his natural slowness there was added that which old age
+brings in its train. By this method of procedure he brought upon himself
+more entanglements and annoyances than he cared for; and Messer Michele
+San Michele, therefore, moved by compassion for him, took him into his
+house in Venice and treated him like a friend and man of talent.
+
+Finally, having been invited back to Verona by his former patrons, the
+Counts Giusti, Il Moro died among them in their beautiful Palace of S.
+Maria in Stella, and was buried in the church of that villa, being
+accompanied to his tomb by all those loving noblemen, and even laid to
+rest with extraordinary affection by their own hands; for they loved him
+as a father, since they had all been born and brought up while he was
+living in their house. In his youth Il Moro was very courageous and
+agile in body, and handled all kinds of arms with great skill. He was
+most faithful to his friends and patrons, and he showed spirit in all
+his actions. His most intimate friends were the architect, Messer
+Michele San Michele, Danese da Carrara, an excellent sculptor, and the
+very reverend and most learned Fra Marco de' Medici, who often went
+after his studies to sit with him, watching him at work, and discoursing
+lovingly with him, in order to refresh his mind when he was weary with
+labour.
+
+A disciple and son-in-law of Il Moro, who had two daughters, was
+Battista d' Agnolo, who was afterwards called Battista del Moro. This
+master, although he had his hands full for a time with the complications
+of the inheritance that Il Moro bequeathed to him, has yet executed many
+works which are not otherwise than passing good. In Verona he has
+painted a S. John the Baptist in the Church of the Nuns of S. Giuseppe,
+and in the tramezzo[6] of S. Eufemia, above the altar of S. Paolo, a
+scene in fresco showing the latter Saint presenting himself to Ananias
+after being converted by Christ; which work, although he executed it
+when still a lad, is much extolled. For the noble Counts Canossi he
+painted two apartments, and in a hall two friezes with battle-pieces,
+which are very beautiful and praised by everyone. In Venice he painted
+the facade of a house near the Carmine, a work of no great size, but
+much extolled, in which he executed a figure of Venice crowned and
+seated upon a lion, the device of that Republic. For Camillo Trevisano
+he painted the facade of his house at Murano, and in company with his
+son Marco he decorated the inner court with very beautiful scenes in
+chiaroscuro. And in competition with Paolo Veronese he painted a large
+chamber in the same house, which proved to be so beautiful that it
+brought him much honour and profit.
+
+The same master has also executed many works in miniature, of which the
+most recent is a very beautiful drawing of S. Eustachio adoring Christ,
+who has appeared to him between the horns of a deer, with two dogs near
+him, which could not be more excellent, and a landscape full of trees,
+receding and fading away little by little into the distance, which is an
+exquisite thing. This drawing has been very highly praised by the many
+persons who have seen it, and particularly by Danese da Carrara, who saw
+it when he was in Verona, carrying out the work of the Chapel of the
+Signori Fregosi, which is one of rare distinction among all the number
+that there are in Italy at the present day. Danese, I say, having seen
+this drawing, was lost in astonishment at its beauty, and exhorted the
+above-mentioned Fra Marco de' Medici, his old and particular friend, not
+for anything in the world to let it slip through his hands, but to
+contrive to place it among the other choice examples of all the arts in
+his possession. Whereupon Battista, having heard that Fra Marco desired
+it, and knowing of his friendship with his father-in-law, gave it to
+him, almost forcing him to accept it, in the presence of Danese; nor was
+that good Father ungrateful to him for so much courtesy. However, since
+that same Battista and his son Marco are alive and still at work, I
+shall say nothing more of them for the present.
+
+Il Moro had another disciple, called Orlando Fiacco, who has become a
+good master and a very able painter of portraits, as may be seen from
+the many that he has painted, all very beautiful and most lifelike. He
+made a portrait of Cardinal Caraffa when he was returning from Germany,
+which he took secretly by torch-light while the Cardinal was at supper
+in the Vescovado of Verona; and this was such a faithful likeness that
+it could not have been improved. He also painted a very lifelike
+portrait of the Cardinal of Lorraine, when, coming from the Council of
+Trent, he passed through Verona on his return to Rome; and likewise
+portraits of the two Bishops Lippomani of Verona, Luigi the uncle and
+Agostino the nephew, which Count Giovan Battista della Torre now has in
+a little apartment. Other portraits that he painted were those of Messer
+Adamo Fumani, a Canon and a very learned gentleman of Verona, of Messer
+Vincenzio de' Medici of Verona, and of his consort, Madonna Isotta, in
+the guise of S. Helen, and of their grandson, Messer Niccolo. He has
+likewise executed portraits of Count Antonio della Torre, of Count
+Girolamo Canossi, and his brothers, Count Lodovico and Count Paolo, of
+Signor Astorre Baglioni, Captain-General of all the light cavalry of
+Venice and Governor of Verona, the latter clad in white armour and most
+beautiful in aspect, and of his consort, Signora Ginevra Salviati. In
+like manner, he has portrayed the eminent architect Palladio and many
+others; and he still continues at work, wishing to become in the art of
+painting as true an Orlando as once was that great Paladin of France.
+
+[Illustration: BONSIGNORI (MONSIGNORI): PORTRAIT OF A GENTLEMAN
+
+(_London: National Gallery, 736. Tempera Panel_)]
+
+In Verona, where an extraordinary degree of attention has been given to
+design ever since the death of Fra Giocondo, there have flourished at
+all times men excellent in painting and architecture, as will now be
+seen, in addition to what has been observed hitherto, in the Lives of
+Francesco Monsignori, of Domenico Morone and his son Francesco, of Paolo
+Cavazzuola, of the architect Falconetto, and, lastly, of the
+miniaturists Francesco and Girolamo.
+
+Francesco Monsignori, the son of Alberto, was born at Verona in the year
+1455; and when he was well grown he was advised by his father, who had
+always delighted in painting, although he had not practised it save for
+his own pleasure, to give his attention to design. Having, therefore,
+gone to Mantua to seek out Mantegna, who was then working in that city,
+he exerted himself in such a manner, being fired by the fame of his
+instructor, that no long time passed before Francesco II, Marquis of
+Mantua, who found an extraordinary delight in painting, took him into
+his own service; and in the year 1487 he gave him a house for his
+habitation in Mantua, and assigned him an honourable provision. For
+these benefits Francesco was not ungrateful, for he always served that
+lord with supreme fidelity and lovingness; whence the Marquis came to
+love and favour him more and more every day, insomuch that he could not
+leave the city without having Francesco in his train, and was once heard
+to say that Francesco was as dear to him as the State itself.
+
+Francesco painted many works for that lord in his Palace of S.
+Sebastiano at Mantua, and also in the Castello di Gonzaga and in the
+beautiful Palace of Marmirolo without the city. In the latter Francesco
+had finished painting in the year 1499, after a vast number of other
+pictures, some triumphs and many portraits of gentlemen of the Court;
+and on Christmas Eve, on which day he had finished those works, the
+Marquis presented to him an estate of a hundred fields in the territory
+of Mantua, at a place called La Marzotta, with a mansion, garden,
+meadows, and other things of great beauty and convenience. He was most
+excellent at taking portraits from life, and the Marquis caused him to
+paint many portraits, of himself, of his sons, and of many other lords
+of the house of Gonzaga, which were sent to France and Germany as
+presents for various Princes. And many of these portraits are still in
+Mantua, such as those of the Emperor Frederick Barbarossa; of Doge
+Barbarigo of Venice; of Francesco Sforza, Duke of Milan; of
+Massimiliano, also Duke of Milan, who died in France; of the Emperor
+Maximilian; of Signor Ercole Gonzaga, who afterwards became a Cardinal;
+of his brother, Duke Federigo (then a young man); of Signor Giovan
+Francesco Gonzaga; of Messer Andrea Mantegna, the painter; and of many
+others; of all which Francesco preserved copies drawn on paper in
+chiaroscuro, which are now in the possession of his heirs at Mantua.
+
+Above the pulpit of S. Francesco de' Zoccolanti, in the same city, is a
+picture that he painted of S. Louis and S. Bernardino holding a large
+circle that contains the name of Jesus; and in the refectory of those
+friars there is a picture on canvas as large as the whole of the
+head-wall, of the Saviour in the midst of the twelve Apostles, painted
+in perspective and all very beautiful, and executed with many proofs of
+consideration. Among them is the traitor Judas, with a face wholly
+different from those of the others, and in a strange attitude; and the
+others are all gazing intently at Jesus, who is speaking to them, being
+near His Passion. On the right hand of this work is a S. Francis of the
+size of life, a very beautiful figure, the countenance of which is the
+very presentment of that sanctity which was peculiar to that most
+saintly man; and he is presenting to Christ the Marquis Francesco, who
+is kneeling at his feet, portrayed from life in a long coat pleated and
+worked with a curly pattern, according to the fashion of those times,
+and embroidered with white crosses, perchance because he may have been
+at that time Captain of the Venetians. And in front of the Marquis is a
+portrait, with the hands clasped, of his eldest son, who was then a very
+beautiful boy, and afterwards became Duke Federigo. On the other side is
+painted a S. Bernardino, equal in excellence to the figure of S.
+Francis, and likewise presenting to Christ the brother of the Marquis,
+Cardinal Sigismondo Gonzaga, a very beautiful kneeling figure, robed in
+the habit of a Cardinal, with the rochet, which is also a portrait from
+life; and in front of that Cardinal is a portrait of Signora Leonora,
+the daughter of the same Marquis, who was then a girl, and afterwards
+became Duchess of Urbino. This whole work is held by the most excellent
+painters to be a marvellous thing.
+
+[Illustration: S. SEBASTIAN
+
+(_After the painting by =Francesco Monsignori [Bonsignori]=. Berlin:
+Kaiser Friedrich Museum, 46 c_)
+
+_Hanfstaengl_]
+
+The same master painted a picture of S. Sebastian, which was afterwards
+placed in the Madonna delle Grazie, without the city of Mantua; and to
+this he devoted extraordinary pains, copying many things in it from the
+life. It is related that the Marquis, going one day, while Francesco was
+executing this picture, to see him at work, as he used often to do, said
+to him: "Francesco, you must take some fine figure as your model in
+painting this Saint." To which Francesco answered: "I am using as my
+model a porter with a very handsome figure, whom I bind in a fashion of
+my own in order to make the work natural." "But the limbs of this Saint
+of yours," rejoined the Marquis, "are not true to life, for they have
+not the appearance of being strained by force or by that fear which one
+would expect in a man bound and shot with arrows; and by your leave I
+will undertake to show you what you ought to do in order to make this
+figure perfect." "Nay, but I beg you to do it, my lord," said Francesco;
+and the Marquis added: "When you have your porter bound here, send for
+me, and I will show you what you must do." The next day, therefore, when
+Francesco had the porter bound in the manner that he wished, he sent a
+secret summons to the Marquis, but without knowing what he intended to
+do. And the Marquis, bursting out of a neighbouring room in a great
+fury, with a loaded cross-bow in his hand, rushed towards the porter,
+crying out at the top of his voice, "Traitor, prepare to die! At last I
+have caught thee as I would have thee," and other suchlike words; which
+hearing, the wretched porter, thinking himself as good as dead,
+struggled in a frenzy of terror with the ropes wherewith he was bound,
+and made frantic efforts to break them, thus truly representing one
+about to be shot with arrows, and revealing fear in his face and the
+horror of death in his strained and distorted limbs, as he sought to
+escape from his peril. This done, the Marquis said to Francesco, "There
+he is in the state that he ought to be: the rest is for you to do";
+which the painter having well considered, made his figure as perfect as
+could be imagined.
+
+Francesco painted in the Gonzaga Palace, besides many other things, the
+Election of the first Lords of Mantua, with the jousts that were held on
+the Piazza di S. Piero, which is seen there in perspective. When the
+Grand Turk sent one of his men with a most beautiful dog, a bow, and a
+quiver, as presents for the Marquis, the latter caused the dog, the Turk
+who had brought it, and the other things, to be painted in the same
+Gonzaga Palace; and, this done, wishing to see whether the painted dog
+were truly lifelike, he had one of his own dogs, of a breed very hostile
+to the Turkish dog, brought to the place where the other one stood on a
+pedestal painted in imitation of stone. The living dog, then, arriving
+there, had no sooner seen the painted one than, precisely as if it had
+been a living animal and the very one for whom he had a mortal hatred,
+he broke loose from his keeper and rushed at it with such vehemence, in
+order to bite it, that he struck his head full against the wall and
+dashed it all to pieces.
+
+[Illustration: GIOVAN FRANCESCO MORONE: MADONNA AND CHILD
+
+(_London: National Gallery, 285. Panel_)]
+
+Another story is told by persons who were present at the scene, of a
+little picture by the hand of Francesco, little more than two span in
+height, and belonging to his nephew Benedetto Baroni, in which is a
+Madonna painted in oils, from the breast upwards, and almost life-size,
+and, lower down, in the corner of the picture, the Child, seen from the
+shoulders upwards, with one arm uplifted and in the act of caressing His
+Mother. It is related, I say, that, when the Emperor was master of
+Verona, Don Alfonso of Castille and Alarcon, a very famous Captain,
+happened to be in that city on behalf of His Majesty and the Catholic
+King; and that these lords, being in the house of the Veronese Count
+Lodovico da Sesso, said that they had a great desire to see that
+picture. Whereupon it was sent for; and one evening they were standing
+contemplating it in a good light, and admiring its masterly workmanship,
+when Signora Caterina, the wife of the Count, entered into the room
+where those noblemen were, together with one of her sons, who had on his
+wrist one of those green birds--called in Verona "terrazzani,"[7]
+because they make their nests on the ground--which learn to perch on the
+wrist, like hawks. It happened, then, that, while she stood with the
+others contemplating the picture, the bird, seeing the extended arm and
+wrist of the painted Child, flew to perch upon it; but, not having been
+able to find a hold on the surface of the painting, and having
+therefore fallen to the ground, it twice returned to settle on the
+wrist of that painted Child, precisely as if it had been one of those
+living children who were always holding it on their wrists. At which
+those noblemen, being amazed, offered to pay a great price to Benedetto
+for the picture, if only he would give it to them; but it was not
+possible by any means to wrest it from him. Not long afterwards the same
+persons planned to have it stolen from him on the day of the festival of
+S. Biagio in S. Nazzaro; but the owner was informed of this, and their
+design did not succeed.
+
+For S. Paolo, in Verona, Francesco painted a panel-picture in gouache,
+which is very beautiful, and another, also most beautiful, for the
+Chapel of the Bandi in S. Bernardino. In Mantua he executed for Verona a
+picture with two most lovely nudes, a Madonna in the sky, with the Child
+in her arms, and some Angels, all marvellous figures, which is in the
+chapel where S. Biagio is buried, in the Black Friars Church of S.
+Nazzaro.
+
+Francesco was a man of saintly life, and the enemy of every vice,
+insomuch that he would never on any account paint licentious works,
+although he was very often entreated to do so by the Marquis; and equal
+to him in goodness were his brothers, as will be related in the proper
+place. Finally, being old, and suffering in the bladder, Francesco, with
+the leave of the Marquis and by the advice of the physicians, went with
+his wife and many servants to the Baths of Caldero, in the territory of
+Verona, to take the waters. There, one day, after he had drunk the
+water, he allowed himself to be overcome by drowsiness, and slept a
+little, being indulged in this by his wife out of compassion; whereupon,
+a violent fever having come upon him in consequence of his sleeping,
+which is a deadly thing for one who has just taken that water, he
+finished the course of his life on the second day of July, 1519; which
+having been reported to the Marquis, he straightway sent orders by a
+courier that the body of Francesco should be brought to Mantua. This was
+done, although it gave little pleasure to the people of Verona; and he
+was laid to rest with great honour in the burial-place of the Compagnia
+Segreta in S. Francesco at Mantua. Francesco lived to the age of
+sixty-four, and the portrait of him which belongs to Messer Fermo was
+executed when he was fifty. Many compositions were written in his
+praise, and he was mourned by all who knew him as a virtuous and saintly
+man, which he was. He had for wife Madonna Francesca Gioacchini of
+Verona, but he had no children.
+
+The eldest of his three brothers was called Monsignore; and he, being a
+person of culture and learning, received offices with good salaries in
+Mantua from the Marquis, on account of that nobleman's love of
+Francesco. He lived to the age of eighty, and left children, who keep
+the family of the Monsignori alive in Mantua. Another brother of
+Francesco had the name of Girolamo when in the world, and of Fra
+Cherubino among the Frati Zoccolanti di San Francesco; and he was a very
+beautiful calligrapher and illuminator. The third, who was a Friar of S.
+Dominic and an Observantine, and was called Fra Girolamo, chose out of
+humility to become a lay-brother. He was not only a man of good and holy
+life, but also a passing good painter, as may be seen in the Convent of
+S. Domenico in Mantua, where, besides other works, he executed a most
+beautiful Last Supper in the refectory, with a Passion of Christ, which
+remained unfinished on account of his death. The same friar painted the
+beautiful Last Supper that is in the refectory of the very rich abbey
+which the Monks of S. Benedict possess in the territory of Mantua. In S.
+Domenico he painted the altar of the Rosary; and in the Convent of S.
+Anastasia, in Verona, he painted in fresco the Madonna, S. Remigio the
+Bishop, and S. Anastasia; with a Madonna, S. Dominic, and S. Thomas
+Aquinas, all executed with mastery, on a little arch over the second
+door of entrance in the second cloister.
+
+[Illustration: THE CRUCIFIXION
+
+(_After the painting by =Giovan Francesco Morone=. Verona: S.
+Bernardino_)
+
+_Alinari_]
+
+Fra Girolamo was a person of great simplicity, wholly indifferent to the
+things of the world. He lived in the country, at a farm belonging to his
+convent, in order to avoid all noise and disturbance, and the money sent
+to him in return for his works, which he used for buying colours and
+suchlike things, he kept in a box without a cover, hung from the ceiling
+in the middle of his chamber, so that all who wished could take some;
+and in order not to have the trouble of thinking every day what he
+was to eat, he used to cook a pot of beans every Monday to last him the
+whole week.
+
+When the plague came to Mantua and the sick were abandoned by all, as
+happens in such cases, Fra Girolamo, with no other motive but the purest
+love, would never desert the poor plague-stricken monks, and even tended
+them all day long with his own hands. And thus, careless of his life for
+the love of God, he became infected with that malady and died at the age
+of sixty, to the great grief of all who knew him.
+
+But to return to Francesco Monsignori: he painted a life-size portrait,
+which I forgot to mention above, of Count Ercole Giusti of Verona, in a
+robe of cloth of gold, such as he was wont to wear; and this is a very
+beautiful likeness, as may be seen in the house of his son, Count
+Giusto.
+
+Domenico Morone, who was born at Verona about the year 1430, learned the
+art of painting from some masters who were disciples of Stefano, and
+from works by the same Stefano, by Jacopo Bellini, by Pisano, and by
+others, which he saw and copied. Saying nothing of the many pictures
+that he executed after the manner of those times, which are now in
+monasteries and private houses, I begin by recording that he painted in
+chiaroscuro, with "terretta verde," the facade of a house belonging to
+the city of Verona, on the square called the Piazza de' Signori; and in
+this may be seen many ornamental friezes and scenes from ancient
+history, with a very beautiful arrangement of figures and costumes of
+bygone days. But the best work to be seen by the hand of this master is
+the Leading of Christ to the Cross, with a multitude of figures and
+horses, which is in S. Bernardino, on the wall above the Chapel of the
+Monte di Pieta, for which Liberale painted the picture of the Deposition
+with the weeping Angels. The same Domenico received a commission to
+paint the chapel that is next to that one, both within and without, at
+great expense and with a lavish use of gold, from the Chevalier, Messer
+Niccolo de' Medici, who was considered to be the richest man of his day
+in Verona, and who spent great sums of money on other pious works, being
+a man who was inclined to this by nature. This gentleman, after he had
+built many monasteries and churches, and had left scarcely any place in
+that city where he had not executed some noble and costly work to the
+honour of God, chose as his burial-place the chapel mentioned above, for
+the ornamentation of which he availed himself of Domenico, at that time
+more famous than any other painter in that city, Liberale being in
+Siena.
+
+Domenico, then, painted in the interior of this chapel the Miracles of
+S. Anthony of Padua, to whom it is dedicated, and portrayed the
+Chevalier in an old man with shaven face and white hair, without any
+cap, and wearing a long gown of cloth of gold, such as Chevaliers used
+to wear in those times. All this, for a work in fresco, is very well
+designed and executed. Then, in certain medallions in the outer
+vaulting, which is all overlaid with gold, he painted the four
+Evangelists; and on the pilasters both within and without he executed
+figures of Saints, among which are S. Elizabeth of the Third Order of S.
+Francis, S. Helen, and S. Catharine, which are very beautiful figures,
+and much extolled for the draughtsmanship, colouring, and grace. This
+work, then, can bear witness to the talent of Domenico and to the
+magnificent liberality of that Chevalier.
+
+Domenico died very old, and was buried in S. Bernardino, wherein are the
+works by his hand described above, leaving his son, Francesco Morone,
+heir to his property and his talents. This Francesco, who learned the
+first principles of art from his father, afterwards exerted himself in
+such a manner that in a short time he became a much better master than
+his father had been, as the works that he executed in emulation of those
+of his father clearly demonstrate. Below his father's work on the altar
+of the Monte, in the aforesaid Church of S. Bernardino, Francesco
+painted in oils the folding-doors that enclose the altar-piece of
+Liberale; on the inner side of which he depicted in one the Virgin, and
+in the other S. John the Evangelist, both life-size figures, with great
+beauty in the faces, which are weeping, in the draperies, and in every
+other part. In the same chapel, at the foot of the face of that wall
+which serves as head-wall to the tramezzo,[8] he painted the Miracle
+that Our Lord performed with the five loaves and two fishes, which
+satisfied the multitude; and in this are many beautiful figures and
+many portraits from life, but most of all is praise given to a S. John
+the Evangelist, who is very slender, and has his back partly turned
+towards the spectator. He then executed in the same place, beside the
+altar-piece, in the vacant spaces on the wall against which it rests, a
+S. Louis, Bishop and Friar of S. Francis, and another figure; with some
+heads in foreshortening in a sunk medallion on the vaulting. All these
+works are much extolled by the painters of Verona. And for the altar of
+the Cross, on which are so many painted pictures, between that chapel
+and the Chapel of the Medici, in the same church, he executed a picture
+which is in the centre above all the others, containing Christ on the
+Cross, the Madonna, and S. John, and very beautiful. In another picture,
+which is above that of Caroto, on the left-hand side of the same altar,
+he painted Our Lord washing the feet of the Apostles, who are seen in
+various attitudes; in which work, so men say, this painter made a
+portrait of himself in the figure of one who is serving Christ by
+bringing water.
+
+For the Chapel of the Emilii, in the Duomo, Francesco executed a S.
+James and a S. John, one on either side of Christ, who is bearing His
+Cross; and the beauty and excellence of these two figures leave nothing
+to be desired. The same master executed many works at Lonico, in an
+abbey of Monks of Monte Oliveto, whither great multitudes flock together
+to adore a figure of the Madonna which performs many miracles in that
+place. Afterwards, Francesco being very much the friend, and, as it
+were, the brother of Girolamo dai Libri, the painter and illuminator,
+they undertook to paint in company the organ-doors of S. Maria in
+Organo, a church of Monks of Monte Oliveto. In one of these, on the
+outer side, Francesco painted a S. Benedict clothed in white, and S.
+John the Evangelist, and on the inner side the Prophets Daniel and
+Isaiah, with two little Angels in the air, and a ground all full of very
+beautiful landscapes. And then he executed the great altar-piece of the
+altar of the Muletta, painting therein a S. Peter and a S. John, which
+are little more than one braccio in height, but wrought so well and with
+such diligence, that they have the appearance of miniatures. The
+carvings of this work were executed by Fra Giovanni da Verona, a master
+of tarsia and carving.
+
+In the same place, on the wall of the choir, Francesco painted two
+scenes in fresco--one of Our Lord riding on an ass into Jerusalem, and
+the other of His Prayer in the Garden, wherein, on one side, is the
+armed multitude coming to take Him, guided by Judas. But more beautiful
+than all the rest is the vaulted sacristy, which is all painted by the
+same master, excepting only the S. Anthony being scourged by Demons,
+which is said to be by the hand of his father, Domenico. In this
+sacristy, then, besides the Christ and some little Angels that are seen
+in foreshortening on the vaulting, he painted in the lunettes, two in
+each niche, and robed in their pontifical vestments, the various Popes
+who have been exalted to the Pontificate from the Order of S. Benedict.
+Round the sacristy, below the lunettes of the vaulting, is drawn a
+frieze four feet high, and divided into compartments, wherein are
+painted in the monastic habit various Emperors, Kings, Dukes, and other
+Princes, who have abandoned the States and Principalities that they
+ruled, and have become monks. In these figures Francesco made portraits
+from life of many of the monks who had their habitation or a temporary
+abode in that monastery, the while that he was working there; and among
+them are portraits of many novices and other monks of every kind, which
+are heads of great beauty, and executed with much diligence. In truth,
+by reason of these ornaments, that was then the most beautiful sacristy
+that there was in all Italy, since, in addition to the beauty of the
+room, which is of considerable size and well proportioned, and the
+pictures described above, which are also very beautiful, there is at the
+foot of the walls a range of panelled seats adorned with fine
+perspective-views, so well executed in tarsia and carving, that there is
+no work to be seen of those times, and perchance even of our own, that
+is much better. For Fra Giovanni da Verona, who executed this work, was
+most excellent in that art, as was said in the Life of Raffaello da
+Urbino, and as is demonstrated not only by his many other works in
+houses of his Order, but also by those that are in the Papal Palace at
+Rome, in Monte Oliveto di Chiusuri in the territory of Siena, and in
+other places. But those of this sacristy are the best of all the works
+that Fra Giovanni ever executed, for the reason that it may be said that
+in them he surpassed himself by as much as he excelled in the rest every
+other master. Among other things, Fra Giovanni carved for this place a
+candelabrum more than fourteen feet in height to hold the Paschal
+candle, all made of walnut-wood, and wrought with such extraordinary
+patience that I do not believe that there is a better work of the same
+kind to be seen.
+
+But to return to Francesco: he painted for the same church the
+panel-picture which is in the Chapel of the Counts Giusti, in which he
+depicted the Madonna, with S. Augustine and S. Martin in pontifical
+robes. And in the cloister he executed a Deposition from the Cross, with
+the Maries and other Saints, works in fresco which are much extolled in
+Verona. In the Church of the Vittoria he painted the Chapel of the
+Fumanelli, which is below the wall that supports the choir which was
+built by the Chevalier Messer Niccolo de' Medici; and a Madonna in
+fresco in the cloister. And afterwards he painted a portrait from life
+of Messer Antonio Fumanelli, a physician very famous for the works
+written by him in connection with his profession. He painted in fresco,
+also, on a house which is seen on the left hand as one crosses the Ponte
+delle Navi on the way to S. Paolo, a Madonna with many Saints, which is
+held to be a very beautiful work, both in design and in colouring; and
+on the house of the Sparvieri, in the Bra, opposite to the garden of the
+Friars of S. Fermo, he painted another like it. Francesco painted a
+number of other works, of which there is no need to make mention, since
+the best have been described; let it suffice to say that he gave grace,
+unity, and good design to his pictures, with a colouring as vivid and
+pleasing as that of any other painter. Francesco lived fifty-five years,
+and died on May 16, 1529. He chose to be carried to his tomb in the
+habit of a Friar of S. Francis, and he was buried in S. Domenico, beside
+his father. He was so good a man, so religious, and so exemplary, that
+there was never heard to issue from his mouth any word that was
+otherwise than seemly.
+
+A disciple of Francesco, and much more able than his master, was the
+Veronese Paolo Cavazzuola, who executed many works in Verona; I say in
+Verona, because it is not known that he ever worked in any other place.
+In S. Nazzaro, a seat of Black Friars at Verona, he painted many works
+in fresco near those of his master Francesco; but these were all thrown
+to the ground when that church was rebuilt by the pious munificence of
+the reverend Father, Don Mauro Lonichi, a nobleman of Verona and Abbot
+of that Monastery. On the old house of the Fumanelli, in the Via del
+Paradiso, Paolo painted, likewise in fresco, the Sibyl showing to
+Augustus Our Lord in the heavens, in the arms of His Mother; which work
+is beautiful enough for one of the first that he executed. On the outer
+side of the Chapel of the Fontani, in S. Maria in Organo, he painted,
+also in fresco, two Angels--namely, S. Michael and S. Raphael. In the
+street into which there opens the Chapel of the Angel Raphael, in S.
+Eufemia, over a window that gives light to a recess in the staircase of
+that chapel, he painted the Angel Raphael, and with him Tobias, whom he
+guided on his journey; which was a very beautiful little work. And in S.
+Bernardino, in a round picture over the door where there is the bell, he
+painted a S. Bernardino in fresco, and in another round picture on the
+same wall, but lower down, and above the entrance to a confessional, a
+S. Francis, which is beautiful and well executed, as is also the S.
+Bernardino. These are all the works that Paolo is known to have painted
+in fresco.
+
+[Illustration: THE DEPOSITION
+
+(_After the panel by =Paolo Cavazzuola=. Verona: Museo Civico, 392_)
+
+_Anderson_]
+
+As for his works in oils, he painted a picture of S. Rocco for the altar
+of the Santificazione in the Church of the Madonna della Scala, in
+emulation of the S. Sebastian which Il Moro painted for the other side
+of the same place; which S. Rocco is a very beautiful figure. But the
+best figures that this painter ever executed are in S. Bernardino, where
+all the large pictures that are on the altar of the Cross, round the
+principal altar-piece, are by his hand, excepting that with the Christ
+Crucified, the Madonna, and S. John, which is above all the others, and
+is by the hand of his master Francesco. Beside it, in the upper part,
+are two large pictures by the hand of Paolo, in one of which is Christ
+being scourged at the Column, and in the other His Coronation, painted
+with many figures somewhat more than life-size. In the principal
+picture, which is lower down, in the first range, he painted a
+Deposition from the Cross, with the Madonna, the Magdalene, S. John,
+Nicodemus, and Joseph; and he made a portrait of himself, so good that
+it has the appearance of life, in one of these figures, a young man with
+a red beard, who is near the Tree of the Cross, with a coif on his head,
+such as it was the custom to wear at that time. On the right-hand side
+is a picture by Paolo of Our Lord in the Garden, with the three
+Disciples near Him; and on the left-hand side is another of Christ with
+the Cross on His shoulder, being led to Mount Calvary. The excellence of
+these works, which stand out strongly in comparison with those by the
+hand of his master that are in the same place, will always give Paolo a
+place among the best craftsmen.
+
+On the base he painted some Saints from the breast upwards, which are
+all portraits from life. The first figure, wearing the habit of S.
+Francis, and representing a Beato, is a portrait of Fra Girolamo
+Rechalchi, a noble Veronese; the figure beside the first, painted to
+represent S. Bonaventura, is the portrait of Fra Bonaventura Rechalchi,
+brother of the aforesaid Fra Girolamo; and the head of S. Joseph is the
+portrait of a steward of the Marchesi Malespini, who had been charged at
+that time by the Company of the Cross to see to the execution of this
+work. All these heads are very beautiful.
+
+For the same church Paolo painted the altar-piece of the Chapel of S.
+Francesco, in which work, the last that he executed, he surpassed
+himself. There are in it six figures larger than life; one being S.
+Elizabeth, of the Third Order of S. Francis, who is a most beautiful
+figure, with a smiling air and a gracious countenance, and with her lap
+full of roses; and she seems to be rejoicing at the sight of the bread
+that she, great lady as she was, had been carrying to the poor, turned
+by a miracle of God into roses, in token that her humble charity in thus
+ministering to the poor with her own hands was acceptable to God. This
+figure is a portrait of a widowed lady of the Sacchi family. Among the
+other figures are S. Bonaventura the Cardinal and S. Louis the Bishop,
+both Friars of S. Francis. Near these are S. Louis, King of France, S.
+Eleazar in a grey habit, and S. Ivo in the habit of a priest. Then there
+is the Madonna on a cloud above them all, with S. Francis and other
+figures round her; but it is said that these are not by the hand of
+Paolo, but by that of a friend who helped him to execute the picture;
+and it is evident, indeed, that these figures are not equal in
+excellence to those beneath. And in this picture is a portrait from life
+of Madonna Caterina de' Sacchi, who gave the commission for the work.
+
+Now Paolo, having set his heart on becoming great and famous, made to
+this end such immoderate exertions that he fell ill and died at the
+early age of thirty-one, at the very moment when he was beginning to
+give proofs of what might be expected from him at a riper age. It is
+certain that Paolo, if Fortune had not crossed him at the height of his
+activity, would without a doubt have attained to the highest, best, and
+greatest honours that could be desired by a painter. His loss,
+therefore, grieved not only his friends, but all men of talent and
+everyone who knew him, and all the more because he had been a young man
+of excellent character, untainted by a single vice. He was buried in S.
+Paolo, after making himself immortal by the beautiful works that he left
+behind him.
+
+Stefano Veronese, a very rare painter in his day, as has been related,
+had a brother-german, called Giovanni Antonio, who, although he learned
+to paint from that same Stefano, nevertheless did not become anything
+more than a mediocre painter, as may be seen from his works, of which
+there is no need to make mention. To this Giovanni Antonio was born a
+son, called Jacopo, who likewise became a painter of commonplace works;
+and to Jacopo were born Giovan Maria, called Falconetto, whose Life we
+are about to write, and Giovanni Antonio. The latter, devoting himself
+to painting, executed many works at Rovereto, a very famous township in
+the Trentino, and many pictures at Verona, which are dispersed among the
+houses of private citizens. He also painted many works in the valley of
+the Adige, above Verona, and a panel-picture of S. Nicholas, with many
+animals, at Sacco, opposite to Rovereto, with many others; after which
+he finally died at Rovereto, where he had gone to live. This master was
+particularly excellent in making animals and fruits, of which many very
+beautiful drawings, executed in miniature, were taken to France by the
+Veronese Mondella; and many of them were given by Agnolo, the son of
+Giovanni Antonio, to Messer Girolamo Lioni, a Venetian gentleman of
+noble spirit.
+
+But to come at last to Giovan Maria, the brother of Giovanni Antonio. He
+learned the rudiments of painting from his father, whose manner he
+rendered no little better and grander, although even he was not a
+painter of much reputation, as is evident from the Chapels of the Maffei
+and of the Emilii in the Duomo of Verona, from the upper part of the
+cupola of S. Nazzaro, and from works in other places. This master,
+recognizing the little value of his work in painting, and delighting
+beyond measure in architecture, set himself with great diligence to
+study and draw all the antiquities in his native city of Verona. He then
+resolved to visit Rome, and to learn architecture from its marvellous
+remains, which are the true masters; and he made his way to that city,
+and stayed there twelve whole years. That time he spent, for the most
+part, in examining and drawing all those marvellous antiquities,
+searching out in every place all the ground-plans that he could see and
+all the measurements that he could find. Nor did he leave anything in
+Rome, either buildings or their members, such as cornices, capitals, and
+columns, of whatsoever Order, that he did not draw with his own hand,
+with all the measurements; and he also drew all the sculptures which
+were discovered in those times, insomuch that when he returned to his
+own country, after those twelve years, he was rich in all the treasures
+of his art. And, not content with the things in the city of Rome itself,
+he drew all that was good and beautiful in the whole of the Roman
+Campagna, going even as far as the Kingdom of Naples, the Duchy of
+Spoleto, and other parts. It is said that Giovan Maria, being poor, and
+therefore having little wherewith to live or to maintain himself in
+Rome, used to spend two or three days every week in assisting some
+painter with his work; and with his earnings, since at that time masters
+were well paid and living was cheap, he was able to live the other days
+of the week, pursuing the studies of architecture. Thus, then, he drew
+all those antiquities as if they were complete, reconstructing them in
+his drawings from the parts and members that he saw, from which he
+imagined all the other parts of the buildings in all their perfection
+and integrity, and all with such true measurements and proportions,
+that he could not make an error in a single detail.
+
+Having returned to Verona, and finding no opportunity of exercising
+himself in architecture, since his native city was in the throes of a
+change of government, Giovan Maria gave his attention for the time to
+painting, and executed many works. On the house of the Della Torre
+family he painted a large escutcheon crowned by some trophies; and for
+two German noblemen, counsellors of the Emperor Maximilian, he executed
+in fresco some scenes from the Scriptures on a wall of the little Church
+of S. Giorgio, and painted there life-size portraits of those two
+Germans, one kneeling on one side and one on the other. He executed a
+number of works at Mantua, for Signor Luigi Gonzaga; and some others at
+Osimo, in the March of Ancona. And while the city of Verona was under
+the Emperor, he painted the imperial arms on all the public buildings,
+and received for this from the Emperor a good salary and a patent of
+privilege, from which it may be seen that many favours and exemptions
+were granted to him, both on account of his good service in matters of
+art, and because he was a man of great spirit, brave and formidable in
+the use of arms, with which he might likewise be expected to give
+valiant and faithful service: and all the more because he drew after
+him, on account of the great credit that he had with his neighbours, the
+whole mass of the people who lived in the Borgo di San Zeno, a very
+populous part of the city, in which he had been born and had taken a
+wife from the family of the Provali. For these reasons, then, he had all
+the inhabitants of his district as his following, and was called
+throughout the city by no other name but that of the "Red-head of San
+Zeno."
+
+Now, when the city again changed its government and returned to the rule
+of its ancient masters the Venetians, Giovan Maria, being known as one
+who had served the party of the Emperor, was forced to seek safety in
+flight; and he went, therefore, to Trento, where he passed some time
+painting certain pictures. Finally, however, when matters had mended, he
+made his way to Padua, where he was first received in audience and then
+much favoured by the very reverend Monsignor Bembo, who presented him
+not long afterwards to the illustrious Messer Luigi Cornaro, a Venetian
+gentleman of lofty spirit and truly regal mind, as is proved by his many
+magnificent enterprises. This gentleman, who, in addition to his other
+truly noble qualities, delighted in the study of architecture, the
+knowledge of which is worthy of no matter how great a Prince, had
+therefore read the works of Vitruvius, Leon Batista Alberti, and others
+who have written on this subject, and he wished to put what he had
+learned into practice. And when he saw the designs of Falconetto, and
+perceived with what profound knowledge he spoke of these matters, and
+rendered clear all the difficulties that can arise through the variety
+of the Orders of architecture, he conceived such a love for him that he
+took him into his own house and kept him there as an honoured guest for
+twenty-one years, which was the whole of the rest of Giovan Maria's
+life.
+
+During this time Falconetto executed many works with the help of the
+same Messer Luigi. The latter, desiring to see the antiquities of Rome
+on the spot, even as he had seen them in the drawings of Giovan Maria,
+went to Rome, taking him with him; and there he devoted himself to
+examining everything minutely, having him always in his company. After
+they had returned to Padua, a beginning was made with building from the
+design and model of Falconetto that most beautiful and ornate loggia
+which is in the house of the Cornari, near the Santo; and the palace was
+to be erected next, after the model made by Messer Luigi himself. In
+this loggia the name of Giovan Maria is carved on a pilaster.
+
+The same architect built a very large and magnificent Doric portal for
+the Palace of the Captain of that place; and this portal is much praised
+by everyone as a work of great purity. He also erected two very
+beautiful gates for the city, one of which, called the Porta di S.
+Giovanni, and leading to Vicenza, is very fine, and commodious for the
+soldiers who guard it; and the other, which is very well designed, was
+called the Porta Savonarola. He made, likewise, for the Friars of S.
+Dominic, the design and model of the Church of S. Maria delle Grazie,
+and laid the foundations; and this work, as may be seen from the model,
+is so beautiful and well designed, that one of equal size to rival it
+has perhaps never been seen up to our own day in any other place. And
+by the same master was made the model of a most superb palace for Signor
+Girolamo Savorgnano, at his well fortified stronghold of Usopo in
+Friuli; for which all the foundations were then laid, and it had begun
+to rise above the ground, when, by reason of the death of that nobleman,
+it was left in that condition without being carried further; but if this
+building had been finished, it would have been a marvel.
+
+About the same time Falconetto went to Pola, in Istria, for the sole
+purpose of seeing and drawing the theatre, amphitheatre, and arch that
+are in that most ancient city. He was the first who made drawings of
+theatres and amphitheatres and traced their ground-plans, and those that
+are to be seen, particularly in the case of Verona, came from him, and
+were printed at the instance of others after his designs. Giovan Maria
+was a man of exalted mind, and, being one who had never done anything
+else but draw the great works of antiquity, he desired nothing save that
+there should be presented to him opportunities of executing works
+similar to those in greatness. He would sometimes make ground-plans and
+designs for them, with the very same pains that he would have taken if
+he had been commissioned to put them into execution at once; and in this
+he lost himself so much, so to speak, that he would not deign to make
+designs for the private houses of gentlemen, either in the country or in
+the city, although he was much besought to do so.
+
+Giovan Maria was in Rome on many occasions besides those described
+above; whence that journey was so familiar to him, that when he was
+young and vigorous he would undertake it on the slightest opportunity.
+Persons who are still alive relate that, falling one day into a
+discussion with a foreign architect, who happened to be in Verona, about
+the measurements of I know not what ancient cornice in Rome, after many
+words Giovan Maria said, "I will soon make myself certain in this
+matter," and then went straight to his house and set out on his way to
+Rome.
+
+[Illustration: PALAZZO DEL CAPITANIO
+
+(_After_ Falconetto. _Padua_)
+
+_Anderson_]
+
+This master made for the Cornaro family two very beautiful designs of
+tombs, which were to be erected in S. Salvatore, at Venice--one for the
+Queen of Cyprus, a lady of that family, and the other for Cardinal
+Marco Cornaro, who was the first of that house to be honoured with
+that dignity. And in order that these designs might be carried out, a
+great quantity of marble was quarried at Carrara and taken to Venice,
+where the rough blocks still are, in the house of the same Cornari.
+
+Giovan Maria was the first who brought the true methods of building and
+of good architecture to Verona, Venice, and all those parts, where
+before him there had not been one who knew how to make even a cornice or
+a capital, or understood either the measurements or the proportions of a
+column or of any Order of architecture, as is evident from the buildings
+that were erected before his day. This knowledge was afterwards much
+increased by Fra Giocondo, who lived about the same time, and it
+received its final perfection from Messer Michele San Michele, insomuch
+that those parts are therefore under an everlasting obligation to the
+people of Verona, in which city were born and lived at one and the same
+time these three most excellent architects. To them there then succeeded
+Sansovino, who, not resting content with architecture, which he found
+already grounded and established by the three masters mentioned above,
+also brought thither sculpture, to the end that by its means their
+buildings might have all the adornments that were proper to them. And
+for this a debt of gratitude--if one may use such a word--is due to the
+ruin of Rome, by reason of which the masters were dispersed over many
+places and the beauties of these arts communicated throughout all
+Europe.
+
+Giovan Maria caused some works in stucco to be carried out in Venice,
+and taught the method of executing them. Some declare that when he was a
+young man he had the vaulting of the Chapel of the Santo, at Padua,
+decorated with stucco by Tiziano da Padova and many others, and also had
+similar works executed in the house of the Cornari, which are very
+beautiful. He taught his work to two of his sons, Ottaviano, who was,
+like himself, also a painter, and Provolo. Alessandro, his third son,
+worked in his youth at making armour, and afterwards adopted the calling
+of a soldier; he was three times victor in the lists, and finally, when
+a captain of infantry, died fighting valiantly before Turin in Piedmont,
+having been wounded by a harquebus-ball.
+
+Giovan Maria, on his part, after being crippled by gout, finished the
+course of his life at Padua, in the house of the aforesaid Messer Luigi
+Cornaro, who always loved him like a brother, or rather, like his own
+self. And to the end that there might be no separation in death between
+the bodies of those whose minds had been united together in the world by
+friendship and love of art, Messer Luigi had intended that Giovan Maria
+should be laid to rest beside himself in the tomb that was to be erected
+for his own burial, together with that most humorous poet, Ruzzante, his
+very familiar friend, who lived and died in his house; but I do not know
+whether this design of the illustrious Cornaro was ever carried into
+effect. Giovan Maria was a fine talker, pleasant and agreeable in
+conversation, and very acute in repartee, insomuch that Cornaro used to
+declare that a whole book could have been made with his sayings. And
+since, although he was crippled by gout, he lived cheerfully, he
+preserved his life to the age of seventy-six, dying in 1534.
+
+He had six daughters, five of whom he gave in marriage himself, and the
+sixth was married by her brothers, after his death, to Bartolommeo
+Ridolfi of Verona, who executed many works in stucco in company with
+them, and was a much better master than they were. This may be seen from
+his works in many places, and in particular at Verona, in the house of
+Fiorio della Seta on the Ponte Nuovo, in which he decorated some
+apartments in a very beautiful manner. There are others in the house of
+the noble Counts Canossi, which are amazing; and such, also, are those
+that he executed in the house of the Murati, near S. Nazzaro; and for
+Signor Giovan Battista della Torre, for Cosimo Moneta, the Veronese
+banker, at his beautiful villa, and for many others in various places,
+all works of great beauty. Palladio, most excellent of architects,
+declares that he knows no person more marvellous in invention or better
+able to adorn apartments with beautiful designs in stucco, than this
+Bartolommeo Ridolfi. Not many years since, Spitech Giordan, a nobleman
+of great authority with the King of Poland, took Bartolommeo with him to
+that King; and there, enjoying an honourable salary, he has executed, as
+he still does, many works in stucco, large portraits, medallions, and
+many designs for palaces and other buildings, with the assistance of a
+son of his own, who is in no way inferior to his father.
+
+[Illustration: GIROLAMO DAI LIBRI: MADONNA AND CHILD, WITH S. ANNE
+
+(_London: National Gallery, 748. Canvas_)]
+
+The elder Francesco dai Libri of Verona lived some time before Liberale,
+although it is not known exactly at what date he was born; and he was
+called "Dai Libri"[9] because he practised the art of illuminating
+books, his life extending from the time when printing had not yet been
+invented to the very moment when it was beginning to come into use.
+Since, therefore, there came to him from every quarter books to
+illuminate--a work in which he was most excellent--he was known by no
+other surname than that of "Dai Libri"; and he executed great numbers of
+them, for the reason that whoever went to the expense of having them
+written, which was very great, wished also to have them adorned as much
+as was possible with illuminations.
+
+This master illuminated many choral books, all beautiful, which are at
+Verona, in S. Giorgio, in S. Maria in Organo, and in S. Nazzaro; but the
+most beautiful is a little book, or rather, two little pictures that
+fold together after the manner of a book, on one side of which is a S.
+Jerome, a figure executed with much diligence and very minute
+workmanship, and on the other a S. John in the Isle of Patmos, depicted
+in the act of beginning to write his Book of the Apocalypse. This work,
+which was bequeathed to Count Agostino Giusti by his father, is now in
+S. Leonardo, a convent of Canons Regular, of which Don Timoteo Giusti,
+the son of that Count, is a member. Finally, after having executed
+innumerable works for various noblemen, Francesco died, content and
+happy for the reason that, in addition to the serenity of mind that his
+goodness brought him, he left behind him a son, called Girolamo, who was
+so excellent in art that before his death he saw him already a much
+greater master than himself.
+
+This Girolamo, then, was born at Verona in the year 1472, and at the age
+of sixteen he painted for the Chapel of the Lischi, in S. Maria in
+Organo, an altar-piece which caused such marvel to everyone when it was
+uncovered and set in its place, that the whole city ran to embrace and
+congratulate his father Francesco. In this picture is a Deposition from
+the Cross, with many figures, and among the many beautiful weeping
+heads the best of all are a Madonna and a S. Benedict, which are much
+commended by all craftsmen; and he also made therein a landscape, with a
+part of the city of Verona, drawn passing well from the reality. Then,
+encouraged by the praises that he heard given to his work, Girolamo
+painted the altar of the Madonna in S. Paolo in a masterly manner, and
+also the picture of the Madonna with S. Anne, which is placed between
+the S. Sebastian of Il Moro and the S. Rocco of Cavazzuola in the Church
+of the Scala. For the family of the Zoccoli he painted the great
+altar-piece of the high-altar in the Church of the Vittoria, and for the
+family of the Cipolli the picture of S. Onofrio, which is near the
+other, and is held to be both in design and in colouring the best work
+that he ever executed.
+
+For S. Leonardo nel Monte, also, near Verona, he painted at the
+commission of the Cartieri family the altar-piece of the high-altar,
+which is a large work with many figures, and much esteemed by everyone,
+above all for its very beautiful landscape. Now a thing that has
+happened very often in our own day has caused this work to be held to be
+a marvel. There is a tree painted by Girolamo in the picture, and
+against it seems to rest the great chair on which the Madonna is seated.
+This tree, which has the appearance of a laurel, projects considerably
+with its branches over the chair, and between the branches, which are
+not very thick, may be seen a sky so clear and beautiful, that the tree
+seems to be truly a living one, graceful and most natural. Very often,
+therefore, birds that have entered the church by various openings have
+been seen to fly to this tree in order to perch upon it, and
+particularly swallows, which had their nests among the beams of the
+roof, and likewise their little ones. Many persons well worthy of
+credence declare that they have seen this, among them Don Giuseppe
+Mangiuoli of Verona, a person of saintly life, who has twice been
+General of his Order and would not for anything in the world assert a
+thing that was not absolutely true, and also Don Girolamo Volpini,
+likewise a Veronese, and many others.
+
+[Illustration: MADONNA AND CHILD WITH SAINTS
+
+(_After the painting by =Girolamo dai Libri=. Verona: Museo Civico,
+290_)
+
+_Brogi_]
+
+In S. Maria in Organo, where was the first work executed by Girolamo, he
+also painted two Saints on the outer side of one of the folding doors of
+the organ--the other being painted by Francesco Morone, his
+companion--and on the inner side a Manger. And afterwards he painted
+the picture that is opposite to his first work, containing the Nativity
+of Our Lord, with shepherds, landscapes, and very beautiful trees; but
+most lifelike and natural of all are two rabbits, which are executed
+with such diligence that each separate hair may actually be seen in
+them. He painted another altar-piece for the Chapel of the Buonalivi,
+with a Madonna seated in the centre, two other figures, and some Angels
+below, who are singing. Then, in the ornamental work made by Fra
+Giovanni da Verona for the altar of the Sacrament, the same Girolamo
+painted three little pictures after the manner of miniatures. In the
+central picture is a Deposition from the Cross, with two little Angels,
+and in those at the sides are painted six Martyrs, kneeling towards the
+Sacrament, three in each picture, these being saints whose bodies are
+deposited in that very altar. The first three are Cantius, Cantianus,
+and Cantianilla, who were nephews of the Emperor Diocletian, and the
+others are Protus, Chrysogonus, and Anastasius, who suffered martyrdom
+at Aquae Gradatae, near Aquileia; and all these figures are in miniature,
+and very beautiful, for Girolamo was more able in that field of art than
+any other master of his time in Lombardy and in the State of Venice.
+
+Girolamo illuminated many books for the Monks of Montescaglioso in the
+Kingdom of Naples, some for S. Giustina at Padua, and many others for
+the Abbey of Praia in the territory of Padua; and also some at Candiana,
+a very rich monastery of the Canons Regular of S. Salvatore, to which
+place he went in person to work, although he would never go to any other
+place. While he was living there, Don Giulio Clovio, who was a friar in
+that place, learned the first rudiments of illumination; and he has
+since become the greatest master of that art that is now alive in Italy.
+Girolamo illuminated at Candiana a sheet with a Kyrie, which is an
+exquisite work, and for the same monks the first leaf of a psalter for
+the choir; with many things for S. Maria in Organo and for the Friars of
+S. Giorgio, in Verona. He executed, likewise, some other very beautiful
+illuminations for the Black Friars of S. Nazzaro at Verona. But that
+which surpassed all the other works of this master, which were all
+divine, was a sheet on which was depicted in miniature the Earthly
+Paradise, with Adam and Eve driven forth by the Angel, who is behind
+them with a sword in his hand. One would not be able to express how
+great and how beautiful is the variety of the trees, fruits, flowers,
+animals, birds, and all the other things that are in this amazing work,
+which was executed at the commission of Don Giorgio Cacciamale of
+Bergamo, then Prior of S. Giorgio in Verona, who, in addition to the
+many other courtesies that he showed to Girolamo, gave him sixty crowns
+of gold. This work was afterwards presented by that Father to a Roman
+Cardinal, at that time Protector of his Order, who showed it to many
+noblemen in Rome, and they all declared it to be the best example of
+illumination that had ever been seen up to that day.
+
+Girolamo painted flowers with such diligence, and made them so true, so
+beautiful, and so natural, that they appeared to all who beheld them to
+be real; and he counterfeited little cameos and other engraved stones
+and jewels in such a manner, that there was nothing more faithfully
+imitated or more diminutive to be seen. Among his little figures there
+are seen some, as in his imitations of cameos and other stones, that are
+no larger than little ants, and yet all the limbs and all the muscles
+can be perceived so clearly that one who has not seen them could
+scarcely believe it. Girolamo used to say in his old age that he knew
+more in his art then than he had ever known, and saw where every stroke
+ought to go, but that when he came to handle the brushes, they went the
+wrong way, because neither his eye nor his hand would serve him any
+longer. He died on the 2nd of July in the year 1555, at the age of
+eighty-three, and was laid to rest in the burial-place of the Company of
+S. Biagio in S. Nazzaro.
+
+He was a good and upright man, who never had a quarrel or dispute with
+anyone, and his life was very pure. He had, besides other children, a
+son called Francesco, who learned his art from him, and executed
+miracles of illumination when still a mere lad, so that Girolamo
+declared that he had not known as much at that age as his son knew. But
+this young man was led away from him by a brother of his mother, who,
+being passing rich, and having no children, took him with him to Vicenza
+and placed him in charge of a glass-furnace that he was setting up. When
+Francesco had spent his best years in this, his uncle's wife dying, he
+fell from his high hopes, and found that he had wasted his time, for
+the uncle took another wife, and had children by her, and thus Francesco
+did not become his uncle's heir, as he had thought to be. Thereupon he
+returned to his art after an absence of six years, and, after acquiring
+some knowledge, set himself to work. Among other things, he made a large
+globe, four feet in diameter, hollow within, and covered on the outer
+side, which was of wood, with a glue made of bullock's sinews, which was
+of a very strong admixture, so that there should be no danger of cracks
+or other damage in any part. This sphere, which was to serve as a
+terrestrial globe, was then carefully measured and divided under the
+personal supervision of Fracastoro and Beroldi, both eminent physicians,
+cosmographers, and astrologers; and it was to be painted by Francesco
+for Messer Andrea Navagiero, a Venetian gentleman, and a most learned
+poet and orator, who wished to make a present of it to King Francis of
+France, to whom he was about to go as Ambassador from his Republic. But
+Navagiero had scarcely arrived in France after a hurried journey, when
+he died, and this work remained unfinished. A truly rare work it would
+have been, thus executed by Francesco with the advice and guidance of
+two men of such distinction; but it was left unfinished, as we have
+said, and, what was worse, in its incomplete condition it received some
+injury, I know not what, in the absence of Francesco. However, spoiled
+as it was, it was bought by Messer Bartolommeo Lonichi, who has never
+consented to give it up to anyone, although he has been much besought
+and offered vast prices.
+
+Before this, Francesco had made two smaller globes, one of which is in
+the possession of Mazzanti, Archpriest of the Duomo of Verona, and the
+other belonged to Count Raimondo della Torre, and is now in the hands of
+his son, Count Giovan Batista, who holds it very dear, because this one,
+also, was made with the measurements and personal assistance of
+Fracastoro, who was a very familiar friend of Count Raimondo.
+
+Finally, growing weary of the extraordinary labour that miniatures
+demand, Francesco devoted himself to painting and to architecture, in
+which he became very skilful, executing many works in Venice and in
+Padua. About that time the Bishop of Tournai, a very rich and noble
+Fleming, had come to Italy in order to study letters, to see the
+country, and to learn our manners and ways of living. This man,
+delighting much in architecture, and happening to be in Padua, became so
+enamoured of the Italian method of building that he resolved to take the
+modes of our architecture with him to his own country; and in order to
+facilitate this purpose, he drew Francesco, whose ability he had
+recognized, into his service with an honourable salary, meaning to take
+him to Flanders, where he intended to carry out many magnificent works.
+But when the time came to depart, poor Francesco, who had caused designs
+to be made of all the best and greatest and most famous buildings in
+Italy, was overtaken by death, while still young and the object of the
+highest expectations, leaving his patron much grieved by his loss.
+
+Francesco left an only brother, in whom, being a priest, the Dai Libri
+family became extinct, after producing in succession three men most
+excellent in their field of art. Nor have any disciples survived them to
+keep this art alive, excepting the above-mentioned churchman, Don
+Giulio, who, as we have related, learned it from Girolamo when he was
+working at Candiana, where the former was a friar; and this Don Giulio
+has since raised it to a height of excellence which very few have
+reached and no one has ever surpassed.
+
+I knew for myself some of the facts about the excellent and noble
+craftsmen mentioned above, but I would never have been able to learn the
+whole of what I have related of them if the great goodness and diligence
+of the reverend and most learned Fra Marco de' Medici of Verona, a man
+profoundly conversant with all the most noble arts and sciences, and
+with him Danese Cattaneo of Carrara, a sculptor of great excellence,
+both being very much my friends, had not given me that complete and
+perfect information which I have just written down, to the best of my
+ability, for the convenience and advantage of all who may read these our
+Lives, in which the courtesy of many friends, who have taken pains with
+the investigation of these matters in order to please me and to benefit
+the world, has been, as it still is, of great assistance to me. And let
+this be the end of the Lives of these craftsmen of Verona, the portraits
+of each of whom I have not been able to obtain, because this full notice
+did not reach my hands until I found myself almost at the close of my
+work.
+
+FOOTNOTE:
+
+[1] Canal of the slaughter-houses.
+
+[2] Small canal of the corn-magazines.
+
+[3] Scarpagnino.
+
+[4] See note on page 57, Vol. I.
+
+[5] See note on page 57, Vol. I.
+
+[6] See note on page 57, Vol. I.
+
+[7] From "terra," earth.
+
+[8] See note on page 57, Vol. I.
+
+[9] _I.e._, "of the books."
+
+
+
+
+FRANCESCO GRANACCI (IL GRANACCIO)
+
+
+
+
+LIFE OF FRANCESCO GRANACCI (IL GRANACCIO)
+
+PAINTER OF FLORENCE
+
+
+Great, indeed, is the good fortune of those craftsmen who are brought
+into contact, either by their birth or by the associations that are
+formed in childhood, with those men whom Heaven has chosen out to be
+distinguished and exalted above all others in our arts, for the reason
+that a good and beautiful manner can be acquired with the greatest
+facility by seeing the methods and works of men of excellence, not to
+mention that rivalry and emulation, as we have said elsewhere, have
+great power over our minds.
+
+Francesco Granacci, of whom we have already spoken, was one of those who
+were placed by the Magnificent Lorenzo de' Medici to learn in his
+garden; whence it happened that, recognizing, boy as he was, the great
+genius of Michelagnolo, and what extraordinary fruits he was likely to
+produce when full grown, he could never tear himself away from his side,
+and even strove with incredible attention and humility to be always
+following that great brain, insomuch that Michelagnolo was constrained
+to love him more than all his other friends, and to confide so much in
+him, that there was no one with whom he was more willing to confer
+touching his works or to share all that he knew of art at that time,
+than with Granacci. Then, after they had been companions together in the
+workshop of Domenico Ghirlandajo, it came to pass that Granacci, because
+he was held to be the best of Ghirlandajo's young men, the strongest
+draughtsman, and the one who had most grace in painting in distemper,
+assisted David and Benedetto Ghirlandajo, the brothers of Domenico, to
+finish the altar-piece of the high-altar in S. Maria Novella, which had
+been left unfinished at the death of the same Domenico. By this work
+Granacci gained much experience, and afterwards he executed in the same
+manner as that altar-piece many pictures that are in the houses of
+citizens, and others which were sent abroad.
+
+And since he was very gracious, and made himself very useful in certain
+ceremonies that were performed in the city during the festivals of the
+Carnival, he was constantly employed by the Magnificent Lorenzo de'
+Medici in many similar works, and in particular for the masquerade that
+represented the Triumph of Paulus Emilius, which was held in honour of
+the victory that he gained over certain foreign nations. In this
+masquerade, which was full of most beautiful inventions, Granacci
+acquitted himself so well, although he was a mere lad, that he won the
+highest praise. And here I will not omit to tell that the same Lorenzo
+de' Medici, as I have said in another place, was the first inventor of
+those masquerades that represent some particular subject, and are called
+in Florence "Canti";[10] for it is not known that any were performed in
+earlier times.
+
+In like manner Granacci was employed in the sumptuous and magnificent
+preparations that were made in the year 1513 for the entry of Pope Leo
+X, one of the Medici, by Jacopo Nardi, a man of great learning and most
+beautiful intellect, who, having been commanded by the Tribunal of Eight
+to prepare a splendid masquerade, executed a representation of the
+Triumph of Camillus. This masquerade, in so far as it lay in the
+province of the painter, was so beautifully arranged and adorned by
+Granacci that no man could imagine anything better; and the words of the
+song, which Jacopo composed, began thus:
+
+  Contempla in quanta gloria sei salita,
+    Felice alma Fiorenza,
+    Poiche dal Ciel discesa,
+
+with what follows. For the same spectacle Granacci executed a great
+quantity of theatrical scenery, as he did both before and afterwards.
+And while working with Ghirlandajo he painted standards for ships, and
+also banners and devices for certain Knights of the Golden Spur, for
+their public entry into Florence, all at the expense of the Captains of
+the Guelph Party, as was the custom at that time, and as has been done
+in our own day, not long since.
+
+[Illustration: FRANCESCO GRANACCI: THE HOLY FAMILY
+
+(_Florence: Pitti, 199. Panel_)]
+
+In like manner he made many beautiful embellishments and decorations of
+his own invention for the Potenze[11] and their tournaments. These
+festivals were of a kind which is peculiar to the Florentines, and very
+pleasing, and in them were seen men standing almost upright on
+horseback, with very short stirrups, and breaking a lance with the same
+facility as do the warriors firmly seated on their saddles; and all this
+was done for the above-mentioned visit of Leo to Florence. Granacci also
+made, besides other things, a most beautiful triumphal arch opposite to
+the door of the Badia, covered with scenes in chiaroscuro and very
+lovely things of fancy. This arch was much extolled, and particularly
+for the invention of the architecture, and because he had made an
+imitation of that same door of the Badia for the entrance of the Via del
+Palagio, executed in perspective with the steps and every other thing,
+so that the painted and supposititious door was in no way different from
+the real and true one. To adorn the same arch he executed with his own
+hand some very beautiful figures of clay in relief, and on the summit of
+the arch he placed a great inscription with these words: LEONI X PONT.
+MAX. FIDEI CULTORI.
+
+But to come at length to some works by Granacci that are in existence,
+let me relate that, having studied the cartoon of Michelagnolo
+Buonarroti while the latter was executing it for the Great Hall of the
+Palace, he found it so instructive and made such proficience, that, when
+Michelagnolo was summoned to Rome by Pope Julius II to the end that he
+might paint the vaulting of the Chapel in his Palace, Granacci was one
+of the first to be sent for by Buonarroti to help him to paint that work
+in fresco after the cartoons that he himself had prepared. It is true
+that Michelagnolo, being dissatisfied with the manner and method of
+every one of his assistants, afterwards found means to make them all
+return to Florence without dismissing them, by closing the door on them
+all and not allowing himself to be seen.
+
+In Florence Granacci painted for Pier Francesco Borgherini a scene in
+oils on the head-board of a couch which stood in an apartment wherein
+Jacopo da Pontormo, Andrea del Sarto, and Francesco Ubertini had painted
+many stories from the life of Joseph, in Pier Francesco's house in Borgo
+Sant' Apostolo; and in this scene were little figures representing a
+story of the same Joseph, executed with extraordinary finish and with
+great charm and beauty of colouring, and a building in perspective,
+wherein he depicted Joseph ministering to Pharaoh, which could not be
+more beautiful in any part. For the same man, also, he painted a round
+picture, likewise in oils, of the Trinity, or rather, God the Father
+supporting a Christ Crucified. And in the Church of S. Piero Maggiore
+there is a picture of the Assumption by his hand, with many Angels and a
+S. Thomas, to whom the Madonna is giving the Girdle. The figure of S.
+Thomas is very graceful, turning to one side in a beautiful attitude
+worthy of the hand of Michelagnolo, and such, also, is that of Our Lady.
+The drawing for these two figures by the hand of Granacci is in our
+book, together with others likewise by him. On either side of this
+picture are figures of S. Paul, S. Laurence, S. James, and S. John,
+which are all so beautiful that the work is held to be the best that
+Francesco ever painted; and in truth this work alone, even if he had
+never executed another, would ensure his being considered to be, as
+indeed he was, an excellent painter.
+
+For the Church of S. Gallo, without the Gate of the same name, and
+formerly a seat of the Eremite Friars of S. Augustine, he painted an
+altar-piece with the Madonna and two children, S. Zanobi, Bishop of
+Florence, and S. Francis. This altar-piece, which was in the Chapel of
+the Girolami, to which family that S. Zanobi belonged, is now in S.
+Jacopo tra Fossi at Florence.
+
+Michelagnolo Buonarroti, having a niece who was a nun in S. Apollonia at
+Florence, had therefore executed an ornament for the high-altar of that
+church, and a design for the altar-piece; and Granacci painted there
+some scenes in oils with figures large and small, which gave much
+satisfaction to the nuns at that time, and also to the other painters.
+For the same place he painted another altar-piece, which stood lower
+down, but this was burned one night, together with some draperies of
+great value, through some lights being inadvertently left on the altar;
+which was certainly a great loss, seeing that the work was much extolled
+by craftsmen. And for the Nuns of S. Giorgio in sulla Costa he executed
+the altar-piece of their high-altar, painting in it the Madonna, S.
+Catharine, S. Giovanni Gualberto, S. Bernardo Uberti the Cardinal, and
+S. Fedele.
+
+Granacci also executed many pictures, both square and round, which are
+dispersed among the houses of gentlemen in the city; and he made many
+cartoons for glass-windows, which were afterwards put into execution by
+the Frati Ingiesuati of Florence. He delighted much in painting on
+cloth, either alone or in company with others; wherefore, in addition to
+the works mentioned above, he painted many church-banners. And since he
+practised art more to pass the time than from necessity, he worked at
+his ease, always consulting his own convenience, and avoiding
+discomforts as much as he was able, more than any other man; and yet,
+without being covetous of the goods of others, he always preserved his
+own. Allowing but few cares to oppress him, he was a merry fellow, and
+took his pleasures with a glad heart. He lived sixty-seven years, at the
+end of which he finished the course of his life after an ordinary
+malady, a kind of fever; and he was buried in the Church of S. Ambrogio
+at Florence, on the day of S. Andrew the Apostle, in 1544.
+
+[Illustration: THE MADONNA GIVING THE GIRDLE TO S. THOMAS
+
+(_After the panel by =Francesco Granacci=. Florence: Uffizi, 1280_)
+
+_Alinari_]
+
+FOOTNOTE:
+
+[10] From the "canti," or "songs," that were sung in them.
+
+[11] The "Potenze" were merry companies composed of the men of
+the various quarters in costume. Each quarter had its own, representing
+an Emperor, King, or Prince, and his Court.
+
+
+
+
+BACCIO D' AGNOLO
+
+
+
+
+LIFE OF BACCIO D' AGNOLO
+
+ARCHITECT OF FLORENCE
+
+
+Great is the pleasure that I take in studying at times the beginnings of
+our craftsmen, for one sees some rising from the lowest depth to the
+greatest height, and especially in architecture, a science which has not
+been practised for several years past save by carvers and cunning
+impostors who profess to understand perspective without knowing even its
+terms or its first principles. The truth, indeed, is that architecture
+can never be practised to perfection save by those who have an excellent
+judgment and a good mastery of design, or have laboured much in
+painting, sculpture, or works in wood, for the reason that in it have to
+be executed with true measurements the dimensions of their figures,
+which are columns, cornices, and bases, and all the ornaments, which are
+made for the adornment of the figures, and for no other reason. And thus
+the workers in wood, by continually handling such things, in course of
+time become architects; and sculptors likewise, by having to find
+positions for their statues and by making ornaments for tombs and other
+works in the round, come in time to a knowledge of architecture; and
+painters, on account of their perspectives, the variety of their
+inventions, and the buildings that they draw, are compelled to take the
+ground-plans of edifices, seeing that they cannot plant houses or
+flights of steps on the planes where their figures stand, without in the
+first place grasping the order of the architecture.
+
+Working in his youth excellently well at wood-inlaying, Baccio executed
+the backs of the stalls in the choir of S. Maria Novella, in the
+principal chapel, wherein are most beautiful figures of S. John the
+Baptist and S. Laurence. In carving, he executed the ornaments of that
+same chapel, those of the high-altar in the Nunziata, the decorations of
+the organ in S. Maria Novella, and a vast number of other works, both
+public and private, in his native city of Florence. Departing from that
+city, he went to Rome, where he applied himself with great zeal to the
+study of architecture; and on his return he made triumphal arches of
+wood in various places for the visit of Pope Leo X. But for all this he
+never gave up his workshop, where there were often gathered round him,
+in addition to many citizens, the best and most eminent masters of our
+arts, so that most beautiful conversations and discussions of importance
+took place there, particularly in winter. The first of these masters was
+Raffaello da Urbino, then a young man, and next came Andrea Sansovino,
+Filippino, Maiano, Cronaca, Antonio da San Gallo and Giuliano da San
+Gallo, Granaccio, and sometimes, but not often, Michelagnolo, with many
+young Florentines and strangers.
+
+Having thus given his attention to architecture in so thorough a manner,
+and having made some trial of his powers, Baccio began to be held in
+such credit in Florence, that the most magnificent buildings that were
+erected in his time were entrusted to him and were put under his
+direction. When Piero Soderini was Gonfalonier, Baccio took part, with
+Cronaca and others, as has been related above, in the deliberations that
+were held with regard to the great Hall of the Palace; and with his own
+hand he executed in wood the ornament for the large panel-picture which
+was begun by Fra Bartolommeo, after the design by Filippino. In company
+with the same masters he made the staircase that leads to that Hall,
+with a very beautiful ornamentation of stone, and also the columns of
+variegated marble and the doors of marble in the hall that is now called
+the Sala de' Dugento.
+
+He built a palace for Giovanni Bartolini, which is very ornate within,
+on the Piazza di S. Trinita; and he made many designs for the garden of
+the same man in Gualfonda. And since that palace was the first edifice
+that was built with ornaments in the form of square windows with
+pediments, and a portal with columns supporting architrave, frieze, and
+cornice, these things were much censured by the Florentines with spoken
+words and sonnets, and festoons of boughs were hung upon them, as is
+done in churches for festivals, men saying that the facade was more like
+that of a temple than of a palace; so that Baccio was like to go out of
+his mind. However, knowing that he had imitated good examples, and that
+his work was sound, he regained his peace of mind. It is true that the
+cornice of the whole palace proved, as has been said in another place,
+to be too large; but in every other respect the work has always been
+much extolled.
+
+For Lanfredino Lanfredini he erected a house on the bank of the Arno,
+between the Ponte a S. Trinita and the Ponte alla Carraja; and on the
+Piazza de' Mozzi he began the house of the Nasi, which looks out upon
+the sandy shore of the Arno, but did not finish it. For Taddeo, of the
+Taddei family, he built a house that was held to be very beautiful and
+commodious. For Pier Francesco Borgherini he made the designs of the
+house that he built in Borgo S. Apostolo, in which he caused ornaments
+for the doors and most beautiful chimney-pieces to be executed at great
+expense, and made for the adornment of one chamber, in particular,
+coffers of walnut-wood covered with little boys carved with supreme
+diligence. Such a work it would now be impossible to execute with such
+perfection as he gave to it. He also prepared the design for the villa
+that Borgherini caused to be built on the hill of Bellosguardo, which
+was very beautiful and commodious, and erected at vast expense. For
+Giovan Maria Benintendi he executed an antechamber, with an ornamental
+frame for some scenes painted by excellent masters, which was a rare
+thing. The same Baccio made the model of the Church of S. Giuseppe near
+S. Nofri, and directed the construction of the door, which was his last
+work. He also caused to be built of masonry the campanile of S. Spirito
+in Florence, which was left unfinished, and is now being completed by
+order of Duke Cosimo after the original design of Baccio; and he
+likewise erected the campanile of S. Miniato sul Monte, which was
+battered by the artillery of the camp, but never destroyed, on which
+account it gained no less fame for the affront that it offered to the
+enemy than for the beauty and excellence with which Baccio had caused it
+to be built and carried to completion.
+
+Next, having been appointed on account of his abilities, and because he
+was much beloved by the citizens, as architect to S. Maria del Fiore,
+Baccio gave the design for constructing the gallery that encircles the
+cupola. This part of the work Filippo Brunelleschi, being overtaken by
+death, had not been able to execute; and although he had made designs
+even for this, they had been lost or destroyed through the negligence of
+those in charge of the building. Baccio, then, having made the design
+and model for this gallery, carried into execution all the part that is
+to be seen facing the Canto de' Bischeri. But Michelagnolo Buonarroti,
+on his return from Rome, perceiving that in carrying out this work they
+were cutting away the toothings that Filippo Brunelleschi, not without a
+purpose, had left projecting, made such a clamour that the work was
+stopped; saying that it seemed to him that Baccio had made a cage for
+crickets, that a pile so vast required something grander and executed
+with more design, art, and grace than appeared to him to be displayed by
+Baccio's design, and that he himself would show how it should be done.
+Michelagnolo having therefore made a model, the matter was disputed at
+great length before Cardinal Giulio de' Medici by many craftsmen and
+competent citizens; and in the end neither the one model nor the other
+was carried into execution. Baccio's design was censured in many
+respects, not that it was not a well-proportioned work of its kind, but
+because it was too insignificant in comparison with the size of the
+structure; and for these reasons that gallery has never been brought to
+completion.
+
+Baccio afterwards gave his attention to executing the pavement of S.
+Maria del Fiore, and to his other buildings, which were not a few, for
+he had under his particular charge all the principal monasteries and
+convents of Florence, and many houses of citizens, both within and
+without the city. Finally, when near the age of eighty-three, but still
+of good and sound judgment, he passed to a better life in 1543, leaving
+three sons, Giuliano, Filippo, and Domenico, who had him buried in S.
+Lorenzo.
+
+Of these sons, who all gave their attention after the death of Baccio to
+the art of carving and working in wood, Giuliano, who was the second,
+was the one who applied himself with the greatest zeal to architecture
+both during his father's lifetime and afterwards; wherefore, by favour
+of Duke Cosimo, he succeeded to his father's place as architect to S.
+Maria del Fiore, and continued not only all that Baccio had begun in
+that temple, but also all the other buildings that had remained
+unfinished at his death. At that time Messer Baldassarre Turini da
+Pescia was intending to place a panel-picture by the hand of Raffaello
+da Urbino in the principal church of Pescia, of which he was Provost,
+and to erect an ornament of stone, or rather, an entire chapel, around
+it, and also a tomb; and Giuliano executed all this after his own
+designs and models, and also restored for the same patron his house at
+Pescia, making in it many beautiful and useful improvements. For Messer
+Francesco Campana, formerly First Secretary to Duke Alessandro, and
+afterwards to Duke Cosimo de' Medici, the same Giuliano built at
+Montughi, without Florence, beside the church, a house which is small
+but very ornate, and so well situated, that it commands from its slight
+elevation a view of the whole city of Florence and the surrounding
+plain. And a most beautiful and commodious house was built at Colle, the
+native place of that same Campana, from the design of Giuliano, who
+shortly afterwards began for Messer Ugolino Grifoni, Lord of Altopascio,
+a palace at San Miniato al Tedesco, which was a magnificent work.
+
+For Ser Giovanni Conti, one of the secretaries of the Lord Duke Cosimo,
+he made many useful and beautiful improvements in his house at Florence;
+although it is true that in the two ground-floor windows, supported by
+knee-shaped brackets, which open out upon the street, Giuliano departed
+from his usual method, and so cut them up with projections, little
+brackets, and off-sets, that they inclined rather to the German manner
+than to the true and good manner of ancient or modern times. Works of
+architecture, without a doubt, must first be massive, solid, and simple,
+and then enriched by grace of design and by variety of subject in the
+composition, without, however, disturbing by poverty or by excess of
+ornamentation the order of the architecture or the impression produced
+on a competent judge.
+
+Meanwhile Baccio Bandinelli, having returned from Rome, where he had
+finished the tombs of Leo and Clement, persuaded the Lord Duke Cosimo,
+then a young man, to make at the head of the Great Hall of the Ducal
+Palace a facade full of columns and niches, with a range of fine marble
+statues; and this facade was to have windows of marble and grey-stone
+looking out upon the Piazza. The Duke having resolved to have this done,
+Bandinelli set his hand to making the design; but finding that the hall,
+as has been related in the Life of Cronaca, was out of square, and
+having never given attention to architecture, which he considered an art
+of little value, marvelling and even laughing at those who gave their
+attention to it, he was forced, on recognizing the difficulty of this
+work, to confer with Giuliano with regard to his model, and to beseech
+him that he, as an architect, should direct the work. And so all the
+stone-cutters and carvers of S. Maria del Fiore were set to work, and a
+beginning was made with the structure. Bandinelli had resolved, with the
+advice of Giuliano, to let the work remain out of square, following in
+part the course of the wall. It came to pass, therefore, that he was
+forced to make all the stones irregular in shape, preparing them with
+great labour by means of the pifferello, which is the instrument
+otherwise called the bevel-square; and this made the work so clumsy,
+that, as will be related in the Life of Bandinelli, it has been
+difficult to bring it to such a form as might be in harmony with the
+rest. Such a thing would not have happened if Bandinelli had possessed
+as much knowledge in architecture as he did in sculpture; not to mention
+that the great niches in the side-walls at each end proved to be squat,
+and that the one in the centre was not without defect, as will be told
+in the Life of that same Bandinelli. This work, after having been
+pursued for ten years, was abandoned, and so it remained for some time.
+It is true that the profiled stones as well as the columns, both of
+Fossato stone and of marble, were wrought with the greatest diligence by
+the stone-cutters and carvers under the care of Giuliano, and were
+afterwards so well built in that it would not be possible to find any
+masonry better put together, all the stones being accurately measured.
+In this respect Giuliano may be celebrated as most excellent; and the
+work, as will be related in the proper place, was finished in five
+months, with an addition, by Giorgio Vasari of Arezzo.
+
+Giuliano, meanwhile, not neglecting his workshop, was giving his
+attention, together with his brothers, to the execution of many carvings
+and works in wood, and also to pressing on the making of the pavement
+of S. Maria del Fiore; and since he was superintendent and architect of
+that building, he was requested by the same Bandinelli to make designs
+and models of wood, after some fantasies of figures and other ornaments
+of his own, for the high-altar of that same S. Maria del Fiore, which
+was to be constructed of marble; which Giuliano did most willingly,
+being a good and kindly person and one who delighted in architecture as
+much as Bandinelli despised it, and being also won over by the lavish
+promises of profit and honour that Bandinelli made him. Setting to work,
+therefore, on that model, Giuliano made it much after the simple pattern
+formerly designed by Brunelleschi, save that he enriched it by doubling
+both the columns and the arch above. And when he had brought it to
+completion, and the model, together with many designs, had been carried
+by Bandinelli to Duke Cosimo, his most illustrious Excellency resolved
+in his regal mind to execute not only the altar, but also the ornament
+of marble that surrounds the choir, following its original octagonal
+shape, with all those rich adornments with which it has since been
+carried out, in keeping with the grandeur and magnificence of that
+temple. Giuliano, therefore, with the assistance of Bandinelli, made a
+beginning with that choir, without altering anything save the principal
+entrance, which is opposite to the above-mentioned altar; for which
+reason he wished that it should be exactly similar to that altar, with
+the same arch and decorations. He also made two other similar arches,
+which unite with the entrance and the altar in forming a cross; and
+these were for two pulpits, which the old choir also had, serving for
+music and other ceremonies of the choir and of the altar. In this choir,
+around the eight faces, Giuliano made an ornament of the Ionic Order,
+and placed at every corner a pilaster bent in the middle, and one on
+every face; and since each pilaster so narrowed that the extension-lines
+of its side-faces met in the centre of the choir, from inside it looked
+narrow and bent in, and from outside broad and pointed. This invention
+was not much extolled, nor can it be commended as beautiful by any man
+of judgment; and for a work of such cost, in a place so celebrated,
+Bandinelli, if he despised architecture, or had no knowledge of it,
+should have availed himself of someone living at that time with the
+knowledge and ability to do better. Giuliano deserves to be excused in
+the matter, because he did all that he could, which was not a little;
+but it is very certain that one who has not strong powers of design and
+invention in himself, will always be too poor in grace and judgment to
+bring to perfection great works of architecture.
+
+Giuliano made for Filippo Strozzi a couch of walnut-wood, which is now
+at Citta di Castello, in the house of the heirs of Signor Alessandro
+Vitelli. For an altar-piece which Giorgio Vasari painted for the
+high-altar of the Abbey of Camaldoli in the Casentino, he made a very
+rich and beautiful frame, after the design of Giorgio; and he carved
+another ornamental frame for a large altar-piece that the same Giorgio
+executed for the Church of S. Agostino in Monte Sansovino. The same
+Giuliano made another beautiful frame for another altar-piece by the
+hand of Vasari, which is in the Abbey of Classi, a seat of the Monks of
+Camaldoli, at Ravenna. He also executed the frames for the pictures by
+the hand of the same Giorgio of Arezzo that are in the refectory of the
+Monks of the Abbey of S. Fiore at Arezzo; and in the Vescovado in the
+same city, behind the high-altar, he made a most beautiful choir of
+walnut-wood, after the design of Giorgio, which provided for the
+bringing forward of the altar. And, finally, a short time before his
+death, he made the rich and beautiful Ciborium of the most Holy
+Sacrament for the high-altar of the Nunziata, with the two Angels of
+wood, in full-relief, which are on either side of it. This was the last
+work that he executed, and he passed to a better life in the year 1555.
+
+Nor was Domenico, the brother of that Giuliano, inferior to him in
+judgment, seeing that, besides carving much better in wood, he was also
+very ingenious in matters of architecture, as may be seen from the house
+that was built for Bastiano da Montaguto in the Via de' Servi after his
+design, wherein there are also many works in wood by Domenico's own
+hand. The same master executed for Agostino del Nero, in the Piazza de'
+Mozzi, the buildings that form the street-corner and a very beautiful
+terrace for that house of the Nasi formerly begun by his father Baccio.
+And it is the common belief that, if he had not died so young, he would
+have surpassed by a great measure both his father and his brother
+Giuliano.
+
+
+
+
+VALERIO VICENTINO, GIOVANNI DA CASTEL BOLOGNESE, MATTEO DAL NASSARO OF
+VERONA, AND OTHER EXCELLENT ENGRAVERS OF CAMEOS AND GEMS
+
+
+
+
+LIVES OF VALERIO VICENTINO, GIOVANNI DA CASTEL BOLOGNESE, MATTEO DAL
+NASSARO OF VERONA, AND OTHER EXCELLENT ENGRAVERS OF CAMEOS AND GEMS
+
+
+Since the Greeks were such divine masters in the engraving of Oriental
+stones and so perfect in the cutting of cameos, it seems to me certain
+that I should commit no slight error were I to pass over in silence
+those of our own age who have imitated those marvellous intellects;
+although among our moderns, so it is said, there have been none who in
+this present and happy age have surpassed the ancients in delicacy and
+design, save perchance those of whom we are about to give an account.
+But before making a beginning, it is proper for me to discourse briefly
+on this art of engraving hard stones and gems, which was lost, together
+with the other arts of design, after the ruin of Greece and Rome. Of
+this work, whether engraved in intaglio or in relief, we have seen
+examples discovered daily among the ruins of Rome, such as cameos,
+cornelians, sardonyxes, and other most excellent intagli; but for many
+and many a year the art remained lost, there being no one who gave
+attention to it, and even if any work was done, it was not in such a
+manner as to be worthy to be taken into account. So far as is known, it
+is not found that anyone began to do good work or to attain to
+excellence until the time of Pope Martin V and Pope Paul II; after which
+the art continued to grow little by little down to the time of Lorenzo
+de' Medici, the Magnificent, who greatly delighted in the engraved
+cameos of the ancients. Lorenzo and his son Piero collected a great
+quantity of these, particularly chalcedonies, cornelians, and other
+kinds of the choicest engraved stones, which contained various fanciful
+designs; and in consequence of this, wishing to establish the art in
+their own city, they summoned thither masters from various countries,
+who, besides restoring those stones, brought to them other works which
+were at that time rare.
+
+By these masters, at the instance of the Magnificent Lorenzo, this art
+of engraving in intaglio was taught to a young Florentine called
+Giovanni delle Corniole,[12] who received that surname because he
+engraved them excellently well, of which we have testimony in the great
+numbers of them by his hand that are to be seen, both great and small,
+but particularly in a large one, which was a very choice intaglio,
+wherein he made the portrait of Fra Girolamo Savonarola, who was adored
+in Florence in his day on account of his preaching. A rival of Giovanni
+was Domenico de' Cammei,[13] a Milanese, who, living at the same time as
+Duke Lodovico, Il Moro, made a portrait of him in intaglio on a
+balas-ruby greater than a giulio, which was an exquisite thing and one
+of the best works in intaglio that had been seen executed by a modern
+master. This art afterwards rose to even greater excellence in the
+pontificate of Pope Leo X, through the talents and labours of Pier Maria
+da Pescia, who was a most faithful imitator of the works of the
+ancients; and he had a rival in Michelino, who was no less able than
+Pier Maria in works both great and small, and was held to be a graceful
+master.
+
+These men opened the way in this art, which is so difficult, for
+engraving in intaglio is truly working in the dark, since the craftsman
+can use nothing but impressions of wax, as spectacles, as it were,
+wherewith to see from time to time what he is doing. And finally they
+brought it to such a condition that Giovanni da Castel Bolognese,
+Valerio Vicentino, Matteo dal Nassaro, and others, were able to execute
+the many beautiful works of which we are about to make mention.
+
+Let me begin, then, by saying that Giovanni Bernardi of Castel
+Bolognese, who worked in his youth in the service of Duke Alfonso of
+Ferrara, made for him, in the three years of honourable service that he
+gave him, many little works, of which there is no need to give any
+description. Of his larger works the first was an intaglio on a piece of
+crystal, in which he represented the whole of the action of Bastia,
+which was very beautiful; and then he executed the portrait of that
+Duke in a steel die for the purpose of making medals, with the Taking of
+Jesus Christ by the Multitude on the reverse. Afterwards, urged by
+Giovio, he went to Rome, and obtained by favour of Cardinal Ippolito de'
+Medici and Cardinal Giovanni Salviati the privilege of taking a portrait
+of Clement VII, from which he made a die for medals, which was very
+beautiful, with Joseph revealing himself to his brethren on the reverse;
+and for this he was rewarded by His Holiness with the gift of a Mazza,
+an office which he afterwards sold in the time of Paul III, receiving
+two hundred crowns for it. For the same Clement he executed figures of
+the four Evangelists on four round crystals, which were much extolled,
+and gained for him the favour and friendship of many prelates, and in
+particular the good-will of Salviati and of the above-mentioned Cardinal
+Ippolito de' Medici, that sole refuge for men of talent, whose portrait
+he made on steel medals, besides executing for him on crystal the
+Presentation of the Daughter of Darius to Alexander the Great.
+
+After this, when Charles V went to Bologna to be crowned, Giovanni made
+a portrait of him in steel, from which he struck a medal of gold. This
+he carried straightway to the Emperor, who gave him a hundred pistoles
+of gold, and sent to inquire whether he would go with him to Spain; but
+Giovanni refused, saying that he could not leave the service of Clement
+and of Cardinal Ippolito, for whom he had begun some work that was still
+unfinished.
+
+Having returned to Rome, Giovanni executed for the same Cardinal de'
+Medici a Rape of the Sabines, which was very beautiful. And the
+Cardinal, knowing himself to be much indebted to him for all these
+things, rewarded him with a vast number of gifts and courtesies; but the
+greatest of all was this, that the Cardinal, when departing for France
+in the midst of a company of many lords and gentlemen, turned to
+Giovanni, who was there among the rest, and, taking from his own neck a
+little chain to which was attached a cameo worth more than six hundred
+crowns, he gave it to him, telling him that he should keep it until his
+return, and intending to bestow upon him afterwards such a recompense as
+he knew to be due to the talent of Giovanni.
+
+On the death of the Cardinal, that cameo fell into the hands of Cardinal
+Farnese, for whom Giovanni afterwards executed many works in crystal,
+and in particular a Christ Crucified for a Cross, with a God the Father
+above, Our Lady and S. John at the sides, and the Magdalene at the foot;
+and in a triangle at the base of the Cross he made three scenes of the
+Passion of Christ, one in each angle. For two candelabra of silver he
+engraved six round crystals. In the first is the Centurion praying
+Christ that He should heal his son, in the second the Pool of Bethesda,
+in the third the Transfiguration on Mount Tabor, in the fourth the
+Miracle of the five loaves and two fishes, in the fifth the scene of
+Christ driving the traders from the Temple, and in the last the Raising
+of Lazarus; and all were exquisite. The same Cardinal Farnese afterwards
+desired to have a very rich casket made of silver, and had the work
+executed by Manno, a Florentine goldsmith, of whom there will be an
+account in another place; but he entrusted all the compartments of
+crystal to Giovanni, who made them all full of scenes, with marble in
+half-relief; and he made figures of silver and ornaments in the round,
+and all with such diligence, that no other work of that kind was ever
+carried to such perfection. On the body of this casket are the following
+scenes, engraved in ovals with marvellous art by the hand of Giovanni:
+The Chase of Meleager after the Calydonian Boar, the Followers of
+Bacchus, a naval battle, Hercules in combat with the Amazons, and other
+most beautiful fantasies of the Cardinal, who caused finished designs of
+them to be executed by Perino del Vaga and other masters. Giovanni then
+executed on a crystal the triumph of the taking of Goletta, and the War
+of Tunis on another. For the same Cardinal he engraved, likewise on
+crystal, the Birth of Christ and the scenes when He prays in the Garden;
+when He is taken by the Jews; when He is led before Annas, Herod, and
+Pilate; when He is scourged and then crowned with thorns; when He
+carries the Cross; when He is nailed upon it and raised on high; and,
+finally, His divine and glorious Resurrection. All these works were not
+only very beautiful, but also executed with such rapidity, that every
+man was struck with astonishment.
+
+[Illustration: CASSETTA FARNESE
+
+(_After_ Giovanni da Castel Bolognese (Giovanni Bernardi). _Naples:
+Museo Nazionale_)
+
+_Brogi_]
+
+Michelagnolo had made for the above-mentioned Cardinal de' Medici a
+drawing, which I forgot to mention before, of a Tityus whose heart was
+being devoured by a vulture; and Giovanni engraved this beautifully on
+crystal. And he did the same with another drawing by Buonarroti, in
+which Phaethon, not being able to manage the chariot of the Sun, has
+fallen into the Po, and his weeping sisters are transformed into trees.
+
+Giovanni executed a portrait of Madama Margherita of Austria, daughter
+of the Emperor Charles V, who had been the wife of Duke Alessandro de'
+Medici, and was then the consort of Duke Ottavio Farnese; and this he
+did in competition with Valerio Vicentino. For these works executed for
+Cardinal Farnese, he received from that lord a reward in the form of the
+office of Giannizzero, from which he drew a good sum of money; and, in
+addition, he was so beloved by that Cardinal that he obtained a great
+number of other favours from him, nor did the Cardinal ever pass through
+Faenza, where Giovanni had built a most commodious house, without going
+to take up his quarters with him. Having thus settled at Faenza, in
+order to rest after a life of much labour in the world, Giovanni
+remained there ever afterwards; and his first wife, by whom he had not
+had children, being dead, he took a second. By her he had two sons and a
+daughter; and with them he lived in contentment, being well provided
+with landed property and other revenues, which yielded him more than
+four hundred crowns, until he came to the age of sixty, when he rendered
+up his soul to God on the day of Pentecost, in the year 1555.
+
+Matteo dal Nassaro, who was born in Verona, and was the son of Jacopo
+dal Nassaro, a shoemaker, gave much attention in his early childhood not
+only to design, but also to music, in which he became excellent, having
+had as his masters in that study Marco Carra and Il Tromboncino, both
+Veronese, who were then in the service of the Marquis of Mantua. In
+matters of intaglio he was much assisted by two Veronese of honourable
+family, with whom he was continually associated. One of these was
+Niccolo Avanzi, who, working privately in Rome, executed cameos,
+cornelians, and other stones, which were taken to various Princes; and
+there are persons who remember to have seen a lapis-lazuli by his hand,
+three fingers in breadth, containing the Nativity of Christ, with many
+figures, which was sold as a choice work to the Duchess of Urbino. The
+other was Galeazzo Mondella, who, besides engraving gems, drew very
+beautifully.
+
+After Matteo had learned from these two masters all that they knew, it
+chanced that there fell into his hands a beautiful piece of green
+jasper, marked with red spots, as the good pieces are; and he engraved
+in it a Deposition from the Cross with such diligence, that he made the
+wounds come in those parts of the jasper that were spotted with the
+colour of blood, which caused that work to be a very rare one, and
+brought him much commendation. That jasper was sold by Matteo to the
+Marchioness Isabella d'Este.
+
+He then went to France, taking with him many works by his own hand which
+might serve to introduce him to the Court of King Francis I; and when he
+had been presented to that Sovereign, who always held in estimation
+every manner of man of talent, the King, after taking many of the stones
+engraved by him, received him into his service and ordained him a good
+salary; and he held Matteo dear no less because he was an excellent
+musician and could play very well upon the lute, than for his profession
+of engraving stones. Of a truth, there is nothing that does more to
+kindle men's minds with love for the arts than to see them appreciated
+and rewarded by Princes and noblemen, as has always been done in the
+past, and is done more than ever at the present day, by the illustrious
+House of Medici, and as was also done by that truly magnanimous
+Sovereign, King Francis.
+
+Matteo, thus employed in the service of that King, executed many rare
+works, not only for His Majesty, but also for almost all the most noble
+lords and barons of the Court, of whom there was scarcely one who did
+not have some work by his hand, since it was much the custom at that
+time to wear cameos and other suchlike gems on the neck and in the cap.
+For the King he made an altar-piece for the altar of the chapel which
+His Majesty always took with him on his journeys; and this was full of
+figures of gold, partly in the round and partly in half-relief, with
+many engraved gems distributed over the limbs of those figures. He also
+engraved many pieces of crystal in intaglio, impressions of which in
+sulphur and gesso are to be seen in many places, and particularly in
+Verona, where there are marvellous representations of all the planets,
+and a Venus with a Cupid that has the back turned, which could not be
+more beautiful. In a very fine chalcedony, found in a river, Matteo
+engraved divinely well the head of a Deianira almost in full-relief,
+wearing the lion's skin, the surface being tawny in colour; and he
+turned to such good advantage a vein of red that was in that stone,
+representing with it the inner side of the lion's skin at its junction
+with the head, that the skin had the appearance of one newly flayed.
+Another spot of colour he used for the hair, and the white for the face
+and breast, and all with admirable mastery. This head came into the
+possession of King Francis, together with the other things; and there is
+an impression of it at the present day in Verona, which belongs to the
+goldsmith Zoppo, who was Matteo's disciple.
+
+Matteo was a man of great spirit and generosity, insomuch that he would
+rather have given his works away than sold them for a paltry price.
+Wherefore when a baron, for whom he had made a cameo of some value,
+wished to pay him a wretched sum for it, Matteo besought him straitly
+that he should accept it as a present. To this the other would not
+consent, and yet wished to have it for the same miserable price;
+whereupon Matteo, flying into a rage, crushed it to powder with a hammer
+in his presence. For the same King Matteo executed many cartoons for
+tapestries, and with these, to please His Majesty, he was obliged to go
+to Flanders, and to stay there until they had been woven in silk and
+gold; which being finished and taken to France, they were held to be
+very beautiful. Finally, Matteo returned to his own country, as almost
+all men do, taking with him many rare things from those foreign parts,
+and in particular some landscapes on canvas painted in Flanders in oils
+and in gouache, and executed by very able hands, which are still
+preserved and treasured in Verona, in memory of him, by Signor Luigi and
+Signor Girolamo Stoppi. Having returned to Verona, Matteo took up his
+abode in a cave hollowed out under a rocky cliff, above which is the
+garden of the Frati Ingiesuati--a place which, besides being very warm
+in winter and very cool in summer, commands a most beautiful view. But
+he was not able to enjoy that habitation, thus contrived after his own
+fancy, as long as he would have liked, for King Francis, as soon as he
+had been released from his captivity, sent a special messenger to recall
+Matteo to France, and to pay him his salary even for all the time that
+he had been in Verona; and when he had arrived there, the King made him
+master of dies for the Mint. Taking a wife in France, therefore, Matteo
+settled down to live in those parts, since such was the pleasure of the
+King his master. By that wife he had some children, but all so unlike
+himself that he had little satisfaction from them.
+
+Matteo was so gentle and courteous, that he welcomed with extraordinary
+warmth anyone who arrived in France, not only from his own city of
+Verona, but from every part of Lombardy. His dearest friend in those
+regions was Paolo Emilio of Verona, who wrote the history of France in
+the Latin tongue. Matteo taught many disciples, among them a
+fellow-Veronese, the brother of Domenico Brusciasorzi, two of his
+nephews, who went to Flanders, and many other Italians and Frenchmen, of
+whom there is no need to make mention. And finally he died, not long
+after the death of King Francis of France.
+
+But to come at length to the marvellous art of Valerio Vicentino, of
+whom we have now to speak: this master executed so many works, both
+great and small, either in intaglio or in relief, and all with such a
+finish and such facility, that it is a thing incredible. If Nature had
+made Valerio a good master of design, even as she made him most
+excellent in engraving, in which he executed his works with
+extraordinary patience, diligence, and rapidity, he would not merely
+have equalled the ancients, as he did, but would have surpassed them by
+a great measure; and even so he had such judgment, that he always
+availed himself in his works of the designs of others or of the intagli
+of the ancients.
+
+[Illustration: CASKET OF ROCK CRYSTAL
+
+(_After_ Valerio Vincentino (Valerio Belli). _Florence; Uffizi, Cabinet
+of Gems_)
+
+_Alinari_]
+
+Valerio fashioned for Pope Clement VII a casket entirely of crystal,
+wrought with admirable mastery, for which he received two thousand
+crowns of gold from that Pontiff in return for his labour. In those
+crystals Valerio engraved the whole Passion of Jesus Christ, after the
+designs of others; and that casket was afterwards presented by Pope
+Clement to King Francis at Nice, at the time when his niece went to be
+married to the Duke of Orleans, who afterwards became King Henry. For
+the same Pope Valerio made some most beautiful paxes, and a divine cross
+of crystal, and likewise dies for striking medals, containing the
+portrait of Pope Clement, with very beautiful reverses; and through him
+that art produced in his day many masters, both from Milan and from
+other parts, who had grown to such a number before the sack of Rome,
+that it was a marvel. He made the medals of the twelve Emperors, with
+their reverses, copying the most beautiful antiques, with a great number
+of Greek medals; and he engraved so many other works in crystal, that
+the shops of the goldsmiths, or rather, the whole world, may be seen to
+be full of impressions taken in gesso, sulphur, or other compositions,
+from the intagli in which he made scenes, figures, or heads. He had,
+indeed, a skill of hand so extraordinary, that there was never anyone in
+his profession who executed more works than Valerio.
+
+He also fashioned many vases of crystal for Pope Clement, who presented
+some to various Princes, and others were placed in the Church of S.
+Lorenzo at Florence, together with many vases that were formerly in the
+Palace of the Medici and had belonged to the elder Lorenzo, the
+Magnificent, and to other members of that most illustrious family, that
+they might serve to contain the relics of many Saints, which that
+Pontiff presented to that church in memory of himself. It would not be
+possible to find anything more varied than the curves of those vases,
+some of which are of sardonyx, agate, amethyst, and lapis-lazuli, and
+some of plasma, heliotrope, jasper, crystal, and cornelian, so that in
+point of value or beauty nothing more could be desired. For Pope Paul
+III he made a cross and two candelabra, likewise of crystal, engraved
+with scenes of the Passion of Jesus Christ in various compartments; with
+a vast number of stones, both great and small, of which it would take
+too long to make mention. And in the collection of Cardinal Farnese may
+be seen many things by the hand of Valerio, who left no fewer finished
+works than did the above-named Giovanni. At the age of seventy-eight he
+performed miracles, so sure were his eye and hand; and he taught his art
+to a daughter of his own, who works very well. He so delighted to lay
+his hands on antiquities in marble, impressions in gesso of works both
+ancient and modern, and drawings and pictures by rare masters, that he
+shrank from no expense; wherefore his house at Vicenza is adorned by
+such an abundance of various things, that it is a marvel. It is clearly
+evident that when a man bears love to art, it never leaves him until he
+is in the grave; whence he gains praise and his reward during his
+lifetime, and makes himself immortal after death. Valerio was well
+remunerated for his labours, and received offices and many benefits from
+those Princes whom he served; and thus those who survived him are able,
+thanks to him, to maintain an honourable state. And in the year 1546,
+when, by reason of the infirmities that old age brings in its train, he
+could no longer attend to his art, or even live, he rendered up his soul
+to God.
+
+At Parma, in times past, lived Marmita, who gave his attention for a
+period to painting, and then turned to intaglio, in which he imitated
+the ancients very closely. Many most beautiful works by his hand are to
+be seen, and he taught the art to a son of his own, called Lodovico, who
+lived for a long time in Rome with Cardinal Giovanni de' Salviati.
+Lodovico executed for that Cardinal four ovals of crystal engraved with
+figures of great excellence, which were placed on a very beautiful
+casket of silver that was afterwards presented to the most illustrious
+Signora Leonora of Toledo, Duchess of Florence. He made, among many
+other works, a cameo with a most beautiful head of Socrates, and he was
+a great master at counterfeiting ancient medals, from which he gained
+extraordinary advantage.
+
+There followed, in Florence, Domenico di Polo, a Florentine and an
+excellent master of intaglio, who was the disciple of Giovanni delle
+Corniole, of whom we have spoken. In our own day this Domenico executed
+a divine portrait of Duke Alessandro de' Medici, from which he made dies
+in steel and most beautiful medals, with a reverse containing a
+Florence. He also made a portrait of Duke Cosimo in the first year after
+his election to the government of Florence, with the sign of Capricorn
+on the reverse; and many other little works in intaglio, of which there
+is no need to make record. He died at the age of sixty-five.
+
+[Illustration: MEDALS
+
+(_London: British Museum_)
+
+  1. POPE JULIUS III
+  (_After_ Alessandro Cesati)
+
+  2. PIETRO BEMBO
+  3. POPE CLEMENT VII
+  (_After_ Benvenuto Cellini)]
+
+[Illustration: MEDALS
+
+(_London: British Museum_)
+
+  1. IPPOLITO D'ESTE
+  2. TITIAN
+  3. MARGARET, DUCHESS OF MANTUA
+  4. LUCREZIA DE' MEDICI
+  (_After_ Pastorino of Siena)
+
+  5. BENEDETTO VARCHI
+  6. COSIMO DE' MEDICI
+  (_After_ Domenico Poggini)]
+
+Domenico, Valerio, Marmita, and Giovanni da Castel Bolognese being
+dead, there remained many who have surpassed them by a great measure;
+one in Venice, for example, being Luigi Anichini of Ferrara, who, with
+the delicacy of his engraving and the sharpness of his finish, has
+produced works that are marvellous. But far beyond all others in grace,
+excellence, perfection, and versatility, has soared Alessandro Cesati,
+surnamed Il Greco, who has executed cameos in relief and gems in
+intaglio in so beautiful a manner, as well as dies of steel in incavo,
+and has used the burin with such supreme diligence and with such mastery
+over the most delicate refinements of his art, that nothing better could
+be imagined. Whoever wishes to be amazed by his miraculous powers,
+should study a medal that he made for Pope Paul III, with his portrait
+on one side, which has all the appearance of life, and on the reverse
+Alexander the Great, who has thrown himself at the feet of the
+High-Priest of Jerusalem, and is doing him homage--figures which are so
+marvellous that it would not be possible to do anything better. And
+Michelagnolo Buonarroti himself, looking at them in the presence of
+Giorgio Vasari, said that the hour of death had come upon the art, for
+nothing better could ever be seen. This Alessandro made the medal of
+Pope Julius III for the holy year of 1550, with a reverse showing the
+prisoners that were released in the days of the ancients at times of
+jubilee, which was a rare and truly beautiful medal; with many other
+dies and portraits for the Mint of Rome, which he kept busily employed
+for many years. He executed portraits of Pier Luigi Farnese, Duke of
+Castro, and his son, Duke Ottavio; and he made a portrait of Cardinal
+Farnese in a medal, a very choice work, the head being of gold and the
+ground of silver. The same master engraved for Cardinal Farnese in
+intaglio, on a cornelian larger than a giulio, a head of King Henry of
+France, which has been considered in point of design, grace, excellence,
+and perfection of finish, one of the best modern intagli that have ever
+been seen. There may also be seen many other stones engraved by his
+hand, in the form of cameos; truly perfect is a nude woman wrought with
+great art, and another in which is a lion, and likewise one of a boy,
+with many small ones, of which there is no need to speak; but that which
+surpassed all the others was the head of the Athenian Phocion, which is
+marvellous, and the most beautiful cameo that is to be seen.
+
+A master who gives his attention to cameos at the present day is
+Giovanni Antonio de' Rossi, an excellent craftsman of Milan, who, in
+addition to the various beautiful works that he has engraved in relief
+and in intaglio, has executed for the most illustrious Duke Cosimo de'
+Medici a very large cameo, one-third of a braccio in height and the same
+in width, in which he has cut two figures from the waist
+upwards--namely, His Excellency and the most illustrious Duchess
+Leonora, his consort, who are both holding with their hands a medallion
+containing a Florence, and beside them are portraits from life of the
+Prince Don Francesco, Don Giovanni the Cardinal, Don Garzia, Don
+Ernando, and Don Pietro, together with Donna Isabella and Donna
+Lucrezia, all their children. It would not be possible to find a more
+amazing or a larger work in cameo than this; and since it surpasses all
+the other cameos and smaller works that he has made, I shall make no
+further mention of them, for they are all to be seen.
+
+Cosimo da Trezzo, also, has executed many works worthy of praise in this
+profession, and has won much favour on account of his rare gifts from
+Philip, the great Catholic King of Spain, who retains him about his
+person, honouring and rewarding him in return for his ability in his
+vocation of engraving in intaglio and in relief. He has no equal in
+making portraits from life; and in other kinds of work, as well as in
+that, his talent is extraordinary.
+
+Of the Milanese Filippo Negrolo, who worked at chasing arms of iron with
+foliage and figures, I shall say nothing, since copper-engravings of his
+works, which have given him very great fame, may be seen about. By
+Gasparo and Girolamo Misuroni, engravers of Milan, have been seen most
+beautiful vases and tazze of crystal. For Duke Cosimo, in particular,
+they have executed two that are marvellous; besides which, they have
+made out of a piece of heliotrope a vase extraordinary in size and
+admirable for its engraving, and also a large vase of lapis-lazuli,
+which deserves infinite praise. Jacopo da Trezzo practises the same
+profession in Milan; and these men, in truth, have brought great beauty
+and facility to this art. Many masters could I mention who, in executing
+in incavo heads and reverses for medals, have equalled and even
+surpassed the ancients; as, for example, Benvenuto Cellini, who, during
+the time when he exercised the goldsmith's art in Rome under Pope
+Clement, made two medals with a head of Pope Clement that is a living
+likeness, and on the reverse of one a figure of Peace that has bound
+Fury and is burning her arms, and on the other Moses striking the rock
+and causing water to flow to quench the thirst of his people: beyond
+which it is not possible to go in that art. And the same might be said
+of the coins and medals that Benvenuto afterwards made for Duke
+Alessandro in Florence.
+
+Of the Chevalier, Leone Aretino, who has done equally well in the same
+art, and of the works that he has made and still continues to make,
+there will be an account in another place.
+
+The Roman Pietro Paolo Galeotto, also, has executed for Duke Cosimo, as
+he still does, medals with portraits of that lord, dies for coins, and
+works in tarsia, imitating the methods of Maestro Salvestro, a most
+excellent master, who produced marvellous works in that profession at
+Rome.
+
+Pastorino da Siena, likewise, has executed so many heads from life, that
+he may be said to have made portraits of every kind of person in the
+whole world, great nobles, followers of the arts, and many people of low
+degree. He discovered a kind of hard stucco for making portraits,
+wherewith he gave them the colouring of nature, with the tints of the
+beard, hair, and flesh, so that they had the appearance of life itself;
+but he deserves much more praise for his work in steel, in which he has
+made excellent dies for medals.
+
+It would take too long if I were to speak of all those who execute
+portrait-medals of wax, seeing that every goldsmith at the present day
+makes them, and a number of gentlemen have given their attention to
+this, and still do so; such as Giovan Battista Sozzini at Siena, Rosso
+de' Giugni at Florence, and very many others, of whom I shall not now
+say more. And, to bring this account to conclusion, I return to the
+steel-engravers, of whom one is Girolamo Fagiuoli of Bologna, a master
+of chasing and of copper-engraving, and another, at Florence, is
+Domenico Poggini, who has made, as he still does, dies for the Mint,
+with medals of Duke Cosimo, and who also executes statues of marble,
+imitating, in so far as he is able, the rarest and most excellent
+masters who have ever produced choice works in these professions.
+
+FOOTNOTE:
+
+[12] Giovanni of the Cornelians.
+
+[13] Domenico of the Cameos.
+
+
+
+
+MARC' ANTONIO BOLOGNESE AND OTHER ENGRAVERS OF PRINTS
+
+
+
+
+LIVES OF MARC' ANTONIO BOLOGNESE AND OF OTHER ENGRAVERS OF PRINTS
+
+
+Seeing that in the Treatise on the Technique of Painting there was
+little said of copper-plate engraving, since it was enough at that time
+to describe the method of engraving silver with the burin, which is a
+square tool of iron, cut on the slant, with a sharp point, I shall use
+the occasion of this Life to say as much on that subject as I may
+consider to be sufficient. The beginning of print-engraving, then, came
+from the Florentine Maso Finiguerra, about the year of our salvation
+1460; for of all the works which that master engraved in silver with
+designs to be filled up with niello, he took impressions in clay, over
+which he poured melted sulphur, which reproduced the lines of the
+design; and these, when filled with smoke-black mixed with oil, produced
+the same effect as the silver. He also did the same with damped paper
+and with the same tint, going over the whole with a round and smooth
+roller, which not only gave the designs the appearance of prints, but
+they also came out as if drawn with the pen. This master was followed by
+Baccio Baldini, a goldsmith of Florence, who, not having much power of
+design, took all that he did from the invention and design of Sandro
+Botticelli. And this method, coming to the knowledge of Andrea Mantegna
+in Rome, was the reason that he made a beginning with engraving many of
+his works, as was said in his Life.
+
+This invention having afterwards passed into Flanders, a certain Martin,
+who was held to be an excellent painter in Antwerp at that time,
+executed many works, and sent to Italy a great number of printed
+designs, which were all signed in the following manner: "M.C." The first
+of these were the Five Foolish Virgins with their lamps extinguished,
+the Five Wise Virgins with their lamps burning, and a Christ Crucified,
+with S. John and the Madonna at the foot of the Cross, which was so good
+an engraving, that Gherardo, the Florentine illuminator, set himself to
+copy it with the burin, and succeeded very well; but he went no further
+with this, for he did not live long. Martin then published four round
+engravings of the four Evangelists, and Jesus Christ with the twelve
+Apostles, in small sheets, Veronica with six Saints, of the same size,
+and some coats of arms of German noblemen, supported by men, both naked
+and clothed, and also by women. He published, likewise, a S. George
+slaying the Dragon, a Christ standing before Pilate, who is washing his
+hands, and a Passing of Our Lady, with all the Apostles, a work of some
+size, which was one of the best designs that this master ever engraved.
+In another he represented S. Anthony beaten by Devils, and carried
+through the air by a vast number of them in the most varied and bizarre
+forms that could possibly be imagined; which sheet so pleased
+Michelagnolo, when he was a mere lad, that he set himself to colour it.
+
+[Illustration: CHRIST AND THE VIRGIN ENTHRONED
+
+(_After the engraving by =Martin Schongauer=. London: British Museum, B.
+71_)
+
+_M.S._]
+
+After this Martin, Albrecht Duerer began to give attention to prints of
+the same kind at Antwerp, but with more design and better judgment, and
+with more beautiful invention, seeking to imitate the life and to draw
+near to the Italian manners, which he always held in much account. And
+thus, while still quite young, he executed many works which were
+considered as beautiful as those of Martin; and he engraved them with
+his own hand, signing them with his name. In the year 1503 he published
+a little Madonna, in which he surpassed both Martin and his own self;
+and afterwards many other sheets with horses, two in each sheet, taken
+from nature and very beautiful. In another he depicted the Prodigal Son,
+in the guise of a peasant, kneeling with his hands clasped and gazing up
+to Heaven, while some swine are eating from a trough; and in this work
+are some most beautiful huts after the manner of German cottages. He
+engraved a little S. Sebastian, bound, with the arms upraised; and a
+Madonna seated with the Child in her arms, with the light from a window
+falling upon her, a small work, than which there is nothing better to be
+seen. He also made a Flemish woman on horseback, with a groom at her
+feet; and on a larger copper-plate he engraved a nymph being
+carried away by a sea-monster, while some other nymphs are bathing. On a
+plate of the same size he engraved with supreme delicacy of workmanship,
+attaining to the final perfection of this art, a Diana beating a nymph,
+who has fled for protection to the bosom of a satyr; in which sheet
+Albrecht sought to prove that he was able to make nudes.
+
+[Illustration: HERCULES
+
+(_After the engraving by =Albrecht Duerer=. London: British Museum, B.
+73_)
+
+_M.S._]
+
+But although those masters were extolled at that time in those
+countries, in ours their works are commended only for the diligent
+execution of the engraving. I am willing, indeed, to believe that
+Albrecht was perhaps not able to do better because, not having any
+better models, he drew, when he had to make nudes, from one or other of
+his assistants, who must have had bad figures, as Germans generally have
+when naked, although one sees many from those parts who are fine men
+when in their clothes. In various little printed sheets he executed
+figures of peasant men and women in different Flemish costumes, some
+playing on the bagpipes and dancing, some selling fowls and suchlike
+things, and others in many other attitudes. He also drew a man sleeping
+in a bathroom who has Venus near him, leading him into temptation in a
+dream, while Love is diverting himself by mounting on stilts, and the
+Devil blows into his ears with a pair of bellows. And he engraved two
+different figures of S. Christopher carrying the Infant Christ, both
+very beautiful, and executed with much diligence in the close detail of
+the hair and in every other respect.
+
+[Illustration: CHRIST TAKING LEAVE OF HIS MOTHER
+
+(_After the woodcut by =Albrecht Duerer=. London: British Museum, B. 92_)
+
+_M.S._]
+
+After these works, perceiving how much time he consumed in engraving on
+copper, and happening to have in his possession a great abundance of
+subjects drawn in various ways, he set himself to making woodcuts, a
+method of working in which those who have the greatest powers of design
+find the widest field wherein to display their ability in its
+perfection. And in the year 1510 he published two little prints in this
+manner, in one of which is the Beheading of S. John, and in the other
+the scene of the head of the same S. John being presented in a charger
+to Herod, who is seated at table; with other sheets of S. Christopher,
+S. Sixtus the Pope, S. Stephen, and S. Laurence. Then, having seen that
+this method of working was much easier than engraving on copper, he
+pursued it and executed a S. Gregory chanting the Mass, accompanied by
+the deacon and sub-deacon. And, growing in courage, in the year 1510 he
+represented on a sheet of royal folio part of the Passion of
+Christ--that is, he executed four pieces, with the intention of
+afterwards finishing the whole, these four being the Last Supper, the
+Taking of Christ by Night in the Garden, His Descent into the Limbo of
+Hell in order to deliver the Holy Fathers, and His glorious
+Resurrection. That second piece he also painted in a very beautiful
+little picture in oils, which is now at Florence, in the possession of
+Signor Bernardetto de' Medici. As for the eight other parts, although
+they were afterwards executed and printed with the signature of
+Albrecht, to us it does not seem probable that they are the work of his
+hand, seeing that they are poor stuff, and bear no resemblance to his
+manner, either in the heads, or in the draperies, or in any other
+respect. Wherefore it is believed that they were executed after his
+death, for the sake of gain, by other persons, who did not scruple to
+father them on Albrecht. That this is true is also proved by the
+circumstance that in the year 1511 he represented the whole life of Our
+Lady in twenty sheets of the same size, executing it so well that it
+would not be possible, whether in invention, in the composition of the
+perspective-views, in the buildings, in the costumes, or in the heads of
+old and young, to do better. Of a truth, if this man, so able, so
+diligent, and so versatile, had had Tuscany instead of Flanders for his
+country, and had been able to study the treasures of Rome, as we
+ourselves have done, he would have been the best painter of our land,
+even as he was the rarest and most celebrated that has ever appeared
+among the Flemings. In the same year, continuing to give expression to
+his fantasies, Albrecht resolved to execute fifteen woodcuts of the same
+size, representing the terrible vision that S. John the Evangelist
+described in his Apocalypse on the Isle of Patmos. And so, setting his
+hand to the work, with his extravagant imagination, so well suited to
+such a subject, he depicted all those things both of heaven and of earth
+so beautifully, that it was a marvel, and with such a variety of forms
+in those animals and monsters, that it was a great light to many of our
+craftsmen, who have since availed themselves of the vast abundance of
+his beautiful fantasies and inventions. By the hand of the same master,
+also, is a woodcut that is to be seen of a nude Christ, who has round
+Him the Mysteries of His Passion, and is weeping for our sins, with His
+hands to His face; and this, for a small work, is not otherwise than
+worthy of praise.
+
+Then, having grown both in power and in courage, as he saw that his
+works were prized, Albrecht executed some copper-plates that astonished
+the world. He also set himself to make an engraving, for printing on a
+sheet of half-folio, of a figure of Melancholy, with all the instruments
+that reduce those who use them, or rather, all mankind, to a melancholy
+humour; and in this he succeeded so well, that it would not be possible
+to do more delicate engraving with the burin. He executed three small
+plates of Our Lady, all different one from another, and most subtle in
+engraving. But it would take too long if I were to try to enumerate all
+the works that issued from Albrecht's hand; let it be enough for the
+present to tell that, having drawn a Passion of Christ in thirty-six
+parts, and having engraved these, he made an agreement with Marc'
+Antonio Bolognese that they should publish the sheets in company; and
+thus, arriving in Venice, this work was the reason that marvellous
+prints of the same kind were afterwards executed in Italy, as will be
+related below.
+
+While Francesco Francia was working at his painting in Bologna, there
+was among his many disciples a young man called Marc' Antonio, who,
+being more gifted than the others, was much brought forward by him, and,
+from having been many years with Francia and greatly beloved by him,
+acquired the surname of De' Franci. This Marc' Antonio, who was more
+able in design than his master, handled the burin with facility and
+grace, and executed in niello girdles and many other things much in
+favour at that time, which were very beautiful, for the reason that he
+was indeed most excellent in that profession. Having then been seized,
+as happens to many, with a desire to go about the world and see new
+things and the methods of other craftsmen, with the gracious leave of
+Francia he went off to Venice, where he was well received by the
+craftsmen of that city. About the same time there arrived in Venice some
+Flemings with many copper-plate engravings and woodcuts by Albrecht
+Duerer, which were seen by Marc' Antonio on the Piazza di S. Marco; and
+he was so amazed at the manner and method of the work of Albrecht, that
+he spent on those sheets almost all the money that he had brought from
+Bologna. Among other things, he bought the Passion of Jesus Christ,
+which had been engraved on thirty-six wood-blocks and printed not long
+before on sheets of quarter-folio by the same Albrecht. This work began
+with the Sin of Adam and the scene of the Angel expelling him from
+Paradise, and continued down to the Descent of the Holy Spirit.
+
+Marc' Antonio, having considered what honour and profit might be
+acquired by one who should apply himself to that art in Italy, formed
+the determination to give his attention to it with all possible
+assiduity and diligence. He thus began to copy those engravings by
+Albrecht Duerer, studying the manner of each stroke and every other
+detail of the prints that he had bought, which were held in such
+estimation on account of their novelty and their beauty, that everyone
+sought to have some. Having then counterfeited on copper, with engraving
+as strong as that of the woodcuts that Albrecht had executed, the whole
+of the said Life and Passion of Christ in thirty-six parts, he added to
+these the signature that Albrecht used for all his works, which was
+"A.D.," and they proved to be so similar in manner, that, no one knowing
+that they had been executed by Marc' Antonio, they were ascribed to
+Albrecht, and were bought and sold as works by his hand. News of this
+was sent in writing to Albrecht, who was in Flanders, together with one
+of the counterfeit Passions executed by Marc' Antonio; at which he flew
+into such a rage that he left Flanders and went to Venice, where he
+appeared before the Signoria and laid a complaint against Marc' Antonio.
+But he could obtain no other satisfaction but this, that Marc' Antonio
+should no longer use the name or the above-mentioned signature of
+Albrecht on his works.
+
+[Illustration: S. JEROME IN HIS STUDY
+
+(_After the engraving by =Albrecht Duerer=. London: British Museum, B.
+60_)
+
+_M.S._]
+
+After this affair, Marc' Antonio went off to Rome, where he gave his
+whole attention to design; and Albrecht returned to Flanders, where he
+found that another rival had already begun to execute many most delicate
+engravings in competition with him. This was Lucas of Holland,[14]
+who, although he was not as fine a master of design as Albrecht, was yet
+in many respects his equal with the burin. Among the many large and
+beautiful works that Lucas executed, the first were two in 1509, round
+in shape, in one of which is Christ bearing the Cross, and in the other
+His Crucifixion. Afterwards he published a Samson, a David on horseback,
+and a S. Peter Martyr, with his tormentors; and then he made a
+copper-plate engraving of Saul seated with the young David playing in
+his presence. And not long after, having made a great advance, he
+executed a very large plate with the most delicate engraving, of Virgil
+suspended from the window in the basket, with some heads and figures so
+marvellous, that they were the reason that Albrecht, growing more subtle
+in power through this competition, produced some printed sheets of such
+excellence, that nothing better could be done. In these, wishing to
+display his ability, Albrecht made an armed man on horseback,
+representing Human Strength, which is so well finished, that one can see
+the lustre of the arms and of the black horse's coat, which is a
+difficult thing to reproduce in design. This stalwart horseman had
+Death, hour-glass in hand, beside him, and the Devil behind. There was
+also a long-haired dog, executed with the most subtle delicacy that can
+possibly be achieved in engraving. In the year 1512 there issued from
+the hand of the same master sixteen little scenes of the Passion of
+Jesus Christ, engraved so well on copper, that there are no little
+figures to be seen that are more beautiful, sweet, and graceful, nor any
+that are stronger in relief.
+
+Spurred likewise by rivalry, the same Lucas of Holland executed twelve
+similar plates, very beautiful, and yet not so perfect in engraving and
+design; and, in addition to these, a S. George who is comforting the
+Maiden, who is weeping because she is destined to be devoured by the
+Dragon; and also a Solomon, who is worshipping idols; the Baptism of
+Christ; Pyramus and Thisbe; and Ahasuerus with Queen Esther kneeling
+before him. Albrecht, on his part, not wishing to be surpassed by Lucas
+either in the number or in the excellence of his works, engraved a nude
+figure on some clouds, and a Temperance with marvellous wings, holding
+a cup of gold and a bridle, with a most delicate little landscape; and
+then a S. Eustachio kneeling before the stag, which has the Crucifix
+between its horns, a sheet which is amazing, and particularly for the
+beauty of some dogs in various attitudes, which could not be more
+perfect. Among the many children of various kinds that he made for the
+decoration of arms and devices, he engraved some who are holding a
+shield, wherein is a Death with a cock for crest, the feathers of which
+are rendered in such detail, that it would be impossible to execute
+anything more delicate with the burin.
+
+Finally, he published the sheet with S. Jerome in the habit of a
+Cardinal, writing, with the Lion sleeping at his feet. In this work
+Albrecht represented a room with windows of glass, through which stream
+the rays of the sun, falling on the place where the Saint sits writing,
+with an effect so natural, that it is a marvel; besides which, there are
+books, timepieces, writings, and so many other things, that nothing more
+and nothing better could be done in this field of art. Not long
+afterwards, in the year 1523, he executed a Christ with the twelve
+Apostles, in little figures, which was almost the last of his works.
+There may also be seen prints of many heads taken from life by him, such
+as that of Erasmus of Rotterdam, that of Cardinal Albrecht of
+Brandenburg, Elector of the Empire, and also his own. Nor, with all the
+engravings that he produced, did he ever abandon painting; nay, he was
+always executing panels, canvases, and other paintings, all excellent,
+and, what is more, he left many writings on matters connected with
+engraving, painting, perspective, and architecture.
+
+[Illustration: THE _ECCE HOMO_ OF 1610
+
+(_After the engraving by =Lucas van Leyden=. London: British Museum_)
+
+_M.S._]
+
+But to return to the subject of engraving: the works of Albrecht Duerer
+induced Lucas of Holland to follow in his steps to the best of his
+power. After the works already mentioned, Lucas engraved on copper four
+scenes from the life of Joseph, and also the four Evangelists, the three
+Angels who appeared to Abraham in the Valley of Mamre, Susannah in the
+Bath, David praying, Mordecai riding in Triumph on Horseback, Lot made
+drunk by his Daughters, the Creation of Adam and Eve, God commanding
+them that they shall not eat of the Fruit from the Tree that He points
+out to them, and Cain killing his brother Abel; all which sheets were
+published in the year 1529. But that which did more than anything else
+to bring renown and fame to Lucas, was a large sheet in which he
+represented the Crucifixion of Jesus Christ; with another wherein Pilate
+is showing Him to the people, saying, "Ecce Homo!" These sheets, which
+are large, and contain a great number of figures, are held to be
+excellent; as are, likewise, one with a Conversion of S. Paul, and
+another showing him being led, blind, into Damascus. And let these works
+suffice to prove that Lucas may be numbered among those who have handled
+the burin with ability.
+
+The scenes of Lucas are very happy in composition, being executed with
+such clearness and so free from confusion, that it seems certain that
+the action represented could not have taken place in any other way; and
+they are arranged more in accordance with the rules of art than those of
+Albrecht. Besides this, it is evident that he used a wise discretion in
+the engraving of his works, for the reason that all those parts which
+recede little by little into the distance are less strongly defined in
+proportion as they are lost to view, even as natural objects become less
+clear to the eye when seen from afar. Indeed, he executed them with such
+thoughtful care, and made them so soft and well blended, that they would
+not be better in colour; and his judicious methods have opened the eyes
+of many painters. The same master engraved many little plates: various
+figures of Our Lady, the twelve Apostles with Christ, many Saints, both
+male and female; arms and helmet-crests, and other suchlike things. Very
+beautiful is a peasant who is having a tooth drawn, and is feeling such
+pain, that he does not notice that meanwhile a woman is robbing his
+purse. All these works of Albrecht and Lucas have brought it about that
+many other Flemings and Germans after them have printed similar sheets
+of great beauty.
+
+But returning to Marc' Antonio: having arrived in Rome, he engraved on
+copper a most lovely drawing by Raffaello da Urbino, wherein was the
+Roman Lucretia killing herself, which he executed with such diligence
+and in so beautiful a manner, that Raffaello, to whom it was straightway
+carried by some friends, began to think of publishing in engravings some
+designs of works by his hand, and then a drawing that he had formerly
+made of the Judgment of Paris, wherein, to please himself, he had drawn
+the Chariot of the Sun, the nymphs of the woods, those of the fountains,
+and those of the rivers, with vases, the helms of ships, and other
+beautiful things of fancy all around; and when he had made up his mind,
+these were engraved by Marc' Antonio in such a manner as amazed all
+Rome. After them was engraved the drawing of the Massacre of the
+Innocents, with most beautiful nudes, women and children, which was a
+rare work; and then the Neptune, with little stories of AEneas around it,
+the beautiful Rape of Helen, also after a drawing by Raffaello, and
+another design in which may be seen the death of S. Felicita, who is
+being boiled in oil, while her sons are beheaded. These works acquired
+such fame for Marc' Antonio, that his engravings were held in much
+higher estimation, on account of their good design, than those of the
+Flemings; and the merchants made very large profits out of them.
+
+Raffaello had kept an assistant called Baviera for many years to grind
+his colours; and since this Baviera had a certain ability, Raffaello
+ordained that he should attend to the printing of the engravings
+executed by Marc' Antonio, to the end that all his compositions might
+thus be finished, and then sold in gross and in detail to all who
+desired them. And so, having set to work, they printed a vast number,
+which brought very great profit to Raffaello; and all the plates were
+signed by Marc' Antonio with the following signatures, "R.S." for the
+name of Raffaello Sanzio of Urbino, and "M.F." for that of Marc'
+Antonio. Among these works were a Venus embraced by Love, after a
+drawing by Raffaello, and a scene in which God the Father is blessing
+the seed of Abraham, with the handmaiden and two children. Next were
+engraved all the round pictures that Raffaello had painted in the
+apartments of the Papal Palace, such as the Universal Knowledge,
+Calliope with the musical instrument in her hand, Foresight, and
+Justice; and then, after a small drawing, the scene which Raffaello had
+painted in the same apartment, of Mount Parnassus, with Apollo, the
+Muses, and the Poets; and also that of AEneas carrying Anchises on his
+back while Troy is burning, of which Raffaello had made the drawing in
+order to paint a little picture. After this they engraved and printed
+another work of Raffaello, Galatea in a car drawn over the sea by
+Dolphins, with some Tritons who are carrying off a Nymph.
+
+These works finished, Marc' Antonio engraved many separate figures,
+likewise on copper, and after drawings by Raffaello; an Apollo with a
+lyre in his hand; a figure of Peace, to whom Love is offering an
+olive-branch; the three Theological and the four Moral Virtues, and a
+Jesus Christ with the twelve Apostles, of the same size; a half-folio
+plate of the Madonna that Raffaello had painted in the altar-piece of
+the Araceli, and likewise one of that which went to S. Domenico in
+Naples, with Our Lady, S. Jerome, the Angel Raphael, and Tobias; and a
+little plate of Our Lady seated on a chair and embracing the Infant
+Christ, who is half clothed, with many other figures of the Madonna
+copied from the pictures which Raffaello had painted for various
+persons. After these he engraved a young S. John the Baptist, seated in
+the desert, and then the picture which Raffaello executed for S.
+Giovanni in Monte, of S. Cecilia with other Saints, which was held to be
+a most beautiful sheet. When Raffaello had finished all the cartoons of
+the tapestries for the Papal Chapel, which were afterwards woven in silk
+and gold, with stories of S. Paul, S. Peter, and S. Stephen, Marc'
+Antonio engraved the Preaching of S. Paul, the Stoning of S. Stephen,
+and the Blind Man receiving his Sight; which plates, what with the
+invention of Raffaello, the grace of the design, and the diligent
+engraving of Marc' Antonio, were so beautiful, that there was nothing
+better to be seen. He then engraved, after the invention of the same
+Raffaello, a most beautiful Deposition from the Cross, with a Madonna in
+a swoon, who is marvellous; and not long afterwards a plate, which is
+very beautiful, of that picture by Raffaello which went to Palermo, of a
+Christ who is bearing the Cross, and also one of a drawing that
+Raffaello had executed of a Christ in the air, with Our Lady, S. John
+the Baptist, and S. Catharine kneeling on the ground, and S. Paul the
+Apostle standing, which was a large and very lovely engraving. This and
+the others, after becoming spoiled and almost worn out through being too
+much used, were carried away by Germans and others in the sack of Rome.
+
+The same Marc' Antonio engraved the portrait of Pope Clement VII in
+profile, with the face shaved, in the form of a medallion; one of the
+Emperor Charles V at the time when he was a young man, and another of
+him at a riper age; and also one of Ferdinand, King of the Romans, who
+afterwards succeeded Charles V as Emperor. He also made in Rome a
+portrait from life of Messer Pietro Aretino, a very famous poet, which
+was the most beautiful that Marc' Antonio ever executed; and, not long
+afterwards, portraits of the twelve ancient Emperors in medallions. Of
+these sheets Raffaello sent some into Flanders to Albrecht Duerer, who
+praised Marc' Antonio highly, and sent in return to Raffaello, in
+addition to many other sheets, his own portrait, which was held to be a
+miracle of beauty.
+
+Now, the fame of Marc' Antonio having grown very great, and the art of
+engraving having come into credit and repute, many disciples had placed
+themselves under him in order to learn it. And of their number, two who
+made great proficience were Marco da Ravenna, who signed his plates with
+the signature of Raffaello, "R.S.," and Agostino Viniziano, who signed
+his works in the following manner: "A.V." These two engraved and printed
+many designs by Raffaello, such as one of Our Lady with Christ lying
+dead at full length, and at His feet S. John, the Magdalene, Nicodemus,
+and the other Maries; and they engraved another plate of greater size,
+in which is a Madonna, with the arms outstretched and the eyes raised
+towards Heaven, in an attitude of supreme pity and sorrow, with Christ,
+in like manner, lying dead at full length.
+
+Agostino afterwards engraved a large plate of the Nativity, with the
+Shepherds and Angels about the hut, and God the Father above; and he
+executed many vases, both ancient and modern, and also a censer, or
+rather, two women with a vase perforated at the top. He engraved a plate
+with a man transformed into a wolf, who is stealing towards a bed in
+order to kill one who is sleeping in it. And he also executed one of
+Alexander with Roxana, to whom that Prince is presenting a royal crown,
+while some Loves are hovering about her and adorning her head, and
+others are playing with the arms of Alexander.
+
+[Illustration: THE DEATH OF LUCRETIA
+
+(_After the engraving by =Marcantonio Bolognese=. London: British
+Museum, B. 192_)
+
+_M.S._]
+
+The same masters together engraved the Last Supper of Christ with the
+twelve Apostles, on a plate of some size, and an Annunciation, all after
+the designs of Raffaello; and then two stories of the Marriage of
+Psyche, which had been painted by Raffaello not long before. In the end,
+Agostino and the above-mentioned Marco between them engraved almost all
+the works that Raffaello ever drew or painted, and made prints of them;
+and also many of the pictures painted by Giulio Romano, after copies
+drawn for that purpose. And to the end that there might remain scarcely
+a single work of Raffaello that had not been engraved by them, they
+finally made engravings of the scenes that Giulio had painted in the
+Loggie after the designs of Raffaello.
+
+There may still be seen some of the first plates, with the signature
+"M.R." for Marco Ravignano, and others with the signature "A.V." for
+Agostino Viniziano, re-engraved by others after them, such as the
+Creation of the World, and God forming the Animals; the Sacrifices of
+Cain and Abel, and the Death of Abel; Abraham sacrificing Isaac; Noah's
+Ark, the Deluge, and the Animals afterwards issuing from the Ark; the
+Passage of the Red Sea; the Delivery of the Laws from Mount Sinai
+through Moses, and the Manna; David slaying Goliath, already engraved by
+Marc' Antonio; Solomon building the Temple; the Judgment of the same
+Solomon between the two women, and the Visit of the Queen of Sheba; and,
+from the New Testament, the Nativity and the Resurrection of Christ, and
+the Descent of the Holy Spirit. All these were engraved and printed
+during the lifetime of Raffaello.
+
+After the death of Raffaello, Marco and Agostino separated, and Agostino
+was retained by Baccio Bandinelli, the Florentine sculptor, who caused
+him to engrave after his design an anatomical figure that he had formed
+out of lean bodies and dead men's bones; and then a Cleopatra. Both
+these were held to be very good plates. Whereupon, growing in courage,
+Baccio drew, and caused Agostino to engrave, a large plate--one of the
+largest, indeed, that had ever been engraved up to that time--full of
+women clothed, and of naked men who are slaughtering the little
+innocents by command of King Herod.
+
+Marc' Antonio, meanwhile, continuing to work at engraving, executed some
+plates with small figures of the twelve Apostles, in various manners,
+and many Saints, both male and female, to the end that the poor painters
+who were weak in design might be able to avail themselves of these in
+their need. He also engraved a nude young man, who has a lion at his
+feet, and is seeking to furl a large banner, which is swollen out by the
+wind in a direction contrary to his purpose; another who is carrying a
+pedestal on his back; and a little S. Jerome who is meditating on death,
+placing a finger in the hollow of a skull that he has in his hand, the
+invention and design of which were by Raffaello. Then he executed a
+figure of Justice, which he copied from the tapestries of the Chapel;
+and afterwards an Aurora, drawn by two horses, on which the Hours are
+placing bridles. He also copied the Three Graces from the antique; and
+he engraved a scene of Our Lady ascending the steps of the Temple.
+
+After these things, Giulio Romano, who in his modesty would never have
+any of his works engraved during the lifetime of his master Raffaello,
+lest he should seem to wish to compete with him, caused Marc' Antonio,
+after the death of Raffaello, to engrave two most beautiful battles of
+horsemen on plates of some size, and all the stories of Venus, Apollo,
+and Hyacinthus, which he had painted in the bathroom that is at the
+villa of Messer Baldassarre Turini da Pescia. And he did the same with
+the four stories of the Magdalene and the four Evangelists that are in
+the vaulting of the chapel of the Trinita, which were executed for a
+courtezan, although the chapel now belongs to Messer Agnolo Massimi. By
+the same master was drawn and reproduced in engraving a very beautiful
+ancient sarcophagus containing a lion-hunt, which was formerly at
+Maiano, and is now in the court of S. Pietro; as well as one of the
+ancient scenes in marble that are under the Arch of Constantine; and,
+finally, many scenes that Raffaello had designed for the corridor and
+Loggie of the Palace, which have since been engraved once more by
+Tommaso Barlacchi, together with those of the tapestries that Raffaello
+executed for the public Consistory.
+
+[Illustration: THE MARTYRDOM OF S. LAWRENCE
+
+(_Engraved after Bandinelli by =Marcantonio Bolognese=. London: British
+Museum_)
+
+_M.S._]
+
+After this, Giulio Romano caused Marc' Antonio to engrave twenty plates
+showing all the various ways, attitudes, and positions in which
+licentious men have intercourse with women; and, what was worse, for
+each plate Messer Pietro Aretino wrote a most indecent sonnet, insomuch
+that I know not which was the greater, the offence to the eye from
+the drawings of Giulio, or the outrage to the ear from the words of
+Aretino. This work was much censured by Pope Clement; and if, when it
+was published, Giulio had not already left for Mantua, he would have
+been sharply punished for it by the anger of the Pope. And since some of
+these sheets were found in places where they were least expected, not
+only were they prohibited, but Marc' Antonio was taken and thrown into
+prison; and he would have fared very badly if Cardinal de' Medici and
+Baccio Bandinelli, who was then at Rome in the service of the Pope, had
+not obtained his release. Of a truth, the gifts of God should not be
+employed, as they very often are, in things wholly abominable, which are
+an outrage to the world.
+
+Released from prison, Marc' Antonio finished engraving for Baccio
+Bandinelli a large plate that he had previously begun, with a great
+number of nude figures engaged in roasting S. Laurence on the gridiron,
+which was held to be truly beautiful, and was indeed engraved with
+incredible diligence, although Bandinelli, complaining unjustly of Marc'
+Antonio to the Pope while that master was executing it, said that he was
+committing many errors. But for this sort of gratitude Bandinelli
+received the reward that his lack of courtesy deserved, for Marc'
+Antonio, having heard the whole story, and having finished the plate,
+went, without Baccio being aware of it, to the Pope, who took infinite
+delight in the arts of design; and he showed him first the original
+drawing by Bandinelli, and then the printed engraving, from which the
+Pope recognized that Marc' Antonio not only had committed no errors, but
+had even corrected with great judgment many committed by Bandinelli,
+which were of no small importance, and had shown more knowledge and
+craftsmanship in his engraving than had Baccio in his drawing. Wherefore
+the Pope commended him greatly and ever afterwards received him with
+favour; and it is believed that he might have done much for him, but the
+sack of Rome supervening, Marc' Antonio became little less than a
+beggar, seeing that, besides losing all his property, he was forced to
+disburse a good ransom in order to escape from the hands of the
+Spaniards. Which done, he departed from Rome, never to return; and
+there are few works to be seen which were executed by him after that
+time. Our arts are much indebted to Marc' Antonio, in that he made a
+beginning with engraving in Italy, to the advantage and profit of art
+and to the convenience of her followers, in consequence of which others
+have since executed the works that will be described hereafter.
+
+Now Agostino Viniziano, of whom we have already spoken, came to
+Florence, after the circumstances described above, with the intention of
+attaching himself to Andrea del Sarto, who was held to be about the best
+painter in Italy after Raffaello. And so Andrea, persuaded by this
+Agostino to have his works engraved, made a drawing of a Dead Christ
+supported by three Angels; but since the attempt did not succeed exactly
+according to his fancy, he would never again allow any work of his to be
+engraved. After his death, however, certain persons published engravings
+of the Visitation of S. Elizabeth and of the Baptism of the people by S.
+John, taken from the work in chiaroscuro that Andrea painted in the
+Scalzo at Florence. Marco da Ravenna, likewise, in addition to the works
+already mentioned, which he executed in company with Agostino, also
+engraved many others by himself, which are all good and worthy of
+praise, and are known by his signature, which has been described above.
+Many others, also, have there been after these, who have worked very
+well at engraving, and have brought it about that every country has been
+able to see and enjoy the honoured labours of the most excellent
+masters.
+
+Nor has there been wanting one who has had the enterprise to execute
+with wood-blocks prints that possess the appearance of having been made
+with the brush after the manner of chiaroscuro, which is an ingenious
+and difficult thing. This was Ugo da Carpi, who, although he was a
+mediocre painter, was nevertheless a man of most subtle wit in strange
+and fanciful inventions. He it was, as has been related in the thirtieth
+chapter of the Treatise on Technique, who first attempted, and that with
+the happiest result, to work with two blocks, one of which he used for
+hatching the shadows, in the manner of a copper-plate, and with the
+other he made the tint of colour, cutting deeply with the strokes of the
+engraving, and leaving the lights so bright, that when the impression
+was pulled off they appeared to have been heightened with lead-white.
+Ugo executed in this manner, after a design drawn by Raffaello in
+chiaroscuro, a woodcut in which is a Sibyl seated who is reading, with a
+clothed child giving her light with a torch. Having succeeded in this,
+Ugo took heart and attempted to make prints with wood-blocks of three
+tints. The first gave the shadow; the second, which was lighter in tone,
+made the middle tint, and the third, cut deeply, gave the higher lights
+of the ground and left the white of the paper. And the result of this,
+also, was so good, that he executed a woodcut of AEneas carrying Anchises
+on his back, while Troy is burning. He then made a Deposition from the
+Cross, and the story of Simon Magus, which had been used by Raffaello
+for the tapestries of the above-mentioned Chapel; and likewise David
+slaying Goliath, and the Flight of the Philistines, of which Raffaello
+had prepared the design in order to paint it in the Papal Loggie. And
+after many other works in chiaroscuro, he executed in the same manner a
+Venus, with many Loves playing about her.
+
+Now since, as I have said, he was a painter, I must not omit to tell
+that he painted in oils, without using a brush, but with his fingers,
+and partly, also, with other bizarre instruments of his own, an
+altar-piece which is on the altar of the Volto Santo in Rome. Upon this
+altar-piece, being one morning with Michelagnolo at that altar to hear
+Mass, I saw an inscription saying that Ugo da Carpi had painted it
+without a brush; and I laughed and showed the inscription to
+Michelagnolo, who answered, also with a laugh, that it would have been
+better if he had used a brush, for then he might have done it in a
+better manner.
+
+The method of executing these two kinds of woodcuts, in imitation of
+chiaroscuro, thus invented by Ugo da Carpi, was the reason that, many
+following in his steps, a great number of most beautiful prints were
+produced by others. For after him Baldassarre Peruzzi, the painter of
+Siena, made a similar woodcut in chiaroscuro, which was very beautiful,
+of Hercules driving Avarice, a figure laden with vases of gold and
+silver, from Mount Parnassus, on which are the Muses in various lovely
+attitudes. And Francesco Parmigiano engraved a Diogenes for a sheet of
+royal folio laid open, which was a finer print than any that Ugo ever
+produced. The same Parmigiano, having shown the method of making prints
+from three blocks to Antonio da Trento, caused him to execute a large
+sheet in chiaroscuro of the Beheading of S. Peter and S. Paul. And
+afterwards he executed another, but with two blocks only, of the
+Tiburtine Sibyl showing the Infant Christ in the lap of the Virgin to
+the Emperor Octavian; a nude man seated, who has his back turned in a
+beautiful attitude; and likewise an oval print of the Madonna lying
+down, with many others by his hand that may be seen in various places,
+printed after his death by Joannicolo Vicentino. But the most beautiful
+were executed later by Domenico Beccafumi of Siena, after the death of
+Parmigiano, as will be related at greater length in the Life of
+Domenico.
+
+Not otherwise than worthy of praise, also, is the method that has been
+invented of making engravings more easily than with the burin, although
+they do not come out so clear--that is, with aquafortis, first laying on
+the copper a coat of wax, varnish, or oil-colour, and then drawing the
+design with an iron instrument that has a sharp point to cut through the
+wax, varnish, or colour, whichever it may be, after which one pours over
+it the aquafortis, which eats into the copper in such a manner that it
+leaves the lines of the design hollow, and impressions can be taken from
+it. With this method Francesco Parmigiano executed many little things,
+which are full of grace, such as the Nativity of Christ, a Dead Christ
+with the Maries weeping over Him, and one of the tapestries executed for
+the Chapel after the designs of Raffaello, with many other works.
+
+After these masters, fifty sheets with varied and beautiful landscapes
+were produced by Battista, a painter of Vicenza, and Battista del Moro
+of Verona. In Flanders, Hieronymus Cock has executed engravings of the
+liberal arts; and in Rome, engravings have been done of the Visitation
+in the Pace, painted by Fra Sebastiano Viniziano, of that by Francesco
+Salviati in the Misericordia, and of the Feast of Testaccio; besides
+many works that have been engraved in Venice by the painter Battista
+Franco, and by many other masters.
+
+But to return to the simple copper-plate engravings; after Marc' Antonio
+had executed the many works that have been mentioned above, Rosso
+arrived in Rome, and Baviera persuaded him that he should have some of
+his works engraved; wherefore he commissioned Gian Jacopo Caraglio of
+Verona, who was one of the most skilful craftsmen of that day, and who
+sought with all diligence to imitate Marc' Antonio, to engrave a lean
+anatomical figure of his own, which holds a death's head in the hand,
+and is seated on a serpent, while a swan is singing. This plate
+succeeded so well, that the same Rosso afterwards caused engravings to
+be made, on plates of considerable size, of some of the Labours of
+Hercules: the Slaying of the Hydra, the Combat with Cerberus, the
+Killing of Cacus, the Breaking of the Bull's Horns, the Battle with the
+Centaurs, and the Centaur Nessus carrying off Deianira. And these plates
+proved to be so beautiful and so well engraved, that the same Jacopo
+executed, likewise after the design of Rosso, the story of the daughters
+of Pierus, who, for seeking to contend with the Muses and to sing in
+competition with them, were transformed into crows.
+
+Baviera having then caused Rosso to draw twenty Gods in niches, with
+their attributes, for a book, these were engraved by Gian Jacopo
+Caraglio in a very beautiful and graceful manner; and also, not long
+afterwards, their Transformations; but of these Rosso did not make the
+drawings, save only of two, for he had a difference with Baviera, and
+Baviera had ten of them executed by Perino del Vaga. The two by Rosso
+were the Rape of Proserpine and the Transformation of Philyra into a
+horse; and all were engraved with such diligence by Caraglio, that they
+have always been prized. Caraglio afterwards began for Rosso the Rape of
+the Sabines, which would have been a very rare work, but, the sack of
+Rome supervening, it could not be finished, for Rosso went away, and the
+plates were all lost. And although this work has since come into the
+hands of the printers, it has proved a miserable failure, for the
+engraving has been done by one who had no knowledge of the art, and
+thought only of making money.
+
+After this, Caraglio engraved for Francesco Parmigiano a plate of the
+Marriage of Our Lady, and other works by the same master; and then
+another plate for Tiziano Vecelli, which was very beautiful, of a
+Nativity that Tiziano had formerly painted. This Gian Jacopo Caraglio,
+after having executed many copper-plates, being an ingenious spirit,
+gave his attention to engraving cameos and crystals, in which he became
+no less excellent than he had been in the engraving of copper-plates.
+And since then, having entered the service of the King of Poland, he has
+occupied himself no longer with engraving on copper, now in his opinion
+a mean art, but with the cutting of gems, with working in incavo, and
+with architecture; for which having been richly rewarded by the
+liberality of that King, he has spent large sums in investments in the
+territory of Parma, in order to be able to retire in his old age to the
+enjoyment of his native country among his friends and disciples, after
+the labours of so many years.
+
+After these masters came another excellent copper-plate engraver,
+Lamberto Suave,[15] by whose hand are thirteen plates of Christ and the
+twelve Apostles, in which the execution of the engraving is perfect in
+its delicacy. If Lamberto had possessed a more thorough mastery of
+design in addition to the industry, patience, and diligence that he
+showed in all other points, he would have been marvellous in every
+respect; as may be perceived clearly from a little sheet of S. Paul
+writing, and from a larger sheet with the story of the Raising of
+Lazarus, in which there are most beautiful things to be seen. Worthy of
+note, in particular, are the hollow rock in the cavern which he
+represented as the burial-place of Lazarus, and the light that falls
+upon some figures, all of which is executed with beautiful and fanciful
+invention.
+
+No little ability, likewise, has been shown in this profession by Giovan
+Battista Mantovano, a disciple of Giulio Romano; among other works, in a
+Madonna who has the Child in her arms and the moon under her feet, and
+in some very beautiful heads with helmet-crests after the antique; in
+two sheets, in which are a captain of mercenaries on foot and one on
+horseback, and also in a sheet wherein is a Mars in armour, who is
+seated upon a bed, while Venus gazes on a Cupid whom she is suckling,
+which has in it much that is good. Very fanciful, also, are two large
+sheets by the hand of the same master, in which is the Burning of Troy,
+executed with extraordinary invention, design, and grace. These and
+many other sheets by the same hand are signed with the letters "J.B.M."
+
+And no less excellent than any of those mentioned above has been Enea
+Vico of Parma, who engraved the well-known copper-plate of the Rape of
+Helen by Rosso, and also another plate after the design of the same
+painter, of Vulcan with some Loves, who are fashioning arrows at his
+forge, while the Cyclopes are also at work, which was truly a most
+beautiful engraving. He executed the Leda of Michelagnolo on another,
+and also an Annunciation after the design of Tiziano, the story of
+Judith that Michelagnolo painted in the Chapel, the portrait of Duke
+Cosimo de' Medici as a young man, in full armour, after the drawing by
+Bandinelli, and likewise the portrait of Bandinelli himself; and then
+the Contest of Cupid and Apollo in the presence of all the Gods. And if
+Enea had been maintained and rewarded for his labours by Bandinelli, he
+would have engraved many other beautiful plates for him. Afterwards,
+Francesco, a protege of the Salviati, and an excellent painter, being in
+Florence, and assisted by the liberality of Duke Cosimo, commissioned
+Enea to engrave the large plate of the Conversion of S. Paul, full of
+horses and soldiers, which was held to be very beautiful, and gave Enea
+a great name. The same Enea then executed the portrait of Signor
+Giovanni de' Medici, father of Duke Cosimo, with an ornament full of
+figures. He engraved, also, the portrait of the Emperor Charles V, with
+an ornament covered with appropriate Victories and trophies, for which
+he was rewarded by His Majesty and praised by all; and on another plate,
+very well engraved, he represented the victory that the Emperor gained
+on the Elbe. For Doni he executed some heads from nature in the manner
+of medallions, with beautiful ornaments: King Henry of France, Cardinal
+Bembo, Messer Lodovico Ariosto, the Florentine Gello, Messer Lodovico
+Domenichi, Signora Laura Terracina, Messer Cipriano Morosino, and Doni
+himself. He also engraved for Don Giulio Clovio, a most excellent
+illuminator, a plate of a S. George on horseback who is slaying the
+Dragon, in which, although it was, one might say, one of the first works
+that he engraved, he acquitted himself very well.
+
+Afterwards, being a man of lofty genius, and desiring to pass on to
+greater and more honourable undertakings, Enea applied himself to the
+study of antiquities, and in particular of ancient medals, of which he
+has published several books in engraving, wherein are the true effigies
+of many Emperors and their wives, with every kind of inscription and
+reverse that could bring all who delight in them to a clear
+understanding of their stories; for which he has rightly won great
+praise, as he still does. And those who have found fault with him for
+his books of medals have been in the wrong, for whoever shall consider
+the labours that he has performed, and how useful and beautiful these
+are, must perforce excuse him, even though he may have erred in a few
+matters of little importance; and such errors, which are not committed
+save from faulty information, from a too ready credulity, or from having
+opinions differing from others with some show of reason, are worthy to
+be excused, seeing that Aristotle, Pliny, and many others have been
+guilty of the like.
+
+Enea also designed to the common satisfaction and benefit of all mankind
+fifty costumes of different nations, such as were worn by men and women,
+peasants and citizens, in Italy, in France, in Spain, in Portugal, in
+England, in Flanders, and in other parts of the world; which was an
+ingenious work, both fanciful and beautiful. He executed, also, a
+genealogical tree of all the Emperors, which was a thing of great
+beauty. And finally, after much toil and travailing, he now lives in
+repose under the shadow of Alfonso II, Duke of Ferrara, for whom he has
+made a genealogical tree of all the Marquises and Dukes of the House of
+Este. For all these works and many others that he has executed, as he
+still continues to do, I have thought it right to make this honourable
+record of him among so many other men of the arts.
+
+Many others have occupied themselves with copper-plate engraving, who,
+although they have not attained to such perfection, have none the less
+benefited the world with their labours, by bringing many scenes and
+other works of excellent masters into the light of day, and by thus
+giving the means of seeing the various inventions and manners of the
+painters to those who are not able to go to the places where the
+principal works are, and conveying to the ultramontanes a knowledge of
+many things that they did not know. And although many plates have been
+badly executed through the avarice of the printers, eager more for gain
+than for honour, yet in certain others, besides those that have been
+mentioned, there may be seen something of the good; as in the large
+design of the Last Judgment of Michelagnolo Buonarroti on the front wall
+of the Papal Chapel, engraved by Giorgio Mantovano, and in the
+engravings by Giovan Battista de' Cavalieri of the Crucifixion of S.
+Peter and the Conversion of S. Paul painted in the Pauline Chapel at
+Rome. This Giovan Battista has also executed copper-plate engravings,
+besides other designs, of the Meditation of S. John the Baptist, of the
+Deposition from the Cross that Daniello Ricciarelli of Volterra painted
+in a chapel in the Trinita at Rome, of a Madonna with many Angels, and
+of a vast number of other works. Moreover, many things taken from
+Michelagnolo have been engraved by others at the commission of Antonio
+Lanferri, who has employed printers for the same purpose. These have
+published books of all the kinds of fishes, and also the Phaethon, the
+Tityus, the Ganymede, the Archers, the Bacchanalia, the Dream, the
+Pieta, and the Crucifix, all done by Michelagnolo for the Marchioness of
+Pescara; and, in addition, the four Prophets of the Chapel and other
+scenes and drawings have been engraved and published, but executed so
+badly, that I think it well to be silent as to the names of those
+engravers and printers.
+
+But I must not be silent about the above-mentioned Antonio Lanferri and
+Tommaso Barlacchi, for they, as well as others, have employed many young
+men to engrave plates after original drawings by the hands of a vast
+number of masters, insomuch that it is better to say nothing of these
+works, lest it should become wearisome. And in this manner have been
+published, among other plates, grotesques, ancient temples, cornices,
+bases, capitals, and many other suchlike things, with all their
+measurements.
+
+Seeing everything reduced to a miserable manner, and moved by
+compassion, Sebastiano Serlio, an architect of Bologna, has engraved on
+wood and copper two books of architecture, in which, among other things,
+are thirty doors of the Rustic Order, and twenty in a more delicate
+style; which book is dedicated to King Henry of France. Antonio
+L'Abacco, likewise, has published plates in a beautiful manner of all
+the notable antiquities of Rome, with their measurements, executed with
+great mastery and with very subtle engraving by ... Perugino. Nor has
+less been accomplished in this field by the architect Jacopo Barozzo of
+Vignola, who in a book of copper-plate engravings has shown with simple
+rules how to enlarge or to diminish in due proportion every part of the
+five Orders of Architecture, a work most useful in that art, for which
+we are much indebted to him; even as we are to Giovanni Cugini[16] of
+Paris for his engravings and writings on architecture.
+
+In Rome, besides the masters named above, Niccolo Beatricio[17] of
+Lorraine has given so much attention to engraving with the burin, that
+he has executed many plates worthy of praise; such as two pieces of
+sarcophagi with battles of horsemen, engraved on copper, and other
+plates full of various animals very well executed, and a scene showing
+the Widow's Daughter being restored to life by Jesus Christ, engraved in
+a bold manner from the design of Girolamo Mosciano, a painter of
+Brescia. The same master has engraved an Annunciation from a drawing by
+the hand of Michelagnolo, and has also executed prints of the Navicella
+of mosaic that Giotto made in the portico of S. Pietro.
+
+From Venice, likewise, have come many most beautiful engravings on wood
+and on copper; on wood, after Tiziano, many landscapes, a Nativity of
+Christ, a S. Jerome, and a S. Francis; and on copper the Tantalus, the
+Adonis, and many other plates, which have been engraved by Giulio
+Bonasone of Bologna, together with some others by Raffaello, by Giulio
+Romano, by Parmigiano, and by all the other masters whose drawings he
+has been able to obtain. And Battista Franco, a painter of Venice, has
+engraved, partly with the burin and partly with aquafortis, many works
+by the hands of various masters, such as the Nativity of Christ, the
+Adoration of the Magi, the Preaching of S. Peter, some plates from the
+Acts of the Apostles, and many stories from the Old Testament. So far,
+indeed, has this practice of making prints been carried, that those who
+make a profession of it keep draughtsmen continually employed in copying
+every beautiful work as it appears, and put it into prints. Wherefore
+there came from France, after the death of Rosso, engravings of all the
+work by his hand that could be found, such as Clelia with the Sabine
+women passing the river; some masks after the manner of the Fates,
+executed for King Francis; a bizarre Annunciation; a Dance of ten women;
+and King Francis advancing alone into the Temple of Jupiter, leaving
+behind him Ignorance and other similar figures, which were executed
+during the lifetime of Rosso by the copper-plate engraver Renato.[18]
+And many more have been drawn and engraved since Rosso's death; among
+many other works, all the stories of Ulysses, and, to say nothing of the
+rest, vases, chandeliers, candelabra, salt-cellars, and a vast number of
+other suchlike things made in silver after designs of Rosso.
+
+Luca Penni, also, has published engravings of two Satyrs giving drink to
+a Bacchus, a Leda taking the arrows from the quiver of a Cupid, Susannah
+in the Bath, and many other plates copied from the designs of the same
+Rosso and of Francesco Primaticcio of Bologna, now Abbot of S. Martin in
+France. And among these engravings are the Judgment of Paris, Abraham
+sacrificing Isaac, a Madonna, Christ marrying S. Catharine, Jove
+changing Callisto into a bear, the Council of the Gods, Penelope weaving
+with her women, and other things without number, engraved on wood, and
+executed for the most part with the burin; by reason of which the wits
+of the craftsmen have become very subtle, insomuch that little figures
+have been engraved so well, that it would not be possible to give them
+greater delicacy. And who can see without marvelling the works of
+Francesco Marcolini of Forli? Who, besides other things, printed the
+book of the Garden of Thoughts from wood-blocks, placing at the
+beginning an astrologer's sphere and a head of himself after the design
+of Giuseppe Porta of Castelnuovo della Garfagnana; in which book are
+various fanciful figures, such as Fate, Envy, Calamity, Timidity,
+Praise, and many others of the same kind, which were held to be most
+beautiful. Not otherwise than praiseworthy, also, were the figures that
+Gabriele Giolito, a printer of books, placed in the Orlando Furioso, for
+they were executed in a beautiful manner of engraving. And even such,
+likewise, were the eleven large anatomical plates that were done by
+Andrea Vessalio after the drawings of Johann of Calcar, a most excellent
+Flemish painter, which were afterwards copied on smaller sheets and
+engraved on copper by Valverde, who wrote on anatomy after Vessalio.
+
+Next, among the many plates that have issued from the hands of Flemings
+within the last ten years, very beautiful are some drawn by one
+Michele,[19] a painter, who worked for many years in two chapels that
+are in the Church of the Germans at Rome. These plates contain the story
+of Moses and the Serpents, and thirty-two stories of Psyche and Love,
+which are held to be most beautiful. Hieronymus Cock, also a Fleming,
+has engraved a large plate after the invention and design of Martin
+Heemskerk, of Delilah cutting off the locks of Samson; and not far away
+is the Temple of the Philistines, in which, the towers having fallen,
+one sees ruin and destruction in the dead, and terror in the living, who
+are taking to flight. The same master has executed in three smaller
+plates the Creation of Adam and Eve, the Eating of the Fruit, and the
+Angel driving them out of Paradise; and in four other plates of the same
+size, in the first the Devil imprinting avarice and ambition into the
+heart of man, and in the others all the passions that result from those
+two. There may also be seen twenty-seven plates of the same size by his
+hand, with stories from the Old Testament after the expulsion of Adam
+from Paradise, drawn by Martin in a bold, well-practised, and most
+resolute manner, which is very similar to the Italian. Hieronymus
+afterwards engraved six round plates with the history of Susannah, and
+twenty-three other stories from the Old Testament, similar to those of
+Abraham already mentioned--namely, six plates with the story of David,
+eight plates with that of Solomon, four with that of Balaam, and five
+with those of Judith and Susannah. And from the New Testament he
+engraved twenty-nine plates, beginning with the Annunciation of the
+Virgin, and continuing down to the whole Passion and Death of Jesus
+Christ. He also engraved, after the drawings of the same Martin, the
+seven Works of Mercy, and the story of the rich Lazarus and the poor
+Lazarus, and four plates with the Parable of the Samaritan wounded by
+thieves, with four other plates of the Parable of the Talents, written
+by S. Matthew in his eighteenth chapter.
+
+At the time when Hans Liefrinck executed in competition with him ten
+plates of the Life and Death of S. John the Baptist, he engraved the
+Twelve Tribes on an equal number of plates; Reuben upon a hog,
+representing Sensuality; Simeon with a sword as a symbol of Homicide;
+and in like manner the other heads of Tribes with attributes appropriate
+to the nature of each. He then executed ten plates, engraved with
+greater delicacy, with the stories and acts of David, from the time of
+his being anointed by Samuel to his going before Saul; and he engraved
+six other plates with the story of how Amnon became enamoured of his
+sister Tamar and ravished her, and the death of that same Amnon. And not
+long afterwards he executed ten plates of similar size with the history
+of Job; and from thirteen chapters of the Proverbs of Solomon he drew
+subjects for five plates of the same kind. He also engraved the story of
+the Magi; and then, on six plates, the Parable that is in the twelfth
+chapter of S. Matthew, of those who for various reasons refused to go to
+the King's Feast, and of him who went without having a wedding-garment;
+and six plates of equal size with some of the acts of the Apostles. And
+in eight similar plates he engraved figures of women of perfect
+excellence, in various costumes: six from the Old Testament--Jael, Ruth,
+Abigail, Judith, Esther, and Susannah; and two from the New--Mary the
+Virgin, Mother of Jesus Christ, and Mary Magdalene.
+
+After these works he carried out the engraving of the Triumphs of
+Patience in six plates, with various things of fancy. In the first, in a
+chariot, is Patience, who has in her hand a standard, on which is a rose
+among thorns. In the second may be seen a burning heart, beaten by three
+hammers, upon an anvil; and the chariot of this second plate is drawn by
+two figures--namely, by Desire, who has wings upon the shoulders, and by
+Hope, who has an anchor in the hand, and behind them Fortune, with her
+wheel broken, is led as a prisoner. In the next plate is Christ on a
+chariot, with the standard of the Cross and of His Passion, with the
+Evangelists at the corners in the form of animals; and this chariot is
+drawn by two lambs, and has behind it four prisoners--the Devil, the
+World, or rather, the Flesh, Sin, and Death. In another Triumph is
+Isaac, nude, upon a camel; on the banner that he holds in his hand are a
+pair of prisoner's irons; and behind him is drawn the altar with the
+ram, the knife, and the fire. In the next plate he made Joseph riding in
+triumph on an ox crowned with ears of corn and fruits, with a standard
+on which is a bee-hive; and the prisoners that are led behind him are
+Anger and Envy, who are devouring a heart. He engraved in another
+Triumph David on a lion, with the harp, and with a standard in his hand,
+on which is a bit; and behind him is Saul as a prisoner, and Shimei,
+with his tongue protruding. In another plate is Tobias riding in triumph
+on an ass, and holding in his hand a banner, on which is a fountain; and
+behind him Poverty and Blindness, bound, are led as prisoners. And in
+the last of the six Triumphs is S. Stephen the Proto-martyr, who is
+riding in triumph on an elephant, and has a standard with a figure of
+Charity; and the prisoners behind him are his persecutors. All these
+were inventions full of fancy, and very ingenious; and they were all
+engraved by Hieronymus Cock, whose hand is very bold, sure, and
+resolute.
+
+The same master engraved a plate of Fraud and Avarice, fantastic and
+beautiful, and another very lovely plate of a Feast of Bacchanals, with
+children dancing. On another he represented Moses passing across the Red
+Sea, according as it had been painted by Agnolo Bronzino, a painter of
+Florence, in the upper chapel in the Palace of the Duke of Florence; and
+in competition with him, also after the design of Bronzino, Giorgio
+Mantovano engraved a Nativity of Jesus Christ, which was very beautiful.
+After these works, Hieronymus engraved twelve plates of the victories,
+battles, and deeds of arms of Charles V, for him who was the inventor of
+the subjects; and for Verese, a painter and a great master of
+perspective in those parts, twenty plates with various buildings. For
+Hieronymus Bosch he executed a plate of S. Martin, with a barque full of
+Devils in the most bizarre forms. And he made another of an alchemist
+who loses all his possessions, distilling away his brains and consuming
+all that he has in various ways, insomuch that in the end he takes
+refuge in the hospital with his wife and children; which plate was
+designed for him by a painter, who caused him to engrave the Seven
+Mortal Sins, with Demons of various forms, which was a fantastic and
+laughable work. He also engraved a Last Judgment; an old man who is
+seeking with a lantern for peace among the wares of the world, and finds
+it not; likewise a great fish that is devouring some little fishes; a
+figure of Carnival enjoying the pleasures of the table with many others,
+and driving Lent away, and another of Lent driving away Carnival; and so
+many other whimsical and fantastic inventions, that it would be
+wearisome to attempt to speak of them all.
+
+Many other Flemings have imitated the manner of Albrecht Duerer with the
+greatest care and subtlety, as may be seen from their engravings, and in
+particular from those of ...[20] who has engraved in little figures four
+stories of the Creation of Adam, four of the lives of Abraham and of
+Lot, and four others of Susannah, which are very beautiful. In like
+manner, G... P...[21] has engraved the Seven Works of Mercy in seven
+small round plates, eight stories taken from the Books of Kings, Regulus
+placed in the barrel filled with nails, and an Artemisia, which is a
+plate of great beauty. J... B...[22] has executed figures of the four
+Evangelists, which are so small that it seems scarcely possible that he
+could have done them; and also five other very fine plates, in the first
+of which is a Virgin drawn into the grave by Death in all the freshness
+of her youth, and in the second is Adam, in the third a peasant, in the
+fourth a Bishop, and in the fifth a Cardinal, each, like the Virgin,
+called by Death to his last account. And in some others are many Germans
+going on parties of pleasure with their wives, and some beautiful and
+fantastic Satyrs. By ... are plates of the four Evangelists, engraved
+with great care, and no less beautiful than are twelve stories of the
+Prodigal Son executed with much diligence by the hand of M.... And,
+finally, Franz Floris, a painter famous in those parts, has produced a
+great number of works and drawings which have since been engraved, for
+the most part by Hieronymus Cock, such as ten plates of the Labours of
+Hercules, a large plate with all the activities of the life of man,
+another with the Horatii and Curiatii engaged in combat in the lists,
+the Judgment of Solomon, and the Battle between Hercules and the
+Pygmies. The same master, also, has engraved a Cain who has killed Abel,
+over whose body Adam and Eve are weeping; an Abraham who is about to
+sacrifice Isaac on the altar, and a vast number of other plates, so full
+of variety and invention, that it is indeed marvellous to think of all
+that has been done in engravings on copper and wood. Lastly, it is
+enough to draw attention to the engravings of the portraits of the
+Painters, Sculptors, and Architects in this our book, which were drawn
+by Giorgio Vasari and his pupils, and engraved by Maestro Cristofano
+...,[23] who has executed in Venice, as he still continues to do, a vast
+number of works worthy of record.
+
+In conclusion, for all the assistance that the ultramontanes have
+received from seeing the various Italian manners by means of engravings,
+and that the Italians have received from having seen those of the
+ultramontanes and foreigners, thanks should be rendered, for the most
+part, to Marc' Antonio Bolognese, in that, besides the circumstance that
+he played a great part in the beginning of this profession, as has been
+related, there has not as yet been one who has much surpassed him,
+although some few have equalled him in certain points. This Marc'
+Antonio died at Bologna, not long after his departure from Rome. In our
+book are some drawings of Angels by his hand, done with the pen, and
+some other very beautiful sheets drawn from the apartments that
+Raffaello da Urbino painted. In one of these apartments Marc' Antonio,
+as a young man, was portrayed by Raffaello in one of those grooms who
+are carrying Pope Julius II, in that part where the High-Priest Onias is
+praying.
+
+And let this be the end of the Lives of Marc' Antonio Bolognese and of
+all the other engravers of prints mentioned above, of whom I have
+thought it right to give this long but necessary account, in order to
+satisfy not only the students of our arts, but also all those who
+delight in works of that kind.
+
+FOOTNOTE:
+
+[14] Luca di Leyden.
+
+[15] Lambert Zutmann.
+
+[16] Jean Cousin.
+
+[17] Nicolas Beautrizet.
+
+[18] Rene Boyvin.
+
+[19] Michael Coxie.
+
+[20] Albrecht Aldegrever.
+
+[21] Georg Pencz.
+
+[22] Hans Beham.
+
+[23] Cristofano Coriolano.
+
+
+
+
+ANTONIO DA SAN GALLO (THE YOUNGER)
+
+
+
+
+LIFE OF ANTONIO DA SAN GALLO (THE YOUNGER)
+
+ARCHITECT OF FLORENCE
+
+
+How many great and illustrious Princes, abounding with infinite wealth,
+would leave behind them a name renowned and glorious, if they possessed,
+together with their store of the goods of Fortune, a mind filled with
+grandeur and inclined to those things that not only embellish the world,
+but also confer vast benefit and advantage on the whole race of men! And
+what works can or should Princes and great persons undertake more
+readily than noble and magnificent buildings and edifices, both on
+account of the many kinds of men that are employed upon them in the
+making, and because, when made, they endure almost to eternity? For of
+all the costly enterprises that the ancient Romans executed at the time
+when they were at the supreme height of their greatness, what else is
+there left to us save those remains of buildings, the everlasting glory
+of the Roman name, which we revere as sacred things and strive to
+imitate as the sole patterns of the highest beauty? And how much these
+considerations occupied the minds of certain Princes who lived in the
+time of the Florentine architect, Antonio da San Gallo, will now be seen
+clearly in the Life of him that we are about to write.
+
+Antonio, then, was the son of Bartolommeo Picconi of Mugello, a maker of
+casks; and after having learned the joiner's craft in his boyhood,
+hearing that his uncle, Giuliano da San Gallo, was working at Rome in
+company with his brother Antonio, he set out from Florence for that
+city. And there, having devoted himself to the matters of the art of
+architecture with the greatest possible zeal, and pursuing that art, he
+gave promise of those achievements that we see in such abundance
+throughout all Italy, in the vast number of works executed by him at a
+more mature age. Now it happened that Giuliano was forced by the torment
+that he suffered from the stone to return to Florence; and Antonio,
+having become known to the architect Bramante of Castel Durante, began
+to give assistance to that master, who, being old and crippled in the
+hands by palsy, was not able to work as before in the preparation of his
+designs. And these Antonio executed with such accuracy and precision
+that Bramante, finding that they were correct and true in all their
+measurements, was constrained to leave to him the charge of a great
+number of works that he had on his hands, only giving him the order that
+he desired and all the inventions and compositions that were to be used
+in each work. In these he found himself served by Antonio with so much
+judgment, diligence, and expedition, that in the year 1512 he gave him
+the charge of the corridor that was to lead to the ditches of the
+Castello di S. Angelo; for which he began to receive a salary of ten
+crowns a month; but the death of Julius II then took place, and the work
+was left unfinished. However, the circumstance that Antonio had already
+acquired a name as a person of ability in architecture, and one who had
+a very good manner in matters of building, was the reason that
+Alessandro, who was first Cardinal Farnese, and afterwards Pope Paul
+III, conceived the idea of commissioning him to restore the old palace
+in the Campo di Fiore, in which he lived with his family; and for that
+work Antonio, desiring to grow in reputation, made several designs in
+different manners. Among which, one that was arranged with two
+apartments was that which pleased his very reverend Highness, who,
+having two sons, Signor Pier Luigi and Signor Ranuccio, thought that he
+would leave them well accommodated by such a building. And, a beginning
+having been made with that work, a certain portion was constructed
+regularly every year.
+
+At this time a church dedicated to S. Maria di Loreto was being built at
+the Macello de' Corbi, near the Column of Trajan, in Rome, and it was
+brought to perfection by Antonio, with decorations of great beauty.
+After this, Messer Marchionne Baldassini caused a palace to be erected
+from the model and under the direction of Antonio, near S. Agostino,
+which is arranged in such a manner that, small though it may be, it is
+held to be, as indeed it is, the finest and most convenient dwelling in
+Rome; and in it the staircases, the court, the loggie, the doors, and
+the chimney-pieces, are all executed with consummate grace. With which
+Messer Marchionne being very well satisfied, he determined that Perino
+del Vaga, the Florentine painter, should decorate one of the halls in
+colour, with scenes and other figures, as will be related in his Life;
+which decorations have given it infinite grace and beauty. And near the
+Torre di Nona Antonio directed and finished the building of the house of
+the Centelli, which is small, but very convenient.
+
+No long time passed before he went to Gradoli, a place in the dominions
+of the very reverend Cardinal Farnese, where he caused a most beautiful
+and commodious palace to be erected for that Cardinal. On that journey
+he did a work of great utility in restoring the fortress of Capo di
+Monte, which he surrounded with low and well-shaped walls; and at the
+same time he made the design of the fortress of Caprarola. And the very
+reverend Monsignor Farnese, finding himself served by Antonio in all
+these works in a manner so satisfactory, was constrained to wish him
+well, and, coming to love him more and more, he showed him favour in his
+every enterprise whenever he was able. After this, Cardinal Alborense,
+wishing to leave a memorial of himself in the church of his nation,
+caused a chapel of marble, with a tomb for himself, to be erected and
+brought to completion by Antonio in S. Jacopo degli Spagnuoli; which
+chapel, as has been related, was all painted in the spaces between the
+pilasters by Pellegrino da Modena, and on the altar stood a most
+beautiful S. James of marble executed by Jacopo Sansovino. This is a
+work of architecture that is held to be truly worthy of the highest
+praise, since the marble ceiling is divided very beautifully into
+octagonal compartments. Nor was it long before M. Bartolommeo Ferratino,
+for his own convenience and for the benefit of his friends, and also in
+order to leave an honourable and enduring memorial of himself,
+commissioned Antonio to build a palace on the Piazza d' Amelia, which is
+a beautiful and most imposing work; whereby Antonio acquired no little
+fame and profit. During this time Antonio di Monte, Cardinal of Santa
+Prassedia, was in Rome, and he desired that the same architect should
+build for him the palace that he afterwards occupied, looking out upon
+the Agone, where there is the statue of Maestro Pasquino; and in the
+centre, which looks over the Piazza, he wished to erect a tower. This
+was planned and brought to completion for him by Antonio with a most
+beautiful composition of pilasters and windows from the first floor to
+the third--a good and graceful design; and it was adorned both within
+and without by Francesco dell' Indaco with figures and scenes in
+terretta. And Antonio having meanwhile become the devoted servant of the
+Cardinal of Arimini, that lord caused him to erect a palace at Tolentino
+in the March, for which, in addition to the rewards that Antonio
+received, the Cardinal ever afterwards held himself indebted to him.
+
+While these matters were in progress, and the fame of Antonio was
+growing and spreading abroad, it happened that old age and various
+infirmities made Bramante a citizen of the other world; at which three
+architects were appointed straightway by Pope Leo for the building of S.
+Pietro--Raffaello da Urbino, Giuliano da San Gallo, the uncle of
+Antonio, and Fra Giocondo of Verona. But no long time passed before Fra
+Giocondo departed from Rome, and Giuliano, being old, received leave to
+return to Florence. Whereupon Antonio, who was in the service of the
+very reverend Cardinal Farnese, besought him very straitly that he
+should make supplication to Pope Leo, to the end that he might grant the
+place of his uncle Giuliano to him, which proved to be a thing very easy
+to obtain, first because of the abilities of Antonio, which were worthy
+of that place, and then by reason of the cordial relations between the
+Pope and the very reverend Cardinal Farnese. And thus, in company with
+Raffaello da Urbino, he continued that building, but coldly enough.
+
+The Pope then went to Civita Vecchia, in order to fortify it, and in his
+company were many lords; among others, Giovan Paolo Baglioni and Signor
+Vitello, and such persons of ability as Pietro Navarra and Antonio
+Marchissi, the architect for fortifications at that time, who had come
+from Naples at the command of the Pope. Discussions arising as to the
+fortification of that place, many and various were the opinions about
+this, one man making one design, and another a different one; but among
+so many, Antonio displayed before them a plan which was approved by the
+Pope and by those lords and architects as superior to all the others in
+strength and beauty and in the handsome and useful character of its
+arrangements; wherefore Antonio came into very great credit with the
+Court. After this, the genius of Antonio repaired a great mischief
+brought about in the following manner: Raffaello da Urbino, in executing
+the Papal Loggie and the apartments that are over the foundations, had
+left many empty spaces in the masonry in order to oblige some friends,
+to the serious damage of the whole building, by reason of the great
+weight that had to be supported above them; and the edifice was already
+beginning to show signs of falling, on account of the weight being too
+great for the walls. And it would certainly have fallen down but for the
+genius of Antonio, who filled up those little chambers with the aid of
+props and beams, and refounded the whole fabric, thus making it as firm
+and solid as it had ever been in the beginning.
+
+Meanwhile the Florentine colony had begun their church in the Strada
+Giulia, behind the Banchi, from the design of Jacopo Sansovino. But they
+had chosen a site that extended too far into the river, so that,
+compelled by necessity, they spent twelve thousand crowns on foundations
+in the water, which were executed in a very secure and beautiful manner
+by Antonio, who found the way after Jacopo had failed to discover it;
+and several braccia of the edifice were built over the water. Antonio
+made a model so excellent, that, if the work had been carried to
+completion, it would have been something stupendous. Nevertheless, it
+was a great error, giving proof of little judgment, on the part of those
+who were at that time the heads of that colony in Rome, for they should
+never have allowed the architects to found so large a church in so
+terrible a river, for the sake of gaining twenty braccia of length, and
+to throw away so many thousands of crowns on foundations, only to be
+compelled to contend with that river for ever; particularly because, by
+bringing that church forward and giving it another form, they might have
+built it on solid ground, and, what is more, might have carried the
+whole to completion with almost the same expense. And if they trusted
+in the riches of the merchants of that colony, it was seen afterwards
+how fallacious such a hope was, for in all the years that the
+pontificate was held by Leo and Clement of the Medici family, by Julius
+III, and by Marcellus, who all came from Florentine territory, although
+the last-named lived but a short time, and for all the greatness of so
+many Cardinals and the riches of so many merchants, it remained, as it
+still does, in the same condition in which it was left by our San Gallo.
+It is clear, therefore, that architects and those who cause buildings to
+be erected should look well to the end and to every matter, before
+setting their hands to works of importance.
+
+But to return to Antonio: the fortress of Monte Fiascone had been
+formerly built by Pope Urban, and he restored it at the commission of
+the Pope, who took him to those parts one summer in his train. And at
+the request of Cardinal Farnese he built two little temples on the
+island of Visentina in the Lake of Bolsena, one of which was constructed
+as an octagon without and round within, and the other was square on the
+outer side and octagonal on the inner, with four niches in the walls at
+the corners, one to each; which two little temples, executed in so
+beautiful a manner, bore testimony to the skill with which Antonio was
+able to give variety to the details of architecture. While these temples
+were building, Antonio returned to Rome, where he made a beginning with
+the Palace of the Bishop of Cervia, which was afterwards left
+unfinished, on the Canto di S. Lucia, where the new Mint stands. He
+built the Church of S. Maria di Monferrato, which is held to be very
+beautiful, near the Corte Savella, and likewise the house of one
+Marrano, which is behind the Cibo Palace, near the houses of the
+Massimi.
+
+Meanwhile Leo died, and with him all the fine and noble arts, which had
+been restored to life by him and by his predecessor, Julius II; and his
+successor was Adrian VI, in whose pontificate all arts and talents were
+so crushed down, that, if the government of the Apostolic Seat had
+remained long in his hands, that fate would have come upon Rome under
+his rule which fell upon her on another occasion, when all the statues
+saved from the destruction of the Goths, both the good and the bad, were
+condemned to be burned. Adrian, perhaps in imitation of the Pontiffs of
+those former times, had already begun to speak of intending to throw to
+the ground the Chapel of the divine Michelagnolo, saying that it was a
+bagnio of nudes; and he despised all good pictures and statues, calling
+them vanities of the world, and shameful and abominable things, which
+circumstance was the reason that not only Antonio, but all the other
+beautiful intellects were kept idle, insomuch that, not to mention other
+works, scarcely anything was done in the time of that Pontiff on the
+building of S. Pietro, to which at least he should have been friendly,
+since he wished to prove himself so much the enemy of worldly things.
+
+For that reason, therefore, attending under that Pontiff to works of no
+great importance, Antonio restored the aisles of the Church of S. Jacopo
+degli Spagnuoli, and furnished the facade with most beautiful windows.
+He also caused a tabernacle of travertine to be constructed for the
+Imagine di Ponte, which, although small, is yet very graceful; and in it
+Perino del Vaga afterwards executed a beautiful little work in fresco.
+
+The poor arts had already come to an evil pass through the life of
+Adrian, when Heaven, moved to pity for them, resolved by the death of
+one to give new life to thousands; wherefore it removed him from the
+world and caused him to surrender his place to one who would fill that
+position more worthily and would govern the affairs of the world in a
+different spirit. And thus a new Pope was elected in Clement VII, who,
+being a man of generous mind, and desiring to follow in the steps of Leo
+and of the other members of his illustrious family who had preceded him,
+bethought himself that, even as he had created beautiful memorials of
+himself as Cardinal, so as Pope he should surpass all others in
+restoring and adorning buildings. That election, then, brought
+consolation to many men of talent, and infused a potent and heaven-sent
+breath of life in those ingenious but timid spirits who had sunk into
+abasement; and they, thus revived, afterwards executed the beautiful
+works that we see at the present day. And first, having been set to work
+at the commission of His Holiness, Antonio straightway reconstructed a
+court in front of the Loggie, which had been painted previously under
+the direction of Raffaello, in the Palace; which court was a vast
+improvement in beauty and convenience, for it was formerly necessary to
+pass through certain narrow and tortuous ways, and Antonio, widening
+these and giving them better form, made them spacious and beautiful. But
+this part is not now in the condition in which Antonio left it, for Pope
+Julius III took away the columns of granite that were there, in order to
+adorn his villa with them, and altered everything. Antonio also executed
+the facade of the old Mint of Rome, a work of great beauty and grace, in
+the Banchi, making a rounded corner, which is held to be a difficult and
+even miraculous thing; and in that work he placed the arms of the Pope.
+And he refounded the unfinished part of the Papal Loggie, which had
+remained incomplete at the death of Pope Leo, and had not been
+continued, or even touched, through the negligence of Adrian. And thus,
+at the desire of Clement, they were carried to their final completion.
+
+His Holiness then resolving to fortify Parma and Piacenza, after many
+designs and models had been made by various craftsmen, Antonio was sent
+to those places, and with him Giuliano Leno, the supervisor of those
+fortifications. When they had arrived there, Antonio having with him his
+pupil L'Abacco, Pier Francesco da Viterbo, a very able engineer, and the
+architect Michele San Michele of Verona, all of them together carried
+the designs of those fortifications into execution. Which done, the
+others remaining, Antonio returned to Rome, where Pope Clement, since
+the Palace was poorly supplied in the matter of apartments, ordained
+that Antonio should begin those in which the public consistories are
+held, above the Ferraria, which were executed in such a manner, that the
+Pontiff was well satisfied with them, and caused other apartments to be
+constructed above them for the Chamberlains of His Holiness. Over the
+ceilings of those apartments, likewise, Antonio made others which were
+very commodious--a work which was most dangerous, because it
+necessitated so much refounding. In this kind of work Antonio was in
+truth very able, seeing that his buildings never showed a crack; nor was
+there ever among the moderns any architect more cautious or more skilful
+in joining walls.
+
+In the time of Pope Paul II, the Church of the Madonna of Loreto, which
+was small, and had its roof immediately over brick piers of rustic work,
+had been refounded and brought to that size in which it may be seen at
+the present day, by means of the skill and genius of Giuliano da Maiano;
+and it had been continued from the outer string-course upwards by Sixtus
+IV and by others, as has been related; but finally, in the time of
+Clement, in the year 1526, without having previously shown the slightest
+sign of falling, it cracked in such a manner, that not only the arches
+of the tribune were in danger, but the whole church in many places, for
+the reason that the foundations were weak and wanting in depth.
+Wherefore Antonio was sent by the said Pope Clement to put right so
+great a mischief; and when he had arrived at Loreto, propping up the
+arches and fortifying the whole, like the resolute and judicious
+architect that he was, he refounded all the building, and, making the
+walls and pilasters thicker both within and without, he gave it a
+beautiful form, both as a whole and in its well-proportioned parts, and
+made it strong enough to be able to support any weight, however great.
+He adhered to one and the same order in the transepts and in the aisles
+of the church, making superb mouldings on the architraves, friezes, and
+cornices above the arches, and he rendered beautiful and well
+constructed in no common way the socles of the four great piers around
+the eight sides of the tribune which support the four arches--namely,
+three in the transepts, where the chapels are, and the larger one in the
+central nave. This work certainly deserves to be celebrated as the best
+that Antonio ever executed, and that not without sufficient reason,
+seeing that those who erect some new building, or raise one from the
+foundations, have the power to make it high or low, and to carry it to
+such perfection as they desire or are able to achieve, without being
+hindered by anything; which does not fall to the lot of him who has to
+rectify or restore works begun by others and brought to a sorry state
+either by the craftsman or by the circumstances of Fortune; whence it
+may be said that Antonio restored a dead thing to life, and did that
+which was scarcely possible. Having finished all this, he arranged that
+the church should be covered with lead, and gave directions for the
+execution of all that still remained to do; and thus, by his means,
+that famous temple received a better form and more grace than it had
+possessed before, and the hope of a long-enduring life.
+
+He then returned to Rome, just after that city had been given over to
+sack; and the Pope was at Orvieto, where the Court was suffering very
+greatly from want of water. Thereupon, at the wish of the Pontiff,
+Antonio built in that city a well all of stone, twenty-five braccia
+wide, with two spiral staircases cut in the tufa, one above the other,
+following the curve of the well. By these two spiral staircases it is
+possible to descend to the bottom of the well, insomuch that the animals
+that go there for water, entering by one door, go down by one of the two
+staircases, and when they have come to the platform where they receive
+their load of water, they pass, without turning round, into the other
+branch of the spiral staircase, which winds above that of the descent,
+and emerge from the well by a different door, opposite to the other.
+This work, which was an ingenious, useful, and marvellously beautiful
+thing, was carried almost to completion before the death of Clement; and
+the mouth of the well, which alone remained to be executed, was finished
+by order of Pope Paul III, but not according to the directions drawn up
+by Clement with the advice of Antonio, who was much commended for so
+beautiful a work. Certain it is that the ancients never built a
+structure equal to this in workmanship or ingenuity, seeing, above all,
+that the central shaft is made in such a way that even down to the
+bottom it gives light by means of certain windows to the two staircases
+mentioned above.
+
+While this work was in progress, the same Antonio directed the
+construction of the fortress of Ancona, which in time was carried to
+completion. Afterwards, Pope Clement resolving, at the time when his
+nephew Alessandro de' Medici was Duke of Florence, to erect an
+impregnable fortress in that city, Signor Alessandro Vitelli, Pier
+Francesco da Viterbo, and Antonio laid out that castle, or rather,
+fortress, which is between the Porta al Prato and the Porta a S. Gallo,
+and caused it to be built with such rapidity, that no similar structure,
+whether ancient or modern, was ever completed so quickly. In a great
+tower, which was the first to be founded, and was called the Toso, were
+placed many inscriptions and medals, with the most solemn pomp and
+ceremony; and this work is now celebrated over all the world, and is
+held to be impregnable.
+
+By order of Antonio were summoned to Loreto the sculptor Tribolo,
+Raffaello da Montelupo, Francesco da San Gallo, then a young man, and
+Simone Cioli, who finished the scenes of marble begun by Andrea
+Sansovino. To the same place Antonio summoned the Florentine Mosca, a
+most excellent carver of marble, who was then occupied, as will be
+related in his Life, with a chimney-piece of stone for the heirs of
+Pellegrino da Fossombrone, which proved to be a divine work of carving.
+This master, I say, at the entreaty of Antonio, made his way to Loreto,
+where he executed festoons that are absolutely divine. Thus, with
+rapidity and diligence, the ornamentation of that Chamber of Our Lady
+was completely finished, although Antonio had five works of importance
+on his hands at one and the same time, to all of which, notwithstanding
+that they were in different places, distant one from another, he gave
+his attention in such a manner that he never neglected any of them; for
+when at any time he could not conveniently be there in person, he
+availed himself of the assistance of his brother Battista. These five
+works were the above-mentioned Fortress of Florence, that of Ancona, the
+work at Loreto, the Apostolic Palace, and the well at Orvieto.
+
+After the death of Clement, when Cardinal Farnese was elected supreme
+Pontiff under the title of Paul III, Antonio, having been the friend of
+the Pope while he was a Cardinal, came into even greater credit; and His
+Holiness, having created his son, Signor Pier Luigi, Duke of Castro,
+sent Antonio to make the designs of the fortress which that Duke caused
+to be founded in that place; of the palace, called the Osteria, that is
+on the Piazza; and of the Mint, built of travertine after the manner of
+that in Rome, which is in the same place. Nor were these the only
+designs that Antonio made in that city, for he prepared many others of
+palaces and other buildings for various persons, both natives and
+strangers, who erected edifices of such cost that it would seem
+incredible to one who has not seen them, so ornate are they all, so
+commodious, and built with so little regard for expense; which was done
+by many, without a doubt, in order to please the Pope, seeing that even
+by such means do many contrive to procure favours for themselves,
+flattering the humour of Princes; and this is a thing not otherwise than
+worthy of praise, for it contributes to the convenience, advantage, and
+pleasure of the whole world.
+
+Next, in the year in which the Emperor Charles V returned victorious
+from Tunis, most magnificent triumphal arches were erected to him in
+Messina, in Apulia, and in Naples, in honour of so great a victory; and
+since he was to come to Rome, Antonio, at the commission of the Pope,
+made a triumphal arch of wood at the Palace of S. Marco, of such a shape
+that it might serve for two streets, and so beautiful that a more superb
+or better proportioned work in wood has never been seen. And if in such
+a work splendid and costly marbles had been added to the industry, art,
+and diligence bestowed on its design and execution, it might have been
+deservedly numbered, on account of its statues, painted scenes, and
+other ornaments, among the Seven Wonders of the world. This arch, which
+was placed at the end of the corner turning into the principal Piazza,
+was of the Corinthian Order, with four round columns overlaid with
+silver on each side, and capitals carved in most beautiful foliage,
+completely overlaid with gold. There were very beautiful architraves,
+friezes, and cornices placed with projections over every column; and
+between each two columns were two painted scenes, insomuch that there
+were four scenes distributed over each side, which, with the two sides,
+made eight scenes altogether, containing, as will be described elsewhere
+in speaking of those who painted them, the deeds of the Emperor. In
+order to enhance this splendour, also, and to complete the pediment
+above that arch on each side, there were two figures in relief, each
+four braccia and a half in height, representing Rome, with two Emperors
+of the House of Austria on either side, those on the front part being
+Albrecht and Maximilian, and those on the other side Frederick and
+Rudolph. And upon the corners, likewise, were four prisoners, two on
+each side, with a great number of trophies, also in relief, and the arms
+of His Holiness and of His Majesty; which were all executed under the
+direction of Antonio by excellent sculptors and by the best painters
+that there were in Rome at that time. And not only this arch was
+executed under the direction of Antonio, but also all the preparations
+for the festival that was held for the reception of so great and so
+invincible an Emperor.
+
+The same Antonio then set to work on the Fortress of Nepi for the
+aforesaid Duke of Castro, and on the fortification of the whole city,
+which is both beautiful and impregnable. He laid out many streets in the
+same city, and made for its citizens the designs of many houses and
+palaces. His Holiness then causing the bastions of Rome to be
+constructed, which are very strong, and the Porta di S. Spirito being
+included among those works, the latter was built with the direction and
+design of Antonio, with rustic decorations of travertine, in a very
+solid and beautiful manner, and so magnificent, that it equals the works
+of the ancients. After the death of Antonio, there were some who sought,
+moved more by envy than by any reasonable motive, and employing
+extraordinary means, to have this structure pulled down; but this was
+not allowed by those in power.
+
+Under the direction of the same architect was refounded almost the whole
+of the Apostolic Palace, which was in danger of ruin in many other parts
+besides those that have been mentioned; in particular, on one side, the
+Sistine Chapel, in which are the works of Michelagnolo, and likewise the
+facade, which he did in such a way that not the slightest crack
+appeared--a work richer in danger than in honour. He enlarged the Great
+Hall of that same Sistine Chapel, making in two lunettes at the head of
+it those immense windows with their marvellous lights, and with
+compartments pushed up into the vaulting and wrought in stucco; all
+executed at great cost, and so well, that this hall may be considered
+the richest and the most beautiful that there had been in the world up
+to that time. And he added to it a staircase, by which it might be
+possible to go into S. Pietro, so commodious and so well built that
+nothing better, whether ancient or modern, has yet been seen; and
+likewise the Pauline Chapel, where the Sacrament has to be placed, which
+is a work of extraordinary charm, so beautiful and so well proportioned
+and distributed, that through the grace that may be seen therein it
+appears to present itself to the eye with a festive smile.
+
+Antonio built the Fortress of Perugia, at the time when there was
+discord between the people of that city and the Pope; and that work, for
+which the houses of the Baglioni were thrown to the ground, was finished
+with marvellous rapidity, and proved to be very beautiful. He also built
+the Fortress of Ascoli, bringing it in a few days to such a condition
+that it could be held by a garrison, although the people of Ascoli and
+others did not think that it could be carried so far in many years;
+wherefore it happened that, when the garrison was placed in it so
+quickly, those people were struck with astonishment, and could scarce
+believe it. He also refounded his own house in the Strada Giulia at
+Rome, in order to protect himself from the floods that rise when the
+Tiber is swollen; and he not only began, but in great part completed,
+the palace that he occupied near S. Biagio, which now belongs to
+Cardinal Riccio of Montepulciano, who has finished it, adding most
+ornate apartments, and spending upon it vast sums in addition to what
+had been spent by Antonio, which was some thousands of crowns.
+
+But all that Antonio did to the benefit and advantage of the world is as
+nothing in comparison with the model of the venerable and stupendous
+fabric of S. Pietro at Rome, which, planned in the beginning by
+Bramante, he enlarged and rearranged with a new plan and in an
+extraordinary manner, giving it dignity and a well-proportioned
+composition, both as a whole and in its separate parts, as may be seen
+from the model made of wood by the hand of his disciple, Antonio
+L'Abacco, who carried it to absolute perfection. This model, which gave
+Antonio a very great name, was published in engraving after the death of
+Antonio da San Gallo, together with the ground-plan of the whole
+edifice, by the said Antonio L'Abacco, who wished to show in this way
+how great was the genius of San Gallo, and to make known to all men the
+opinion of that architect; for new plans had been proposed in opposition
+by Michelagnolo Buonarroti, and out of this change of plans many
+contentions afterwards arose, as will be related in the proper place. It
+appeared to Michelagnolo, and also to many others who saw the model of
+San Gallo, and such parts as were carried into execution by him, that
+Antonio's composition was too much cut up by projections and by members
+which are too small, as are also the columns, the arches upon arches,
+and the cornices upon cornices. Besides this, it seems not to be
+approved that the two bell-towers in his plan, the four little tribunes,
+and the principal cupola, should have that ornament, or rather, garland
+of columns, many and small. In like manner, men did not much approve,
+nor do they now, of those innumerable pinnacles that are in it as a
+finish to the work; and it appears that in that model he imitated the
+style and manner of the Germans rather than the good manner of the
+ancients, which is now followed by the best architects. The
+above-mentioned model of S. Pietro was finished by L'Abacco a short time
+after the death of Antonio; and it was found that, in so far as
+appertained merely to the woodwork and the labour of the carpenters, it
+had cost four thousand one hundred and eighty-four crowns. In executing
+it, Antonio L'Abacco, who had charge of the work, acquitted himself very
+well, having a good knowledge of the matters of architecture, as is
+proved by the book of the buildings of Rome that he printed, which is
+very beautiful. This model, which is now to be found in the principal
+chapel of S. Pietro, is thirty-five palme[24] in length, twenty-six in
+breadth, and twenty palme and a half in height; wherefore, according to
+the model, the work would have been one thousand and forty palme in
+length, or one hundred and four canne,[25] and three hundred and sixty
+palme in breadth, or thirty-six canne, for the reason that the canna
+which is used in Rome, according to the measure of the masons, is equal
+to ten palme.
+
+For the making of this model and of many designs, there were assigned to
+Antonio by the Wardens of the building of S. Pietro fifteen hundred
+crowns, of which he received one thousand in cash; but the rest he never
+drew, for a short time after that work he passed to the other life. He
+strengthened the piers of the same Church of S. Pietro, to the end that
+the weight of the tribune might be supported securely; and he filled all
+the scattered parts of the foundations with solid material, and made
+them so strong, that there is no reason to fear that the building may
+show any more cracks or threaten to fall, as it did in the time of
+Bramante. This masterly work, if it were above the ground instead of
+being hidden below, would amaze the boldest intellect. And for these
+reasons the name and fame of this admirable craftsman should always have
+a place among the rarest masters.
+
+We find that ever since the time of the ancient Romans the men of Terni
+and those of Narni have been deadly enemies with one another, as they
+still are, for the reason that the lake of the Marmora, becoming choked
+up at times, would do injury to one of those communities; and thus, when
+the people of Narni wished to release the waters, those of Terni would
+by no means consent to it. On that account there has always been a
+difference between them, whether the Pontiffs were governing Rome, or
+whether it was subject to the Emperors; and in the time of Cicero that
+orator was sent by the Senate to compose that difference, but it
+remained unsettled. Wherefore, after envoys had been sent to Pope Paul
+III in the year 1546 for the same purpose, he despatched Antonio to them
+to settle that dispute; and so, by his good judgment, it was resolved
+that the lake should have an outlet on the side where the wall is, and
+Antonio had it cut, although with the greatest difficulty. But it came
+to pass by reason of the heat, which was great, and other hardships,
+that Antonio, being now old and feeble, fell sick of a fever at Terni,
+and rendered up his spirit not long after; at which his friends and
+relatives felt infinite sorrow, and many buildings suffered,
+particularly the Palace of the Farnese family, near the Campo di Fiore.
+
+[Illustration: PALAZZO FARNESE
+
+(_After_ Antonio di San Gallo (_with_ Michelangelo). _Rome_.)
+
+_Anderson_]
+
+Pope Paul III, when he was Cardinal Alessandro Farnese, had carried that
+palace a considerable way towards completion, and had finished part of
+the first range of windows in the facade and the inner hall, and had
+begun one side of the courtyard; but the building was yet not so far
+advanced that it could be seen in its perfection, when the Cardinal was
+elected Pontiff, and Antonio altered the whole of the original design,
+considering that he had to make a palace no longer for a Cardinal, but
+for a Pope. Having therefore pulled down some houses that were round it,
+and the old staircase, he rebuilt it with a more gentle ascent, and
+increased the courtyard on every side and also the whole palace, making
+the halls greater in extent and the rooms more numerous and more
+magnificent, with very beautiful carved ceilings and many other
+ornaments. And he had already brought the facade, with the second range
+of windows, to completion, and had only to add the great cornice that
+was to go right round the whole, when the Pope, who was a man of exalted
+mind and excellent judgment, desiring to have a cornice richer and more
+beautiful than any that there had ever been in any other palace
+whatsoever, resolved that, in addition to the designs that Antonio had
+made, all the best architects of Rome should each make one, after which
+he would choose the finest, but would nevertheless have it carried into
+execution by Antonio. And so one morning, while he was at table at the
+Belvedere, all those designs were brought before him in the presence of
+Antonio, the masters who had made them being Perino del Vaga, Fra
+Sebastiano del Piombo, Michelagnolo Buonarroti, and Giorgio Vasari, who
+was then a young man and in the service of Cardinal Farnese, at the
+commission of whom and of the Pope he had prepared for that cornice not
+one only, but two different designs. It is true that Buonarroti did not
+bring his own himself, but sent it by the same Giorgio Vasari, who had
+gone to show him his designs, to the end that he might express his
+opinion on them as a friend; whereupon Michelagnolo gave him his own
+design, asking that he should take it to the Pope and make his excuses
+for not going in person, on the ground that he was indisposed. And when
+all the designs had been presented to the Pope, his Holiness examined
+them for a long time, and praised them all as ingenious and very
+beautiful, but that of the divine Michelagnolo above all.
+
+Now all this did not happen without causing vexation to Antonio, who was
+not much pleased with this method of procedure on the part of the Pope,
+and who would have liked to do everything by himself. But even more was
+he displeased to see that the Pope held in great account one Jacomo
+Melighino of Ferrara, and made use of him as architect in the building
+of S. Pietro, although he showed neither power of design nor much
+judgment in his works, giving him the same salary as he paid to Antonio,
+on whom fell all the labour. And this happened because this Melighino
+had been the faithful servant of the Pope for many years without any
+reward, and it pleased His Holiness to recompense him in that way; not
+to mention that he had charge of the Belvedere and of some other
+buildings belonging to the Pope.
+
+After the Pope, therefore, had seen all the designs mentioned above, he
+said, perchance to try Antonio: "These are all beautiful, but it would
+not be amiss for us to see another that our Melighino has made." At
+which Antonio, feeling some resentment, and believing that the Pope was
+making fun of him, replied: "Holy Father, Melighino is but an architect
+in jest." Which hearing, the Pope, who was seated, turned towards
+Antonio, and, bowing his head almost to the ground, answered: "Antonio,
+it is our wish that Melighino should be an architect in earnest, as you
+may see from his salary." Having said this, he dismissed the company and
+went away; and by these words he meant to show that it is very often by
+Princes rather than by their own merits that men are brought to the
+greatness that they desire. The cornice was afterwards executed by
+Michelagnolo, who reconstructed the whole of that palace almost in
+another form, as will be related in his Life.
+
+After the death of Antonio there remained alive his brother Battista
+Gobbo, a person of ability, who spent all his time on the buildings of
+Antonio, although the latter did not behave very well towards him. This
+Battista did not live many years after Antonio, and at his death he left
+all his possessions to the Florentine Company of the Misericordia in
+Rome, on the condition that the men of that Company should cause to be
+printed a book of Observations on Vitruvius that he had written. That
+book has never come into the light of day, but it is believed to be a
+good work, for he had a very fine knowledge of the matters of his art,
+and was a man of excellent judgment, and he was also upright and true.
+
+But returning to Antonio: having died at Terni, he was taken to Rome and
+carried to the grave with the greatest pomp, followed by all the
+craftsmen of design and by many others; and then, at the instance of the
+Wardens of S. Pietro, his body was placed in a tomb near the Chapel of
+Pope Sixtus in S. Pietro, with the following epitaph:
+
+     ANTONIO SANCTI GALLI FLORENTINO, URBE MUNIENDA AC PUB. OPERIBUS,
+     PRAECIPUEQUE D. PETRI TEMPLO ORNAN. ARCHITECTORUM FACILE PRINCIPI,
+     DUM VELINI LACUS EMISSIONEM PARAT, PAULO PONT. MAX. AUCTORE,
+     INTERAMNAE INTEMPESTIVE EXTINCTO, ISABELLA DETA UXOR MOESTISS.
+     POSUIT 1546, III. CALEND. OCTOBRIS.
+
+And in truth Antonio, who was a most excellent architect, deserves to be
+celebrated and extolled, as his works clearly demonstrate, no less than
+any other architect, whether ancient or modern.
+
+FOOTNOTE:
+
+[24] The "palma" as used here is equal to about nine inches.
+
+[25] The "canna" is equal to four braccia.
+
+
+
+
+GIULIO ROMANO
+
+
+
+
+LIFE OF GIULIO ROMANO
+
+PAINTER
+
+
+Among his many, or rather innumerable, disciples, the greater number of
+whom became able masters, Raffaello da Urbino had not one who imitated
+him more closely in manner, invention, design, and colouring, than did
+Giulio Romano, nor one who was better grounded, more bold, resolute,
+prolific, and versatile, or more fanciful and varied than Giulio; not to
+mention for the present that he was very pleasant in his conversation,
+gay, amiable, gracious, and supremely excellent in character. These
+qualities were the reason that he was so beloved by Raffaello, that, if
+he had been his son, he could not have loved him more; wherefore it came
+to pass that Raffaello always made use of him in his most important
+works, and, in particular, in executing the Papal Loggie for Leo X; for
+after Raffaello had made the designs for the architecture, the
+decorations, and the scenes, he caused Giulio to paint many of the
+pictures there, among which are the Creation of Adam and Eve, that of
+the animals, the Building of Noah's Ark, his Sacrifice, and many other
+works, which are known by the manner, such as the one in which the
+daughter of Pharaoh, with her ladies, finds Moses in the little ark,
+which had been cast adrift on the river by the Hebrews--a work that is
+marvellous on account of a very well executed landscape. Giulio also
+assisted Raffaello in painting many things in that apartment of the
+Borgia Tower which contains the Burning of the Borgo, more particularly
+the base, which is painted in the colour of bronze, with the Countess
+Matilda, King Pepin, Charlemagne, Godfrey de Bouillon, King of
+Jerusalem, and other benefactors of the Church--all excellent figures;
+and prints of a part of this scene, taken from a drawing by the hand of
+Giulio, were published not long since. The same Giulio also executed
+the greater part of the scenes in fresco that are in the Loggia of
+Agostino Chigi; and he worked in oils on a very beautiful picture of S.
+Elizabeth, which was painted by Raffaello and sent to King Francis of
+France, together with another picture, of S. Margaret, painted almost
+entirely by Giulio after the design of Raffaello, who sent to the same
+King the portrait of the Vice-Queen of Naples, wherein Raffaello did
+nothing but the likeness of the head from life, and the rest was
+finished by Giulio. These works, which were very dear to that King, are
+still in the King's Chapel at Fontainebleau in France.
+
+Working in this manner in the service of his master Raffaello, and
+learning the most difficult secrets of art, which were taught to him by
+Raffaello himself with extraordinary lovingness, before a long time had
+passed Giulio knew very well how to draw in perspective, take the
+measurements of buildings, and execute ground-plans; and Raffaello,
+designing and sketching at times inventions after his own fancy, would
+afterwards have them drawn on a larger scale, with the proper
+measurements, by Giulio, in order to make use of them in his works of
+architecture. And Giulio, beginning to delight in that art, gave his
+attention to it in such a manner, that he afterwards practised it and
+became a most excellent master. At his death, Raffaello left as his
+heirs Giulio and Giovan Francesco, called Il Fattore, on the condition
+that they should finish the works begun by him; and they carried the
+greater part of these to completion with honour.
+
+[Illustration: THE BATTLE OF CONSTANTINE
+
+(_Detail, after the fresco by =Giulio Romano=. Rome: The Vatican_)
+
+_Anderson_]
+
+Now Cardinal Giulio de' Medici, who afterwards became Pope Clement VII,
+took a site under Monte Mario at Rome, in which, besides a beautiful
+view, there were running waters, with some woods on the banks and a
+lovely plain which, running along the Tiber as far as the Ponte Molle,
+formed on either side a wide expanse of meadowland that extended almost
+to the Porta di S. Pietro; and on the highest point of the bank, where
+there was a level space, he proposed to build a palace with all the best
+and most beautiful conveniences and adornments that could be desired in
+the form of apartments, loggie, gardens, fountains, groves, and other
+things. Of all this he gave the charge to Giulio, who, undertaking it
+willingly, and setting his hand to the work, brought that palace, which
+was then called the Vigna de' Medici, and is now known as the Villa
+Madama, to that condition which will be described below. Accommodating
+himself, then, to the nature of the site and the wishes of the Cardinal,
+he made the facade in the form of a semicircle, after the manner of a
+theatre, with a design of niches and windows of the Ionic Order; which
+was so excellent, that many believe that Raffaello made the first sketch
+for it, and that the work was afterwards pursued and carried to
+completion by Giulio. The same Giulio painted many pictures in the
+chambers and elsewhere; in particular, in a very beautiful loggia beyond
+the first entrance vestibule, which is adorned all around with niches
+large and small, wherein are great numbers of ancient statues; and among
+these was a Jupiter, a rare work, which was afterwards sent by the
+Farnese family to King Francis of France, with many other most beautiful
+statues. In addition to those niches, the said loggia is all wrought in
+stucco and has the walls and ceilings all painted with grotesques by the
+hand of Giovanni da Udine. At the head of this loggia Giulio painted in
+fresco an immense Polyphemus with a vast number of children and little
+satyrs playing about him, for which he gained much praise, even as he
+did for all the designs and works that he executed for that place, which
+he adorned with fish-ponds, pavements, rustic fountains, groves, and
+other suchlike things, all most beautiful and carried out with fine
+order and judgment.
+
+It is true that, the death of Leo supervening, for a time this work was
+carried no further, for when a new Pontiff had been elected in Adrian,
+and Cardinal de' Medici had returned to Florence, it was abandoned,
+together with all the public works begun by Adrian's predecessor. During
+this time Giulio and Giovan Francesco brought to completion many things
+that had been left unfinished by Raffaello, and they were preparing to
+carry into execution some of the cartoons that he had made for the
+pictures of the Great Hall of the Palace--in which he had begun to paint
+four stories from the life of the Emperor Constantine, and had, when he
+died, covered one wall with the proper mixture for painting in
+oils--when they saw that Adrian, being a man who took no delight in
+pictures, sculptures, or in any other good thing, had no wish that the
+Hall should be finished. Driven to despair, therefore, Giulio and Giovan
+Francesco, and with them Perino del Vaga, Giovanni da Udine, Sebastiano
+Viniziano, and all the other excellent craftsmen, were almost like to
+die of hunger during the lifetime of Adrian. But by the will of God,
+while the Court, accustomed to the magnificence of Leo, was all in
+dismay, and all the best craftsmen, perceiving that no art was prized
+any longer, were beginning to consider where they might take refuge,
+Adrian died, and Cardinal Giulio de' Medici was elected Supreme Pontiff
+under the name of Clement VII; and with him all the arts of design,
+together with the other arts, were restored to life in one day. Giulio
+and Giovan Francesco, full of joy, set themselves straightway by order
+of the Pope to finish the above-mentioned Hall of Constantine, and threw
+to the ground the preparation that had been laid on one wall for
+painting in oils; but they left untouched two figures that they had
+painted previously in oils, which serve as adornments to certain Popes;
+and these were a Justice and another similar figure.
+
+The distribution of this Hall, which is low, had been designed with much
+judgment by Raffaello, who had placed at the corners, over all the
+doors, large niches with ornaments in the form of little boys holding
+various devices of Leo, such as lilies, diamonds, plumes, and other
+emblems of the House of Medici. In the niches were seated some Popes in
+pontificals, each with a canopy in his niche; and round those Popes were
+some little boys in the form of little angels, holding books and other
+appropriate things in their hands. And each Pope had on either side of
+him a Virtue, chosen according to his merits; thus, the Apostle Peter
+had Religion on one side and Charity, or rather Piety, on the other, and
+so all the others had similar Virtues; and the said Popes were Damasus
+I, Alexander I, Leo III, Gregory, Sylvester, and some others. All these
+figures were so well placed in position and executed by Giulio, who
+painted all the best parts of this work in fresco, that it is clear that
+he endured much labour and took great pains with them; as may also be
+seen from a drawing of S. Sylvester, which was designed very well by his
+own hand, and is perhaps a much more graceful work than the painted
+figure. It may be affirmed, indeed, that Giulio always expressed his
+conceptions better in drawings than in finished work or in paintings,
+for in the former may be seen more vivacity, boldness, and feeling; and
+this may have happened because he made a drawing in an hour, in all the
+heat and glow of working, whereas on paintings he spent months, and even
+years, so that, growing weary of them, and losing that keen and ardent
+love that one has at the beginning of a work, it is no marvel that he
+did not give them that absolute perfection that is to be seen in his
+drawings.
+
+But to return to the stories: Giulio painted on one of the walls
+Constantine making an address to his soldiers; while in the air, in a
+splendour of light, appears the Sign of the Cross, with some little
+boys, and letters that run thus: "In hoc signo vinces." And there is a
+dwarf at the feet of Constantine, placing a helmet on his head, who is
+executed with great art. Next, on the largest wall, there is the battle
+of horsemen which took place at the Ponte Molle, in which Constantine
+routed Maxentius. This work is worthy of the highest praise, on account
+of the dead and wounded that may be seen in it, and the various
+extravagant attitudes of the foot-soldiers and horsemen who are fighting
+in groups, all painted with great spirit; not to mention that there are
+many portraits from life. And if this scene were not too much darkened
+and loaded with blacks, which Giulio always delighted to use in
+colouring, it would be altogether perfect; but this takes away much of
+its grace and beauty. In the same scene he painted the whole landscape
+of Monte Mario, and the River Tiber, in which Maxentius, who is on
+horseback, proud and terrible, is drowning. In short, Giulio acquitted
+himself in such a manner in this work, that it has been a great light to
+all who have painted battle-pieces of that kind since his day. He
+himself learned so much from the ancient columns of Trajan and Antoninus
+that are in Rome, that he made much use of this knowledge for the
+costumes of soldiers, armour, ensigns, bastions, palisades,
+battering-rams, and all the other instruments of war that are painted
+throughout the whole of that Hall. And beneath these scenes, right
+round, he painted many things in the colour of bronze, which are all
+beautiful and worthy of praise.
+
+On another wall he painted S. Sylvester the Pope baptizing Constantine,
+representing there the very bath made by Constantine himself, which is
+at S. Giovanni Laterano at the present day; and he made a portrait from
+life of Pope Clement in the S. Sylvester who is baptizing, with some
+assistants in their vestments, and a crowd of people. Among the many
+attendants of the Pope of whom he painted portraits there, also from
+life, was the Cavalierino, who was very influential with His Holiness at
+that time, and Messer Niccolo Vespucci, a Knight of Rhodes. And below
+this, on the base, he painted a scene with figures in imitation of
+bronze, of Constantine causing the Church of S. Pietro to be built at
+Rome, in allusion to Pope Clement. There he made portraits of the
+architect Bramante and of Giuliano Lemi,[26] holding the design of the
+ground-plan of the said church, and this scene is very beautiful.
+
+On the fourth wall, above the chimney-piece of that Hall, he depicted in
+perspective the Church of S. Pietro at Rome, with the Pope's throne
+exactly as it appears when His Holiness chants the Pontifical Mass; the
+body of Cardinals and all the other prelates of the Court; the chapel of
+singers and musicians; and the Pope seated, represented as S. Sylvester,
+with Constantine kneeling at his feet and presenting to him a figure of
+Rome made of gold in the manner of those that are on the ancient medals,
+by which Giulio intended to signify the dowry which that Constantine
+gave to the Roman Church. In this scene Giulio painted many women
+kneeling there to see that ceremony, who are very beautiful; a beggar
+asking for alms; a little boy amusing himself by riding on a dog; and
+the Lancers of the Papal Guard, who are making the people give way and
+stand back, as is the custom. And among many portraits that are in this
+work may be seen portraits from life of Giulio himself, the painter; of
+Count Baldassarre Castiglioni, the author of the "Cortigiano," and very
+much his friend; of Pontano and Marullo; and of many other men of
+letters and courtiers. Right round the Hall and between the windows
+Giulio painted many devices and poetical compositions, which were
+pleasing and fanciful; and everything was much to the satisfaction of
+the Pope, who rewarded him liberally for his labours.
+
+While this Hall was being painted, Giulio and Giovan Francesco,
+although they could not meet the demands of their friends even in part,
+executed an altar-piece with the Assumption of Our Lady, a very
+beautiful work, which was sent to Perugia and placed in the Convent of
+the Nuns of Monteluci. Then, having withdrawn to work by himself, Giulio
+painted a picture of Our Lady, with a cat that was so natural that it
+appeared to be truly alive; whence that picture was called the Picture
+of the Cat. In another picture, of great size, he painted a Christ being
+scourged at the Column, which was placed on the altar of the Church of
+S. Prassedia at Rome. And not long after this, M. Giovan Matteo Giberti,
+who was then Datary to Pope Clement, and afterwards became Bishop of
+Verona, commissioned Giulio, who was his very familiar friend, to make
+the design for some rooms that were built of brick near the gate of the
+Papal Palace, looking out upon the Piazza of S. Pietro, and serving for
+the accommodation of the trumpeters who blow their trumpets when the
+Cardinals go to the Consistory, with a most commodious flight of steps,
+which can be ascended on horseback as well as on foot. For the same M.
+Giovan Matteo he painted an altar-piece of the Stoning of S. Stephen,
+which M. Giovan Matteo sent to a benefice of his own, called S. Stefano,
+in Genoa. In this altar-piece, which is most beautiful in invention,
+grace, and composition, the young Saul may be seen seated on the
+garments of S. Stephen while the Jews are stoning him; and, in a word,
+Giulio never painted a more beautiful work than this, so fierce are the
+attitudes of the persecutors and so well expressed the patience of
+Stephen, who appears to be truly seeing Jesus Christ on the right hand
+of the Father in the Heaven, which is painted divinely well. This work,
+together with the benefice, M. Giovan Matteo gave to the Monks of Monte
+Oliveto, who have turned the place into a monastery.
+
+The same Giulio executed at the commission of the German Jacob Fugger,
+for a chapel that is in S. Maria de Anima at Rome, a most lovely
+altar-piece in oils, in which are the Madonna, S. Anne, S. Joseph, S.
+James, S. John as a little boy kneeling, and S. Mark the Evangelist with
+a lion at his feet, which is lying down with a book, its hair curving in
+accordance with its position, which was a beautiful consideration, and
+difficult to execute; not to mention that the same lion has short wings
+on its shoulders, with feathers so soft and plumy, that it seems almost
+incredible that the hand of a craftsman could have been able to imitate
+nature so closely. Besides this, he painted there a building that curves
+in a circular form after the manner of a theatre, with some statues so
+beautiful and so well placed that there is nothing better to be seen.
+Among other figures there is a woman who is spinning and gazing at a hen
+with some chickens, than which nothing could be more natural; and above
+Our Lady are some little boys, very graceful and well painted, who are
+upholding a canopy. And if this picture, also, had not been so heavily
+loaded with black, by reason of which it has become very dark, it would
+certainly have been much better; but this blackness has brought it about
+that the greater part of the work that is in it is lost or destroyed,
+and that because black, even when fortified with varnish, is the ruin of
+all that is good, always having in it a certain desiccative quality,
+whether it be made from charcoal, burnt ivory, smoke-black, or burnt
+paper.
+
+Among the many disciples that Giulio had while he was executing these
+works, such as Bartolommeo da Castiglione, Tommaso Papacello of Cortona,
+and Benedetto Pagni of Pescia, those of whom he made the most particular
+use were Giovanni da Lione and Raffaello dal Colle of Borgo a San
+Sepolcro, both of whom assisted him in the execution of many things in
+the Hall of Constantine and in the other works of which we have spoken.
+Wherefore I do not think it right to refrain from mentioning that these
+two, who were very dexterous in painting, and followed the manner of
+Giulio closely in carrying into execution the works that he designed for
+them, painted in colours after his design, near the old Mint in the
+Banchi, the escutcheon of Pope Clement VII, each of them doing one-half,
+with two terminal figures, one on either side of that escutcheon. And
+the same Raffaello, not long after, painted in fresco from a cartoon
+drawn by Giulio, in a lunette within the door of the Palace of Cardinal
+della Valle, a Madonna who is covering the Child, who is sleeping, with
+a piece of drapery, with S. Andrew the Apostle on one side and S.
+Nicholas on the other, which was held, with justice, to be an excellent
+picture.
+
+Giulio, meanwhile, being very intimate with Messer Baldassarre Turini da
+Pescia, built for him on Mount Janiculum, where there are some villas
+that have a most beautiful view, after making the design and model, a
+palace so graceful and so well appointed, from its having all the
+conveniences that could be desired in such a place, that it defies
+description. Moreover, the apartments were adorned not only with stucco,
+but also with paintings, for he himself painted there some stories of
+Numa Pompilius, who was buried on that spot; and in the bathroom of this
+palace, with the help of his young men, Giulio painted some stories of
+Venus, Love, Apollo, and Hyacinthus, which are all to be seen in
+engraving.
+
+After having separated himself completely from Giovan Francesco, he
+executed various architectural works in Rome, such as the design of the
+house of the Alberini in the Banchi (although some believe that the plan
+of this work came from Raffaello), and likewise a palace that may be
+seen at the present day on the Piazza della Dogana in Rome, which, being
+beautiful in design, has been reproduced in engraving. And for himself,
+on a corner of the Macello de' Corbi, where stood his own house, in
+which he was born, he made a beginning with a beautiful range of
+windows, which is a small thing, but very graceful.
+
+By reason of all these excellent qualities, Giulio, after the death of
+Raffaello, was celebrated as the best craftsman in Italy. And Count
+Baldassarre Castiglioni, who was then in Rome as ambassador from
+Federigo Gonzaga, Marquis of Mantua, and was much the friend, as has
+been related, of Giulio, having been commanded by his master the Marquis
+to send him an architect of whom he might avail himself for the
+necessities of his palace and of the city, the Marquis adding that he
+would particularly like to have Giulio--the Count, I say, so wrought
+upon him with entreaties and promises, that Giulio said that he would
+go, provided that he could do this with the leave of Pope Clement; which
+leave having been obtained, the Count, setting out for Mantua, from
+which he was then to go on behalf of the Pope to the Emperor, took
+Giulio with him; and having arrived there, he presented him to the
+Marquis, who, after welcoming him warmly, caused an honourably
+appointed house to be given to him, together with a salary and also a
+good table for himself, for his disciple Benedetto Pagni, and for
+another young man who was in his service; and, what is more, the Marquis
+sent him several canne of velvet, satin, and other kinds of silk and
+cloth wherewith to clothe himself. Then, hearing that he had no horse to
+ride, he sent for a favourite horse of his own, called Luggieri, and
+presented it to him; and when Giulio had mounted upon it, they rode to a
+spot a bow-shot beyond the Porta di S. Bastiano, where His Excellency
+had a place with some stables, called the Te, standing in the middle of
+a meadow, in which he kept his stud of horses and mares. Arriving there,
+the Marquis said that he would like, without destroying the old walls,
+to have some sort of place arranged to which he might resort at times
+for dinner or supper, as a recreation.
+
+Giulio, having heard the will of the Marquis, and having examined the
+whole place, took a ground-plan of that site and set his hand to the
+work. Availing himself of the old walls, he made in the principal part
+the first hall that is to be seen at the present day as one enters, with
+the suite of rooms that are about it. And since the place has no living
+rock, and no quarries from which to excavate material for hewn and
+carved stone, such as are used in building by those who can obtain them,
+he made use of brick and baked stone, which he afterwards worked over
+with stucco; and with this material he made columns, bases, capitals,
+cornices, doors, windows, and other things, all with most beautiful
+proportions. And he executed the decorations of the vaults in a new and
+fantastic manner, with very handsome compartments, and with richly
+adorned recesses, which was the reason that the Marquis, after a
+beginning so humble, then resolved to have the whole of that building
+reconstructed in the form of a great palace.
+
+[Illustration: THE MARRIAGE BANQUET OF CUPID AND PSYCHE
+
+(_After the fresco by =Giulio Romano=. Mantua: Palazzo del Te_)
+
+_Alinari_]
+
+Thereupon Giulio made a very beautiful model, all of rustic work both
+without and within the courtyard, which pleased that lord so much, that
+he assigned a good sum of money for the building; and after Giulio had
+engaged many masters, the work was quickly carried to completion. The
+form of the palace is as follows: The building is quadrangular, and has
+in the centre an open courtyard after the manner of a meadow, or rather,
+of a piazza, into which open four entrances in the form of a cross.
+The first of these traverses straightway, or rather, passes, into a very
+large loggia, which opens by another into the garden, and two others
+lead into various apartments; and these are all adorned with stucco-work
+and paintings. In the hall to which the first entrance gives access the
+vaulting is wrought in various compartments and painted in fresco, and
+on the walls are portraits from life of all the favourite and most
+beautiful horses from the stud of the Marquis, together with the dogs of
+the same coat or marking as the horses, with their names; which were all
+designed by Giulio, and painted in fresco on the plaster by the painters
+Benedetto Pagni and Rinaldo Mantovano, his disciples, and so well, in
+truth, that they seem to be alive.
+
+From this hall one passes into a room which is at one corner of the
+palace, and has the vaulting most beautifully wrought with compartments
+in stucco-work and varied mouldings, touched in certain places with
+gold. These mouldings divide the surface into four octagons, which
+enclose a picture in the highest part of the vaulting, in which is Cupid
+marrying Psyche in the sight of Jove, who is on high, illumined by a
+dazzling celestial light, and in the presence of all the Gods. It would
+not be possible to find anything executed with more grace or better
+draughtsmanship than this scene, for Giulio foreshortened the figures so
+well, with a view to their being seen from below, that some of them,
+although they are scarcely one braccio in length, appear when seen from
+the ground to be three braccia high; and, in truth, they are wrought
+with marvellous art and ingenuity, Giulio having succeeded in so
+contriving them, that, besides seeming to be alive (so strong is the
+relief), they deceive the human eye with a most pleasing illusion. In
+the octagons are all the earlier stories of Psyche, showing the
+adversities that came upon her through the wrath of Venus, and all
+executed with the same beauty and perfection; in other angles are many
+Loves, as likewise in the windows, producing various effects in
+accordance with the spaces where they are; and the whole of the vaulting
+is painted in oils by the hands of the above-mentioned Benedetto and
+Rinaldo. The rest of the stories of Psyche are on the walls below, and
+these are the largest. In one in fresco is Psyche in the bath; and the
+Loves are bathing her, and then wiping her dry with most beautiful
+gestures. In another part is Mercury preparing the banquet, while Psyche
+is bathing, with the Bacchantes sounding instruments; and there are the
+Graces adorning the table with flowers in a beautiful manner. There is
+also Silenus supported by Satyrs, with his ass, and a goat lying down,
+which has two children sucking at its udder; and in that company is
+Bacchus, who has two tigers at his feet, and stands leaning with one arm
+on the credence, on one side of which is a camel, and on the other an
+elephant. This credence, which is barrel-shaped, is adorned with
+festoons of verdure and flowers, and all covered with vines laden with
+bunches of grapes and leaves, under which are three rows of bizarre
+vases, basins, drinking-cups, tazze, goblets, and other things of that
+kind in various forms and fantastic shapes, and so lustrous, that they
+seem to be of real silver and gold, being counterfeited with a simple
+yellow and other colours, and that so well, that they bear witness to
+the extraordinary genius and art of Giulio, who proved in this part of
+the work that he was rich, versatile, and abundant in invention and
+craftsmanship. Not far away may be seen Psyche, who, surrounded by many
+women who are serving and attiring her, sees Phoebus appearing in the
+distance among the hills in the chariot of the sun, which is drawn by
+four horses; while Zephyr is lying nude upon some clouds, and is blowing
+gentle breezes through a horn that he has in his mouth, which make the
+air round Psyche balmy and soft. These stories were engraved not many
+years since after the designs of Battista Franco of Venice, who copied
+them exactly as they were painted from the great cartoons of Giulio by
+Benedetto of Pescia and Rinaldo Mantovano, who carried into execution
+all the stories except the Bacchus, the Silenus, and the two children
+suckled by the goat; although it is true that the work was afterwards
+retouched almost all over by Giulio, so that it is very much as if it
+had been all painted by him. This method, which he learned from
+Raffaello, his instructor, is very useful to young men, who in this way
+obtain practice and thereby generally become excellent masters. And
+although some persuade themselves that they are greater than those who
+keep them at work, such fellows, if their guide fails them before they
+are at the end, or if they are deprived of the design and directions for
+the work, learn that through having lost or abandoned that guidance too
+early they are wandering like blind men in an infinite sea of errors.
+
+But to return to the apartments of the Te; from that room of Psyche one
+passes into another full of double friezes with figures in low-relief,
+executed in stucco after the designs of Giulio by Francesco Primaticcio
+of Bologna, then a young man, and by Giovan Battista Mantovano, in which
+friezes are all the soldiers that are on Trajan's Column at Rome,
+wrought in a beautiful manner. And on the ceiling, or rather soffit, of
+an antechamber is painted in oils the scene when Icarus, having been
+taught by his father Daedalus, seeks to rise too high in his flight, and,
+after seeing the Sign of Cancer and the chariot of the sun, which is
+drawn by four horses in foreshortening, near the Sign of Leo, is left
+without his wings, the wax being consumed by the heat of the sun; and
+near this the same Icarus may be seen hurtling through the air, and
+almost falling upon those who gaze at him, his face dark with the shadow
+of death. This invention was so well conceived and imagined by Giulio,
+that it seems to be real and true, for in it one sees the fierce heat of
+the sun burning the wretched youth's wings, the flaming fire gives out
+smoke, and one almost hears the crackling of the burning plumes, while
+death may be seen carved in the face of Icarus, and in that of Daedalus
+the most bitter sorrow and agony. In our book of drawings by various
+painters is the original design of this very beautiful scene, by the
+hand of Giulio himself, who executed in the same place the stories of
+the twelve months of the year, showing all that is done in each of them
+in the arts most practised by mankind--paintings which are notable no
+less for their fantastic and delightful character and their beauty of
+invention than for the judgment and diligence with which they were
+executed.
+
+After passing the great loggia, which is adorned with stucco-work and
+with many arms and various other bizarre ornaments, one comes to some
+rooms filled with such a variety of fantasies, that the brain reels at
+the thought of them. For Giulio, who was very fanciful and ingenious,
+wishing to demonstrate his worth, resolved to make, at an angle of the
+palace which formed a corner similar to that of the room of Psyche
+described above, an apartment the masonry of which should be in keeping
+with the painting, in order to deceive as much as possible all who might
+see it. He therefore had double foundations of great depth sunk at that
+corner, which was in a marshy place, and over that angle he constructed
+a large round room, with very thick walls, to the end that the four
+external angles of the masonry might be strong enough to be able to
+support a double vault, round after the manner of an oven. This done, he
+caused to be built at the corners right round the room, in the proper
+places, the doors, windows, and fireplace, all of rustic stones
+rough-hewn as if by chance, and, as it were, disjointed and awry,
+insomuch that they appeared to be really hanging over to one side and
+falling down. Having built this room in such strange fashion, he set
+himself to paint in it the most fantastic composition that he was able
+to invent--namely, Jove hurling his thunderbolts against the Giants. And
+so, depicting Heaven on the highest part of the vaulting, he placed
+there the throne of Jove, representing it as seen in foreshortening from
+below and from the front, within a round temple, supported by open
+columns of the Ionic Order, with his canopy over the centre of the
+throne, and with his eagle; and all was poised upon the clouds. Lower
+down he painted Jove in anger, slaying the proud Giants with his
+thunderbolts, and below him is Juno, assisting him; and around them are
+the Winds, with strange countenances, blowing towards the earth, while
+the Goddess Ops turns with her lions at the terrible noise of the
+thunder, as also do the other Gods and Goddesses, and Venus in
+particular, who is at the side of Mars; and Momus, with his arms
+outstretched, appears to fear that Heaven may be falling headlong down,
+and yet he stands motionless. The Graces, likewise, are standing filled
+with dread, and beside them, in like manner, the Hours. All the Deities,
+in short, are taking to flight with their chariots. The Moon, Saturn,
+and Janus are going towards the lightest of the clouds, in order to
+withdraw from that terrible uproar and turmoil, and the same does
+Neptune, who, with his dolphins, appears to be seeking to support
+himself on his trident. Pallas, with the nine Muses, stands wondering
+what horrible thing this may be, and Pan, embracing a Nymph who is
+trembling with fear, seems to wish to save her from the glowing fires
+and the lightning-flashes with which the heavens are filled. Apollo
+stands in the chariot of the sun, and some of the Hours seem to be
+seeking to restrain the course of his horses. Bacchus and Silenus, with
+Satyrs and Nymphs, betray the greatest terror, and Vulcan, with his
+ponderous hammer on one shoulder, gazes towards Hercules, who is
+speaking of this event with Mercury, beside whom is Pomona all in
+dismay, as are also Vertumnus and all the other Gods dispersed
+throughout that Heaven, in which all the effects of fear are so well
+expressed, both in those who are standing and in those who are flying,
+that it is not possible, I do not say to see, but even to imagine a more
+beautiful fantasy in painting than this one.
+
+In the parts below, that is, on the walls that stand upright, underneath
+the end of the curve of the vaulting, are the Giants, some of whom,
+those below Jove, have upon their backs mountains and immense rocks
+which they support with their stout shoulders, in order to pile them up
+and thus ascend to Heaven, while their ruin is preparing, for Jove is
+thundering and the whole Heaven burning with anger against them; and it
+appears not only that the Gods are dismayed by the presumptuous boldness
+of the Giants, upon whom they are hurling mountains, but that the whole
+world is upside down and, as it were, come to its last day. In this part
+Giulio painted Briareus in a dark cavern, almost covered with vast
+fragments of mountains, and the other Giants all crushed and some dead
+beneath the ruins of the mountains. Besides this, through an opening in
+the darkness of a grotto, which reveals a distant landscape painted with
+beautiful judgment, may be seen many Giants flying, all smitten by the
+thunderbolts of Jove, and, as it were, on the point of being overwhelmed
+at that moment by the fragments of the mountains, like the others. In
+another part Giulio depicted other Giants, upon whom are falling
+temples, columns, and other pieces of buildings, making a vast slaughter
+and havoc of those proud beings. And in this part, among those falling
+fragments of buildings, stands the fireplace of the room, which, when
+there is a fire in it, makes it appear as if the Giants are burning, for
+Pluto is painted there, flying towards the centre with his chariot
+drawn by lean horses, and accompanied by the Furies of Hell; and thus
+Giulio, not departing from the subject of the story with this invention
+of the fire, made a most beautiful adornment for the fireplace.
+
+In this work, moreover, in order to render it the more fearsome and
+terrible, Giulio represented the Giants, huge and fantastic in aspect,
+falling to the earth, smitten in various ways by the lightnings and
+thunderbolts; some in the foreground and others in the background, some
+dead, others wounded, and others again covered by mountains and the
+ruins of buildings. Wherefore let no one ever think to see any work of
+the brush more horrible and terrifying, or more natural than this one;
+and whoever enters that room and sees the windows, doors, and other
+suchlike things all awry and, as it were, on the point of falling, and
+the mountains and buildings hurtling down, cannot but fear that
+everything will fall upon him, and, above all, as he sees the Gods in
+the Heaven rushing, some here, some there, and all in flight. And what
+is most marvellous in the work is to see that the whole of the painting
+has neither beginning nor end, but is so well joined and connected
+together, without any divisions or ornamental partitions, that the
+things which are near the buildings appear very large, and those in the
+distance, where the landscapes are, go on receding into infinity; whence
+that room, which is not more than fifteen braccia in length, has the
+appearance of open country. Moreover, the pavement being of small round
+stones set on edge, and the lower part of the upright walls being
+painted with similar stones, there is no sharp angle to be seen, and
+that level surface has the effect of a vast expanse, which was executed
+with much judgment and beautiful art by Giulio, to whom our craftsmen
+are much indebted for such inventions.
+
+In this work the above-mentioned Rinaldo Mantovano became a perfect
+colourist, for he carried the whole of it into execution after the
+cartoons of Giulio, as well as the other rooms. And if this painter had
+not been snatched from the world so young, even as he did honour to
+Giulio during his lifetime, so he would have done honour (to himself)
+after Giulio's death.
+
+[Illustration: THE DESTRUCTION OF THE GIANTS BY THE THUNDERBOLTS OF JOVE
+
+(_After the fresco by =Giulio Romano=. Mantua: Palazzo del Te, Sala dei
+Giganti_)
+
+_Alinari_]
+
+In addition to this palace, in which Giulio executed many other works
+worthy to be praised, of which, in order to avoid prolixity, I shall say
+nothing, he reconstructed with masonry many rooms in the castle where
+the Duke lives at Mantua, and made two very large spiral staircases,
+with very rich apartments adorned all over with stucco. In one hall he
+caused the whole of the story of Troy and the Trojan War to be painted,
+and likewise twelve scenes in oils in an antechamber, below the heads of
+the twelve Emperors previously painted there by Tiziano Vecelli, which
+are all held to be excellent. In like manner, at Marmirolo, a place five
+miles distant from Mantua, a most commodious building was erected after
+the design of Giulio and under his direction, with large paintings no
+less beautiful than those of the castle and of the palace of the Te. The
+same master painted an altar-piece in oils for the Chapel of Signora
+Isabella Buschetta in S. Andrea at Mantua, of Our Lady in the act of
+adoring the Infant Jesus, who is lying on the ground, with S. Joseph,
+the ass and the ox near a manger, and on one side S. John the
+Evangelist, and S. Longinus on the other, figures of the size of life.
+Next, on the walls of the same chapel, he caused Rinaldo to paint two
+very beautiful scenes after his own designs; on one, the Crucifixion of
+Jesus Christ, with the Thieves, some Angels in the air, and on the
+ground the ministers of the Crucifixion and the Maries, with many
+horses, in which he always delighted, making them beautiful to a marvel,
+and many soldiers in various attitudes; and, on the other, the scene
+when the Blood of Christ was discovered in the time of the Countess
+Matilda, which was a most beautiful work.
+
+Giulio then painted with his own hand for Duke Federigo a picture of Our
+Lady washing the little Jesus Christ, who is standing in a basin, while
+a little S. John is pouring out the water from a vase. Both of these
+figures, which are of the size of life, are very beautiful; and in the
+distance are small figures, from the waist upwards, of some ladies who
+are coming to visit the Madonna. This picture was afterwards presented
+by the Duke to Signora Isabella Buschetta, of which lady Giulio
+subsequently made a most beautiful portrait in a little picture of the
+Nativity of Christ, one braccio in height, which is now in the
+possession of Signor Vespasiano Gonzaga, together with another picture
+presented to him by Duke Federigo, and likewise by the hand of Giulio,
+in which are a young man and a young woman embracing each other on a
+bed, in the act of caressing one another, while an old woman peeps at
+them secretly from behind a door--figures which are little less than
+life-size, and very graceful. In the house of the same person is another
+very excellent picture of a most beautiful S. Jerome, also by the hand
+of Giulio. And in the possession of Count Niccola Maffei is a picture of
+Alexander the Great, of the size of life, with a Victory in his hand,
+copied from an ancient medal, which is a work of great beauty.
+
+After these works, Giulio painted in fresco over a chimney-piece, for M.
+Girolamo, the organist of the Duomo at Mantua, who was very much his
+friend, a Vulcan who is working his bellows with one hand and holding
+with the other, with a pair of tongs, the iron head of an arrow that he
+is forging, while Venus is tempering in a vase some already made and
+placing them in Cupid's quiver. This is one of the most beautiful works
+that Giulio ever executed; and there is little else in fresco by his
+hand to be seen. For S. Domenico, at the commission of M. Lodovico da
+Fermo, he painted an altar-piece of the Dead Christ, whom Joseph and
+Nicodemus are preparing to lay in the sepulchre, and near them are His
+Mother, the other Maries, and S. John the Evangelist. And a little
+picture, in which he also painted a Dead Christ, is in the house of the
+Florentine Tommaso da Empoli at Venice.
+
+At the same time when he was executing these and other pictures, it
+happened that Signor Giovanni de' Medici, having been wounded by a
+musket-ball, was carried to Mantua, where he died. Whereupon M. Pietro
+Aretino, who was the devoted servant of that lord, and very much the
+friend of Giulio, desired that Giulio should mould a likeness of him
+with his own hand as he lay dead; and he, therefore, having taken a cast
+from the face of the dead man, executed a portrait from it, which
+remained for many years afterwards in the possession of the same
+Aretino.
+
+For the entry of the Emperor Charles V into Mantua, Giulio, by order of
+the Duke, made many most beautiful festive preparations in the form of
+arches, scenery for dramas, and a number of other things; in which
+inventions Giulio had no equal, nor was there ever any man more fanciful
+in preparing masquerades and in designing extravagant costumes for
+jousts, festivals, and tournaments, as was seen at that time with
+amazement and marvel by the Emperor Charles and by all who were present.
+Besides this, at different times he gave so many designs for chapels,
+houses, gardens, and facades throughout the whole of Mantua, and he so
+delighted to embellish and adorn the city, that, whereas it was formerly
+buried in mud and at times full of stinking water and almost
+uninhabitable, he brought it to such a condition that at the present
+day, thanks to his industry, it is dry, healthy, and altogether pleasing
+and delightful.
+
+While Giulio was in the service of that Duke, one year the Po, bursting
+its banks, inundated Mantua in such a manner, that in certain low-lying
+parts of the city the water rose to the height of nearly four braccia,
+insomuch that for a long time frogs lived in them almost all the year
+round. Giulio, therefore, after pondering in what way he might put this
+right, so went to work that for the time being the city was restored to
+its former condition; and to the end that the same might not happen
+another time, he contrived to have the streets on that side raised so
+much, by command of the Duke, that they came above the level of the
+water, and the buildings stood in safety. In that part of the city the
+houses were small, slightly built, and of no great importance, and he
+gave orders that they should be pulled down, in order to raise the
+streets and bring that quarter to a better state, and that new houses,
+larger and more beautiful, should be built there, to the advantage and
+improvement of the city. To this measure many opposed themselves, saying
+to the Duke that Giulio was doing too much havoc; but he would not hear
+any of them--nay, he made Giulio superintendent of the streets at that
+very time, and decreed that no one should build in that city save under
+Giulio's direction. On which account many complaining and some even
+threatening Giulio, this came to the ears of the Duke, who used such
+words in his favour as made it known that if they did anything to the
+despite or injury of Giulio, he would count it as done to himself, and
+would make an example of them.
+
+The Duke was so enamoured of the excellence of Giulio, that he could not
+live without him; and Giulio, on his part, bore to that lord the
+greatest reverence that it is possible to imagine. Wherefore he never
+asked a favour for himself or for others without obtaining it, and when
+he died it was found that with all that he had received from the Duke he
+had an income of more than a thousand ducats.
+
+Giulio built a house for himself in Mantua, opposite to S. Barnaba, on
+the outer side of which he made a fantastic facade, all wrought with
+coloured stucco, and the interior he caused to be all painted and
+wrought likewise with stucco; and he found place in it for many
+antiquities brought from Rome and others received from the Duke, to whom
+he gave many of his own. He made so many designs both for Mantua and for
+places in its neighbourhood, that it was a thing incredible; for, as has
+been told, no palaces or other buildings of importance could be erected,
+particularly in the city, save after his design. He rebuilt upon the old
+walls the Church of S. Benedetto, a rich and vast seat of Black Friars
+at Mantua, near the Po; and the whole church was embellished with most
+beautiful paintings and altar-pieces from designs by his hand. And since
+his works were very highly prized throughout Lombardy, it pleased Gian
+Matteo Giberti, Bishop of Verona, to have the tribune of the Duomo of
+that city all painted, as has been related in another place, by Il Moro
+the Veronese, after designs by Giulio. For the Duke of Ferrara, also, he
+executed many designs for tapestries, which were afterwards woven in
+silk and gold by Maestro Niccolo and Giovan Battista Rosso, both
+Flemings; and of these there are engravings to be seen, executed by
+Giovan Battista Mantovano, who engraved a vast number of things drawn by
+Giulio, and in particular, besides three drawings of battles engraved by
+others, a physician who is applying cupping-glasses to the shoulders of
+a woman, and the Flight of Our Lady into Egypt, with Joseph holding the
+ass by the halter, and some Angels bending down a date-palm in order
+that Christ may pluck the fruit. The same master engraved, also after
+the designs of Giulio, the Wolf on the Tiber suckling Romulus and Remus,
+and four stories of Pluto, Jove and Neptune, who are dividing the
+heavens, the earth, and the sea among them by lot; and likewise the
+goat Amaltheia, which, held by Melissa, is giving suck to Jove, and a
+large plate of many men in a prison, tortured in various ways. There
+were also printed, after the inventions of Giulio, Scipio and Hannibal
+holding a parley with their armies on the banks of the river; the
+Nativity of S. John the Baptist, which was engraved by Sebastiano da
+Reggio, and many other works engraved and printed in Italy. In Flanders
+and in France, likewise, have been printed innumerable sheets from
+designs by Giulio, of which, although they are very beautiful, there is
+no need to make mention, nor of all his drawings, seeing that he made
+them, so to speak, in loads. Let it be enough to say that he was so
+facile in every field of art, and particularly in drawing, that we have
+no record of any one who has produced more than he did.
+
+Giulio, who was very versatile, was able to discourse on every subject,
+but above all on medals, upon which he spent large sums of money and
+much time, in order to gain knowledge of them. And although he was
+employed almost always in great works, this did not mean that he would
+not set his hand at times to the most trifling matters in order to
+oblige his patron and his friends; and no sooner had one opened his
+mouth to explain to him his conception than he had understood it and
+drawn it. Among the many rare things that he had in his house was the
+portrait from life of Albrecht Duerer on a piece of fine Rheims cloth, by
+the hand of Albrecht himself, who sent it, as has been related in
+another place, as a present to Raffaello da Urbino. This portrait was an
+exquisite thing, for it had been coloured in gouache with much diligence
+with water-colours, and Albrecht had executed it without using
+lead-white, availing himself in its stead of the white of the cloth,
+with the delicate threads of which he had so well rendered the hairs of
+the beard, that it was a thing scarcely possible to imagine, much less
+to do; and when held up to the light it showed through on either side.
+This portrait, which was very dear to Giulio, he showed to me himself as
+a miracle, when I went during his lifetime to Mantua on some affairs of
+my own.
+
+At the death of Duke Federigo, by whom Giulio had been beloved beyond
+belief, he was so overcome with sorrow, that he would have left Mantua,
+if the Cardinal, the brother of the Duke, on whom the government of the
+State had descended because the sons of Federigo were very young, had
+not detained him in that city, where he had a wife and children, houses,
+villas, and all the other possessions that are proper to a gentleman of
+means. And this the Cardinal did (aided by those reasons) from a wish to
+avail himself of the advice and assistance of Giulio in renovating, or
+rather building almost entirely anew, the Duomo of that city; to which
+work Giulio set his hand, and carried it well on in a very beautiful
+form.
+
+At this time Giorgio Vasari, who was much the friend of Giulio, although
+they did not know one another save only by reputation and by letters, in
+going to Venice, took the road by Mantua, in order to see Giulio and his
+works. And so, having arrived in that city, and going to find his
+friend, when they met, although they had never seen each other, they
+knew one another no less surely than if they had been together in person
+a thousand times. At which Giulio was so filled with joy and
+contentment, that for four days he never left him, showing him all his
+works, and in particular all the ground-plans of the ancient edifices in
+Rome, Naples, Pozzuolo, and Campania, and of all the other fine
+antiquities of which anything is known, drawn partly by him and partly
+by others. Then, opening a very large press, he showed to Giorgio the
+ground-plans of all the buildings that had been erected after his
+designs and under his direction, not only in Mantua and in Rome, but
+throughout all Lombardy, which were so beautiful, that I, for my part,
+do not believe that there are to be seen any architectural inventions
+more original, more lovely, or better composed. After this, the Cardinal
+asking Giorgio what he thought of the works of Giulio, Giorgio answered
+in the presence of Giulio that they were such that he deserved to have a
+statue of himself placed at every corner of the city, and that, since he
+had given that city a new life, the half of the State would not be a
+sufficient reward for the labours and abilities of Giulio; to which the
+Cardinal answered that Giulio was more the master of that State than he
+was himself. And since Giulio was very loving, especially towards his
+friends, there was no mark of love and affection that Giorgio did not
+receive from him. The same Vasari, having left Mantua and gone to
+Venice, returned to Rome at the very time when Michelagnolo had just
+uncovered his Last Judgment in the Chapel; and he sent to Giulio by M.
+Nino Nini of Cortona, the secretary of the aforesaid Cardinal of Mantua,
+three sheets containing the Seven Mortal Sins, copied from that Last
+Judgment of Michelagnolo, which were welcome in no ordinary manner to
+Giulio, both as being what they were, and because he had at that time to
+paint a chapel in the palace for the Cardinal, and they served to
+inspire him to greater things than those that he had in mind. Putting
+forward all possible effort, therefore, to make a most beautiful
+cartoon, he drew in it with fine fancy the scene of Peter and Andrew
+leaving their nets at the call of Christ, in order to follow Him, and to
+be thenceforward, not fishers of fishes, but fishers of men. And this
+cartoon, which proved to be the most beautiful that Giulio had ever
+made, was afterwards carried into execution by the painter Fermo
+Ghisoni, a pupil of Giulio, and now an excellent master.
+
+Not long afterwards the superintendents of the building of S. Petronio
+at Bologna, being desirous to make a beginning with the facade of that
+church, succeeded after great difficulty in inducing Giulio to go there,
+in company with a Milanese architect called Tofano Lombardino, a man in
+great repute at that time in Lombardy for the many buildings by his hand
+that were to be seen in that country. These masters, then, made many
+designs, those of Baldassarre Peruzzi of Siena having been lost; and one
+that Giulio made, among others, was so beautiful and so well ordered,
+that he rightly received very great praise for it from that people, and
+was rewarded with most liberal gifts on his return to Mantua.
+
+Meanwhile, Antonio da San Gallo having died at Rome about that time, the
+superintendents of the building of S. Pietro had been thereby left in no
+little embarrassment, not knowing to whom to turn or on whom to lay the
+charge of carrying that great fabric to completion after the plan
+already begun; but they thought that no one could be more fitted for
+this than Giulio Romano, for they all knew how great were his worth and
+excellence. And so, surmising that he would accept such a charge more
+than willingly in order to repatriate himself in an honourable manner
+and with a good salary, they caused some of his friends to approach him,
+but in vain, for the reason that, although he would have gone with the
+greatest willingness, two things prevented him--the Cardinal would in no
+way consent to his departure, and his wife, with her relatives and
+friends, used every possible means to dissuade him. Neither of these two
+reasons, perchance, would have prevailed with him, if he had not
+happened to be in somewhat feeble health at that time; for, having
+considered how much honour and profit he might secure for himself and
+his children by accepting so handsome a proposal, he was already fully
+disposed to make every effort not to be hindered in the matter by the
+Cardinal, when his malady began to grow worse. However, since it had
+been ordained on high that he should go no more to Rome, and that this
+should be the end and conclusion of his life, in a few days, what with
+his vexation and his malady, he died at Mantua, which city might well
+have allowed him, even as he had embellished her, so also to honour and
+adorn his native city of Rome.
+
+Giulio died at the age of fifty-four, leaving only one male child, to
+whom he had given the name of Raffaello out of regard for the memory of
+his master. This young Raffaello had scarcely learned the first
+rudiments of art, showing signs of being destined to become an able
+master, when he also died, not many years after, together with his
+mother, Giulio's wife; wherefore there remained no descendant of Giulio
+save a daughter called Virginia, who still lives in Mantua, married to
+Ercole Malatesta. Giulio, whose death was an infinite grief to all who
+knew him, was given burial in S. Barnaba, where it was proposed that
+some honourable memorial should be erected to him; but his wife and
+children, postponing the matter from one day to another, themselves died
+for the most part without doing anything. It is indeed a sad thing that
+there has been no one who has treasured in any way the memory of a man
+who did so much to adorn that city, save only those who availed
+themselves of his services, who have often remembered him in their
+necessities. But his own talent, which did him so much honour in his
+lifetime, has secured for him after death, in the form of his own works,
+an everlasting monument which time, with all its years, can never
+destroy.
+
+Giulio was neither tall nor short of stature, and rather stout than
+slight in build. He had black hair, beautiful features, and eyes dark
+and merry, and he was very loving, regular in all his actions, and
+frugal in eating, but fond of dressing and living in honourable fashion.
+He had disciples in plenty, but the best were Giovanni da Lione,
+Raffaello dal Colle of Borgo, Benedetto Pagni of Pescia, Figurino da
+Faenza, Rinaldo Mantovano, Giovan Battista Mantovano, and Fermo Ghisoni,
+who still lives in Mantua and does him honour, being an excellent
+painter. And the same may be said for Benedetto, who has executed many
+works in his native city of Pescia, and an altar-piece for the Duomo of
+Pisa, which is in the Office of Works, and also a picture of Our Lady in
+which, with a poetical invention full of grace and beauty, he painted a
+figure of Florence presenting to her the dignities of the House of
+Medici; which picture is now in the possession of Signor Mondragone, a
+Spaniard much in favour with that most illustrious lord the Prince of
+Florence.
+
+Giulio died on the day of All Saints in the year 1546, and over his tomb
+was placed the following epitaph:
+
+  ROMANUS MORIENS SECUM TRES JULIUS ARTES
+    ABSTULIT, HAUD MIRUM, QUATUOR UNUS ERAT.
+
+FOOTNOTE:
+
+[26] Giuliano Leno.
+
+
+
+
+FRA SEBASTIANO VINIZIANO DEL PIOMBO
+
+
+
+
+LIFE OF FRA SEBASTIANO VINIZIANO DEL PIOMBO
+
+PAINTER
+
+
+The first profession of Sebastiano, so many declare, was not painting,
+but music, since, besides being a singer, he much delighted to play
+various kinds of instruments, and particularly the lute, because on that
+instrument all the parts can be played, without any accompaniment. This
+art made him for a time very dear to the gentlemen of Venice, with whom,
+as a man of talent, he always associated on intimate terms. Then, having
+been seized while still young with a desire to give his attention to
+painting, he learned the first rudiments from Giovanni Bellini, at that
+time an old man. And afterwards, when Giorgione da Castelfranco had
+established in that city the methods of the modern manner, with its
+superior harmony and its brilliancy of colouring, Sebastiano left
+Giovanni and placed himself under Giorgione, with whom he stayed so long
+that in great measure he acquired his manner. He thus executed in Venice
+some portraits from life that were very like; among others, that of the
+Frenchman Verdelotto, a most excellent musician, who was then
+chapel-master in S. Marco, and in the same picture that of his companion
+Uberto, a singer, which picture Verdelotto took with him to Florence
+when he became chapel-master in S. Giovanni; and at the present day the
+sculptor Francesco da San Gallo has it in his house. About that time he
+also painted for S. Giovanni Grisostomo at Venice an altar-piece with
+some figures which incline so much to the manner of Giorgione, that they
+have been sometimes held by people without much knowledge of the matters
+of art to be by the hand of Giorgione himself. This altar-piece is very
+beautiful, and executed with such a manner of colouring that it has
+great relief.
+
+The fame of the abilities of Sebastiano thus spreading abroad, Agostino
+Chigi of Siena, a very rich merchant, who had many affairs in Venice,
+hearing him much praised in Rome, sought to draw him to that city, being
+attracted towards him because, besides his painting, he knew so well how
+to play on the lute, and was sweet and pleasant in his conversation. Nor
+was it very difficult to draw Sebastiano to Rome, since he knew how much
+that place had always been the benefactress and common mother-city of
+all beautiful intellects, and he went thither with no ordinary
+willingness. Having therefore gone to Rome, Agostino set him to work,
+and the first thing that he caused him to do was to paint the little
+arches that are over the loggia which looks into the garden of
+Agostino's palace in the Trastevere, where Baldassarre of Siena had
+painted all the vaulting, on which little arches Sebastiano painted some
+poetical compositions in the manner that he had brought from Venice,
+which was very different from that which was followed in Rome by the
+able painters of that day. After this work, Raffaello having executed a
+story of Galatea in the same place, Sebastiano, at the desire of
+Agostino, painted beside it a Polyphemus in fresco, in which, spurred by
+rivalry with Baldassarre of Siena and then with Raffaello, he strove his
+utmost to surpass himself, whatever may have been the result. He
+likewise painted some works in oils, for which, from his having learned
+from Giorgione a method of colouring of no little softness, he was held
+in vast account at Rome.
+
+[Illustration: FRA SEBASTIANO VINIZIANO DEL PIOMBO: PORTRAIT OF A LADY
+
+(_Florence; Uffizi, 1123. Canvas_)]
+
+While Sebastiano was executing these works in Rome, Raffaello da Urbino
+had risen into such credit as a painter, that his friends and adherents
+said that his pictures were more in accord with the rules of painting
+than those of Michelagnolo, being pleasing in colour, beautiful in
+invention, and charming in the expressions, with design in keeping with
+the rest; and that those of Buonarroti had none of those qualities, with
+the exception of the design. And for such reasons these admirers judged
+that in the whole field of painting Raffaello was, if not more excellent
+than Michelagnolo, at least his equal; but in colouring they would have
+it that he surpassed Buonarroti without a doubt. These humours, having
+spread among a number of craftsmen who preferred the grace of
+Raffaello to the profundity of Michelagnolo, had so increased that many,
+for various reasons of interest, were more favourable in their judgments
+to Raffaello than to Michelagnolo. But Sebastiano was in no way a
+follower of that faction, since, being a man of exquisite judgment, he
+knew the value of each of the two to perfection. The mind of
+Michelagnolo, therefore, drew towards Sebastiano, whose colouring and
+grace pleased him much, and he took him under his protection, thinking
+that, if he were to assist Sebastiano in design, he would be able by
+this means, without working himself, to confound those who held such an
+opinion, remaining under cover of a third person as judge to decide
+which of them was the best.
+
+While the matter stood thus, and some works that Sebastiano had executed
+were being much extolled, and even exalted to infinite heights on
+account of the praise that Michelagnolo bestowed on them, besides the
+fact that they were in themselves beautiful and worthy of praise, a
+certain person from Viterbo, I know not who, much in favour with the
+Pope, commissioned Sebastiano to paint a Dead Christ, with a Madonna who
+is weeping over Him, for a chapel that he had caused to be built in S.
+Francesco at Viterbo. That work was held by all who saw it to be truly
+most beautiful, for the invention and the cartoon were by Michelagnolo,
+although it was finished with great diligence by Sebastiano, who painted
+in it a dark landscape that was much extolled, and thereby Sebastiano
+acquired very great credit, and confirmed the opinions of those who
+favoured him. Wherefore Pier Francesco Borgherini, a Florentine
+merchant, who had taken over a chapel in S. Pietro in Montorio, which is
+on the right as one enters the church, allotted it at the suggestion of
+Michelagnolo to Sebastiano, because Borgherini thought that Michelagnolo
+would execute the design of the whole work, as indeed he did.
+Sebastiano, therefore, having set to work, executed it with such zeal
+and diligence, that it was held to be, as it is, a very beautiful piece
+of painting. From the small design by Michelagnolo he made some larger
+ones for his own convenience, and one of these, a very beautiful thing,
+which he drew with his own hand, is in our book. Thinking that he had
+discovered the true method of painting in oils on walls, Sebastiano
+covered the rough-cast of that chapel with an incrustation which seemed
+to him likely to be suitable for this purpose; and the whole of that
+part in which is Christ being scourged at the Column he executed in oils
+on the wall. Nor must I omit to tell that many believe not only that
+Michelagnolo made the small design for this work, but also that the
+above-mentioned Christ who is being scourged at the Column was outlined
+by him, for there is a vast difference between the excellence of this
+figure and that of the others. Even if Sebastiano had executed no other
+work but this, for it alone he would deserve to be praised to all
+eternity, seeing that, in addition to the heads, which are very well
+painted, there are in the work some hands and feet of great beauty; and
+although his manner was a little hard, on account of the labour that he
+endured in the things that he counterfeited, nevertheless he can be
+numbered among the good and praiseworthy craftsmen. Above this scene he
+painted two Prophets in fresco, and on the vaulting the Transfiguration;
+and the two Saints, S. Peter and S. Francis, who are on either side of
+the scene below, are very bold and animated figures. It is true that he
+laboured for six years over this little work, but when works are
+executed to perfection, one should not consider whether they have been
+finished quickly or slowly, although more praise is due to him who
+carries his labours to completion both quickly and well; and he who
+pleads haste as an excuse when his works do not give satisfaction,
+unless he has been forced to it, is accusing rather than excusing
+himself. When this work was uncovered, it was seen that Sebastiano had
+done well, although he had toiled much over painting it, so that the
+evil tongues were silenced and there were few who found fault with him.
+
+[Illustration: THE FLAGELLATION
+
+(_After the oil fresco by =Fra Sebastiano Viniziano del Piombo=. Rome:
+S. Pietro in Montorio_)
+
+_Anderson_]
+
+After this, when Raffaello painted for Cardinal de' Medici, for sending
+to France, that altar-piece containing the Transfiguration of Christ
+which was placed after his death on the principal altar of S. Pietro a
+Montorio, Sebastiano also executed at the same time another altar-piece
+of the same size, as it were in competition with Raffaello, of Lazarus
+being raised from the dead four days after death, which was
+counterfeited and painted with supreme diligence under the direction of
+Michelagnolo, and in some parts from his design. These altar-pieces,
+when finished, were publicly exhibited together in the Consistory,
+and were vastly extolled, both the one and the other; and although the
+works of Raffaello had no equals in their perfect grace and beauty,
+nevertheless the labours of Sebastiano were also praised by all without
+exception. One of these pictures was sent by Cardinal Giulio de' Medici
+to his episcopal palace at Narbonne in France, and the other was placed
+in the Cancelleria, where it remained until it was taken to S. Pietro a
+Montorio, together with the ornamental frame that Giovan Barile executed
+for it. By means of this work Sebastiano became closely connected with
+the Cardinal, and was therefore honourably rewarded during his
+pontificate.
+
+Not long afterwards, Raffaello having passed away, the first place in
+the art of painting was unanimously granted by all, thanks to the favour
+of Michelagnolo, to Sebastiano, and Giulio Romano, Giovan Francesco of
+Florence, Perino del Vaga, Polidoro, Maturino, Baldassarre of Siena, and
+all the others had to give way. Wherefore Agostino Chigi, who had been
+having a chapel and tomb built for himself under the direction of
+Raffaello in S. Maria del Popolo, came to an agreement with Sebastiano
+that he should paint it all; whereupon the screen was made, but the
+chapel remained covered, without ever being seen by anyone, until the
+year 1554, at which time Luigi, the son of Agostino, resolved that,
+although his father had not been able to see it finished, he at least
+would do so. And so, the chapel and the altar-piece being entrusted to
+Francesco Salviati, he carried the work in a short time to that
+perfection which it had not received from the dilatory and irresolute
+Sebastiano, who, so far as one can see, did little work there, although
+we find that he obtained from the liberality of Agostino and his heirs
+much more than would have been due to him even if he had finished it
+completely, which he did not do, either because he was weary of the
+labours of art, or because he was too much wrapped up in comforts and
+pleasures. And he did the same to M. Filippo da Siena, Clerk of the
+Chamber, for whom he began a scene in oils on the wall above the
+high-altar of the Pace at Rome, and never finished it; wherefore the
+friars, in despair about it, were obliged to take away the staging,
+which obstructed their church, to cover the work with a cloth, and to
+have patience for as long as the life of Sebastiano lasted. After his
+death, the friars uncovered the work, and it was found that what he had
+done was most beautiful painting, for the reason that in the part where
+he represented Our Lady visiting S. Elizabeth, there are many women
+portrayed from life that are very beautiful, and painted with consummate
+grace. But it may be seen here that this man endured extraordinary
+labour in all the works that he produced, and that he was not able to
+execute them with that facility which nature and study are wont at times
+to give to him who delights in working and exercises his hand
+continually. And of the truth of this there is also a proof in the same
+Pace, in the Chapel of Agostino Chigi, where Raffaello had executed the
+Sibyls and Prophets; for Sebastiano, wishing to paint some things on the
+stone in the niche that remained to be painted below, in order to
+surpass Raffaello, caused it to be incrusted with peperino-stone, the
+joinings being filled in with fired stucco; but he spent so much time on
+cogitations that he left the wall bare, for, after it had remained thus
+for ten years, he died.
+
+It is true that a few portraits from life could be obtained with ease
+from Sebastiano, because he could finish these with more facility and
+promptitude; but it was quite otherwise with stories and other figures.
+To tell the truth, the painting of portraits from life was his proper
+vocation, as may be seen from the portrait of Marc' Antonio Colonna,
+which is so well executed that it seems to be alive, and also from those
+of Ferdinando, Marquis of Pescara, and of Signora Vittoria Colonna,
+which are very beautiful. He likewise made a portrait of Adrian VI when
+he first arrived in Rome, and one of Cardinal Hincfort. That Cardinal
+desired that Sebastiano should paint for him a chapel in S. Maria de
+Anima at Rome; but he kept putting him off from one day to another, and
+the Cardinal finally had it painted by the Fleming Michael, his
+compatriot, who painted there in fresco stories from the life of S.
+Barbara, imitating our Italian manner very well; and in the altar-piece
+he made a portrait of the same Cardinal.
+
+But returning to Sebastiano: he also took a portrait of Signor Federigo
+da Bozzolo, and one of a captain in armour, I know not who, which is in
+the possession of Giulio de' Nobili at Florence. He painted a woman in
+Roman dress, which is in the house of Luca Torrigiani; and Giovan
+Battista Cavalcanti has a head by the same master's hand, which is not
+completely finished. He executed a picture of Our Lady covering the
+Child with a piece of drapery, which was a rare work; and Cardinal
+Farnese now has it in his guardaroba. And he sketched, but did not carry
+to completion, a very beautiful altar-piece of S. Michael standing over
+a large figure of the Devil, which was to be sent to the King of France,
+who had previously received a picture by the hand of the same master.
+
+Then, after Cardinal Giulio de' Medici had been elected Supreme Pontiff
+and had taken the name of Clement VII, he gave Sebastiano to understand
+through the Bishop of Vasona that the time to show him favour had come,
+and that he would become aware of this when the occasion arose. And in
+the meantime, while living in these high hopes, Sebastiano, who had no
+equal in portrait-painting, executed many from life, and among others
+one of Pope Clement, who was not then wearing a beard, or rather, two of
+him, one of which came into the possession of the Bishop of Vasona, and
+the other, which is much larger, showing a seated figure from the knees
+upwards, is in the house of Sebastiano at Rome. He also painted a
+portrait of the Florentine Anton Francesco degli Albizzi, who happened
+to be then in Rome on some business, and he made it such that it
+appeared to be not painted but really alive; wherefore Anton Francesco
+sent it to Florence as a pearl of great price. The head and hands of
+this portrait were things truly marvellous, to say nothing of the
+beautiful execution of the velvets, the linings, the satins, and all the
+other parts of the picture; and since Sebastiano was indeed superior to
+all other men in the perfect delicacy and excellence of his
+portrait-painting, all Florence was amazed at this portrait of Anton
+Francesco.
+
+At this same time he also executed a portrait of Messer Pietro Aretino,
+and made it such that, besides being a good likeness, it is an
+astounding piece of painting, for there may be seen in it five or six
+different kinds of black in the clothes that he is wearing--velvet,
+satin, ormuzine, damask, and cloth--and, over and above those blacks, a
+beard of the deepest black, painted in such beautiful detail, that the
+real beard could not be more natural. This figure holds in the hand a
+branch of laurel and a scroll, on which is written the name of Clement
+VII; and in front are two masks, one of Virtue, which is beautiful, and
+another of Vice, which is hideous. This picture M. Pietro presented to
+his native city, and the people of Arezzo have placed it in their public
+Council Chamber, thus doing honour to the memory of their talented
+fellow-citizen, and also receiving no less from him. After this,
+Sebastiano made a portrait of Andrea Doria, which was in like manner an
+admirable work, and a head of the Florentine Baccio Valori, which was
+also beautiful beyond belief.
+
+In the meantime Fra Mariano Fetti, Friar of the Piombo, died, and
+Sebastiano, remembering the promises made to him by the above-mentioned
+Bishop of Vasona, master of the household to His Holiness, asked for the
+office of the Piombo; whereupon, although Giovanni da Udine, who had
+also done much in the service of His Holiness "in minoribus," and still
+continued to serve him, asked for the same office, the Pope, moved by
+the prayers of the Bishop, and also thinking that the talents of
+Sebastiano deserved it, ordained that Sebastiano should have the office,
+but should pay out of it to Giovanni da Udine an allowance of three
+hundred crowns. Thus Sebastiano assumed the friar's habit, and
+straightway felt his soul changed thereby, for, perceiving that he now
+had the means to satisfy his desires, he spent his time in repose
+without touching a brush, and recompensed himself with his comforts and
+his revenues for many misspent nights and laborious days; and whenever
+he happened to have something to do, he would drag himself to the work
+with such reluctance, that he might have been going to his death. From
+which one may learn how much our reason and the little wisdom of men are
+deceived, in that very often, nay, almost always, we covet the very
+opposite to that which we really need, and, as the Tuscan proverb has
+it, in thinking to cross ourselves with a finger, poke it into our own
+eyes. It is the common opinion of men that rewards and honours spur the
+minds of mortals to the studies of those arts which they see to be the
+best remunerated, and that, on the contrary, to see that those who
+labour at these arts are not recompensed by such men as have the means,
+causes the same students to grow negligent and to abandon them. And for
+this reason both ancients and moderns censure as strongly as they are
+able those Princes who do not support every kind of man of talent, and
+who do not give due honour and reward to all who labour valiantly in the
+arts. But, although this rule is for the most part a good one, it may be
+seen, nevertheless, that at times the liberality of just and magnanimous
+Princes produces the contrary effect, for the reason that many are more
+useful and helpful to the world in a low or mediocre condition than they
+are when raised to greatness and to an abundance of all good things. And
+here we have an example, for the magnificent liberality of Clement VII,
+bestowing too rich a reward on Sebastiano Viniziano, who had done
+excellent work as a painter in his service, was the reason that he
+changed from a zealous and industrious craftsman into one most idle and
+negligent, and that, whereas he laboured continually while he was living
+in poor circumstances and the rivalry between him and Raffaello da
+Urbino lasted, he did quite the opposite when he had enough for his
+contentment.
+
+Be this as it may, let us leave it to the judgment of wise Princes to
+consider how, when, towards whom, in what manner, and by what rule, they
+should exercise their liberality in the case of craftsmen and men of
+talent, and let us return to Sebastiano. After he had been made Friar of
+the Piombo, he executed for the Patriarch of Aquileia, with great
+labour, Christ bearing the Cross, a half-length figure painted on
+stone--a work which was much extolled, particularly for the head and the
+hands, parts in which Sebastiano was truly most excellent. Not long
+afterwards the niece of the Pope, who in time became Queen of France, as
+she still is, having arrived in Rome, Fra Sebastiano began a portrait of
+her; but this remained unfinished in the guardaroba of the Pope. And a
+short time after this, Cardinal Ippolito de' Medici having become
+enamoured of Signora Giulia Gonzaga, who was then living at Fondi, that
+Cardinal sent Sebastiano to that place, accompanied by four light
+horsemen, to take her portrait; and within a month he finished that
+portrait, which, being taken from the celestial beauty of that lady by
+a hand so masterly, proved to be a divine picture. Wherefore, after it
+had been carried to Rome, the labours of that craftsman were richly
+rewarded by the Cardinal, who declared that this portrait surpassed by a
+great measure all those that Sebastiano had ever executed up to that
+day, as indeed it did; and the work was afterwards sent to King Francis
+of France, who had it placed in his Palace of Fontainebleau.
+
+[Illustration: ANDREA DORIA
+
+(_After the painting by =Fra Sebastiano del Piombo=. Rome: Palazzo
+Doria_)
+
+_Anderson_]
+
+This painter then introduced a new method of painting on stone, which
+pleased people greatly, for it appeared that by this means pictures
+could be made eternal, and such that neither fire nor worms could harm
+them. Wherefore he began to paint many pictures on stone in this manner,
+surrounding them with ornaments of variegated kinds of stone, which,
+being polished, formed a very beautiful setting; although it is true
+that these pictures, with their ornaments, when finished, could not be
+transported or even moved, on account of their great weight, save with
+the greatest difficulty. Many persons, then, attracted by the novelty of
+the work and by the beauty of his art, gave him earnest-money, in order
+that he might execute some for them; but he, delighting more to talk
+about such pictures than to work at them, always kept delaying
+everything. Nevertheless he executed on stone a Dead Christ with the
+Madonna, with an ornament also of stone, for Don Ferrante Gonzaga, who
+sent it to Spain. The whole work together was held to be very beautiful,
+and Sebastiano was paid five hundred crowns for the painting by Messer
+Niccolo da Cortona, agent in Rome for the Cardinal of Mantua. In this
+kind of painting Sebastiano was truly worthy of praise, for the reason
+that whereas Domenico, his compatriot, who was the first to paint in
+oils on walls, and after him Andrea dal Castagno, Antonio Pollaiuolo, and
+Piero Pollaiuolo, failed to find the means of preventing the figures
+executed by them in this manner from becoming black and fading away very
+quickly, Sebastiano did find it; wherefore the Christ at the Column,
+which he painted in S. Pietro in Montorio, has never changed down to our
+own time, and has the same freshness of colouring as on the first day.
+For he went about the work with such diligence that he used to make the
+coarse rough-cast of lime with a mixture of mastic and colophony,
+which, after melting it all together over the fire and applying it to
+the wall, he would then cause to be smoothed over with a mason's trowel
+made red-hot, or rather white-hot, in the fire; and his works have
+therefore been able to resist the damp and to preserve their colour very
+well without suffering any change. With the same mixture he worked on
+peperino-stone, white and variegated marble, porphyry, and slabs of
+other very hard kinds of stone, materials on which paintings can last a
+very long time; not to mention that this has shown how one may paint on
+silver, copper, tin, and other metals.
+
+This man found so much pleasure in cogitating and discoursing, that he
+would spend whole days without working; and when he did force himself to
+work, it was evident that he was suffering greatly in his mind, which
+was the chief reason that he was of the opinion that no price was large
+enough to pay for his works. For Cardinal Rangoni he painted a picture
+of a nude and very beautiful S. Agatha being tortured in the breasts,
+which was an exquisite work, and this picture is now in the guardaroba
+of Signor Guidobaldo, Duke of Urbino, and is in no way inferior to the
+many other most beautiful pictures that are there, by the hands of
+Raffaello da Urbino, Tiziano, and others. He also made a portrait from
+life of Signor Piero Gonzaga, painted in oils on stone, which was a very
+fine work; but he toiled for three years over finishing it.
+
+Now, when Michelagnolo was in Florence in the time of Pope Clement,
+engaged in the work of the new Sacristy of S. Lorenzo, Giuliano
+Bugiardini wished to paint for Baccio Valori a picture with the head of
+Pope Clement and that of Baccio himself, and another for Messer
+Ottaviano de' Medici of the same Pontiff and the Archbishop of Capua.
+Michelagnolo therefore sent to Sebastiano to ask him to despatch from
+Rome a head of the Pope painted in oils with his own hand; and
+Sebastiano painted one, which proved to be very beautiful, and sent it
+to him. After Giuliano had made use of the head and had finished his
+pictures, Michelagnolo, who was a close companion of the said Messer
+Ottaviano, made him a present of it; and of a truth, among the many
+heads that Fra Sebastiano executed, this is the most beautiful of all
+and the best likeness, as may be seen in the house of the heirs of
+Messer Ottaviano. The same master also took the portrait of Pope Paul
+Farnese, as soon as he was elected Supreme Pontiff; and he began one of
+the Duke of Castro, his son, but left it unfinished, as he did with many
+other works with which he had made a beginning.
+
+Fra Sebastiano had a passing good house which he had built for himself
+near the Popolo, and there he lived in the greatest contentment, without
+troubling to paint or work any more. He used often to say that it was a
+great fatigue to have to restrain in old age those ardours which in
+youth craftsmen are wont to welcome out of emulation and a desire for
+profit and honour, and that it was no less wise for a man to live in
+peace than to spend his days in restless labour in order to leave a name
+behind him after death, for all his works and labours had also in the
+end, sooner or later, to die. And even as he said these things, so he
+carried them into practice as well as he was able, for he always sought
+to have for his table all the best wines and the rarest luxuries that
+could be found, holding life in more account than art. Being much the
+friend of all men of talent, he often had Molza and Messer Gandolfo to
+supper, making right good cheer. He was also the intimate friend of
+Messer Francesco Berni, the Florentine, who wrote a poem to him; to
+which Fra Sebastiano answered with another, passing well, for, being
+very versatile, he was even able to set his hand to writing humorous
+Tuscan verse.
+
+Having been reproached by certain persons, who said that it was shameful
+that he would no longer work now that he had the means to live, Fra
+Sebastiano replied in this manner: "Why will I not work now that I have
+the means to live? Because there are now in the world men of genius who
+do in two months what I used to do in two years; and I believe that if I
+live long enough, and not so long, either, I shall find that everything
+has been painted. And since these stalwarts can do so much, it is well
+that there should also be one who does nothing, to the end that they may
+have the more to do." With these and similar pleasantries Fra Sebastiano
+was always diverting himself, being a man who was never anything but
+humorous and amusing; and, in truth, a better companion never lived.
+
+Sebastiano, as has been related, was much beloved by Michelagnolo. But
+it is also true that when the front wall of the Papal Chapel, where
+there is now the Last Judgment by the same Buonarroti, was to be
+painted, there did arise some disdain between them, for Fra Sebastiano
+had persuaded the Pope that he should make Michelagnolo paint it in
+oils, whereas the latter would only do it in fresco. Now, Michelagnolo
+saying neither yea nor nay, the wall was prepared after the fashion of
+Fra Sebastiano, and Michelagnolo stood thus for some months without
+setting his hand to the work. But at last, after being pressed, he said
+that he would only do it in fresco, and that painting in oils was an art
+for women and for leisurely and idle people like Fra Sebastiano. And so,
+after the incrustation laid on by order of the friar had been stripped
+off, and the whole surface had been covered with rough-cast in a manner
+suitable for working in fresco, Michelagnolo set his hand to the work;
+but he never forgot the affront that he considered himself to have
+received from Fra Sebastiano, against whom he felt hatred almost to the
+day of the friar's death.
+
+Finally, after Fra Sebastiano had come to such a state that he would not
+work or do any other thing but attend to the duties of his office as
+Friar of the Piombo, and enjoy the pleasures of life, at the age of
+sixty-two he fell sick of a most acute fever, which, being a ruddy
+person and of a full habit of body, threw him into such a heat that he
+rendered up his soul to God in a few days, after making a will and
+directing that his body should be carried to the tomb without any
+ceremony of priests or friars, or expenditure on lights, and that all
+that would have been spent thus should be distributed to poor persons,
+for the love of God; and so it was done. He was buried in the Church of
+the Popolo, in the month of June of the year 1547. Art suffered no great
+loss in his death, seeing that, as soon as he assumed the habit of Friar
+of the Piombo, he might have been numbered among those lost to her;
+although it is true that he was regretted for his pleasant conversation
+by many friends as well as craftsmen.
+
+Many young men worked under Sebastiano at various times in order to
+learn art, but they made little proficience, for from his example they
+learned little but the art of good living, excepting only Tommaso
+Laureti, a Sicilian, who, besides many other works, has executed a
+picture full of grace at Bologna, of a very beautiful Venus, with Love
+embracing and kissing her, which picture is in the house of M. Francesco
+Bolognetti. He has also painted a portrait of Signor Bernardino Savelli,
+which is much extolled, and some other works of which there is no need
+to make mention.
+
+
+
+
+PERINO DEL VAGA
+
+
+
+
+LIFE OF PERINO DEL VAGA
+
+PAINTER OF FLORENCE
+
+
+A truly great gift is art, who, paying no regard to abundance of riches,
+to high estate, or to nobility of blood, embraces, protects, and uplifts
+from the ground a child of poverty much more often than one wrapped in
+the ease of wealth. And this Heaven does in order to show how much power
+the influences of its stars and constellations have over us,
+distributing more of its favours to one, and to another less; which
+influences are for the most part the reason that we mortals come to be
+born with dispositions more or less fiery or sluggish, weak or strong,
+fierce or gentle, fortunate or unfortunate, and richer or poorer in
+talent. And whoever has any doubt of this, will be enlightened in this
+present Life of Perino del Vaga, a painter of great excellence and
+genius.
+
+This Perino, the son of a poor father, having been left an orphan as a
+little child and abandoned by his relatives, was guided and governed by
+art, whom he always acknowledged as his true mother and honoured without
+ceasing. And the studies of the art of painting were pursued by him with
+such zeal and diligence, that he was enabled in due time to execute
+those noble and famous decorations which have brought so much glory to
+Genoa and to Prince Doria. Wherefore we may believe without a doubt that
+it is Heaven that raises men from those infinite depths in which they
+were born, to that summit of greatness to which they ascend, when they
+prove by labouring valiantly at their works that they are true followers
+of the sciences that they have chosen to learn; even as Perino chose and
+pursued as his vocation the art of design, in which he proved himself
+full of grace and most excellent, or rather, absolutely perfect. And he
+not only equalled the ancients in stucco-work, but also equalled the
+best modern craftsmen in the whole field of painting, displaying all the
+excellence that could possibly be desired in a human intellect that
+seeks, in solving the difficulties of that art, to achieve beauty,
+grace, charm, and delicacy with colouring and with every other kind of
+ornament.
+
+But let us speak more particularly of his origin. There lived in the
+city of Florence one Giovanni Buonaccorsi, who entered the service of
+Charles VIII, King of France, and fought in his wars, and, being a
+spirited and open-handed young man, spent all that he possessed in that
+service and in gaming, and finally lost his life therein. To him was
+born a son, who received the name of Piero; and this son, after being
+left as an infant of two months old without his mother, who died of
+plague, was reared in the greatest misery at a farm, being suckled by a
+goat, until his father, having gone to Bologna, took as his second wife
+a woman whose husband and children had died of plague; and she, with her
+plague-infected milk, finished nursing Piero, who was now called
+Pierino[27] (a pet name such as it is a general custom to give to little
+children), and retained that name ever afterwards. He was then taken to
+Florence by his father, who, on returning to France, left him with some
+relatives; and they, either because they had not the means, or because
+they would not accept the burdensome charge of maintaining him and
+having him taught some ingenious vocation, placed him with the
+apothecary of the Pinadoro, to the end that he might learn that calling.
+But, not liking that profession, he was taken as shop-boy by the painter
+Andrea de' Ceri, who was pleased with the air and the ways of Perino,
+and thought that he saw in him a certain lively spirit of intelligence
+from which it might be hoped that in time some good fruits would issue
+from him. Andrea was no great painter; quite commonplace, indeed, and
+one of those who stand openly and publicly in their workshops, executing
+any kind of work, however mean; and he was wont to paint every year for
+the festival of S. John certain wax tapers which were carried as
+offerings, as they still are, together with the other tributes of the
+city; for which reason he was called Andrea de' Ceri, and from that
+name Perino was afterwards called for some time Perino de' Ceri.
+
+Andrea, then, took care of Perino for some years, teaching him the
+rudiments of art as well as he could; but when the boy had reached the
+age of eleven, he was forced to seek for him some master better than
+himself. And so, having a straight friendship with Ridolfo, the son of
+Domenico Ghirlandajo, who, as will be related, was held to be able and
+well practised in painting, Andrea de' Ceri placed Perino with him, to
+the end that he might give his attention to design, and strive with all
+the zeal and love at his command to make in that art the proficience of
+which his great genius gave promise. Whereupon, pursuing his studies,
+among the many young men whom Ridolfo had in his workshop, all engaged
+in learning art, in a short time Perino came to surpass all the rest, so
+great were his ardour and his eagerness. Among them was one named Toto
+del Nunziata, who was to him as a spur to urge him on continually; which
+Toto, likewise attaining in time to equality with the finest intellects,
+departed from Florence and made his way with some Florentine merchants
+to England, where he executed all his works, and was very richly
+rewarded by the King of that country, whom he also served in
+architecture, erecting, in particular, his principal palace. He and
+Perino, then, working in emulation of one another, and pursuing the
+studies of art with supreme diligence, after no long time became very
+excellent. And Perino, drawing from the cartoon of Michelagnolo
+Buonarroti in company with other young men, both Florentines and
+strangers, won and held the first place among them all, insomuch that he
+was regarded with that expectation which was afterwards fulfilled in the
+beautiful works that he executed with so much excellence and art.
+
+There came to Florence at that time the Florentine painter Vaga, a
+master of no great excellence, who was executing commonplace works at
+Toscanella in the province of Rome. Having a superabundance of work, he
+was in need of assistance, and he desired to take back with him a
+companion and also a young man who might help him in design, in which he
+was wanting, and in the other matters of art. Now this painter, having
+seen Perino drawing in the workshop of Ridolfo together with the other
+young men, found him so superior to them all, that he was astonished;
+and, what is more, he was pleased with his appearance and his ways, for
+Perino was a very beautiful youth, most courteous, modest, and gentle,
+and every part of his body was in keeping with the nobility of his mind;
+wherefore Vaga was so charmed with him, that he asked him whether he
+would go with him to Rome, saying that he would not fail to assist him
+in his studies, and promising him such benefits and conditions as he
+might demand. So great was the desire that Perino had to attain to
+excellence in his profession, that, when he heard Rome mentioned,
+through his eagerness to see that city, he was deeply moved; but he told
+him that he must speak to Andrea de' Ceri, who had supported him up to
+that time, so that he was loth to abandon him. And so Vaga, having
+persuaded Ridolfo, Perino's master, and Andrea, who maintained him, so
+contrived that in the end he took Perino, with the companion, to
+Toscanella. There Perino began to work and to assist them, and they
+finished not only the work that Vaga had undertaken, but also many that
+they undertook afterwards. But Perino complained that the promise of
+seeing Rome, by which he had been brought from Florence, was not being
+fulfilled, in consequence of the profit and advantage that Vaga was
+drawing from his services, and he resolved to go thither by himself;
+which was the reason that Vaga, leaving all his works, took him to Rome.
+And there, through the love that he bore to art, Perino returned to his
+former work of drawing and continued at it many weeks, growing more
+ardent every day. But Vaga wished to return to Toscanella, and therefore
+made him known, as one belonging to himself, to many commonplace
+painters, and also recommended him to all the friends that he had there,
+to the end that they might assist and favour him in his absence; from
+which circumstance he was always called from that day onward Perino del
+Vaga.
+
+[Illustration: THE PASSAGE OF THE RED SEA
+
+(_After the fresco by =Perino del Vaga=. Rome: The Vatican, Loggia_)
+
+_Anderson_]
+
+Thus left in Rome, and seeing the ancient works of sculpture and the
+marvellous masses of buildings, reduced for the most part to ruins,
+Perino stood lost in admiration at the greatness of the many renowned
+and illustrious men who had executed those works. And so, becoming ever
+more and more aflame with love of art, he burned unceasingly to
+attain to a height not too far distant from those masters, in order
+to win fame and profit for himself with his works, even as had been done
+by those at whom he marvelled as he beheld their beautiful creations.
+And while he contemplated their greatness and the depths of his own
+lowliness and poverty, reflecting that he possessed nothing save the
+desire to rise to their height, and that, having no one who might
+maintain him and provide him with the means to live, he was forced, if
+he wished to remain alive, to labour at work for those ordinary shops,
+now with one painter and now with another, after the manner of the
+day-labourers in the fields, a mode of life which so hindered his
+studies, he felt infinite grief and pain in his heart at not being able
+to make as soon as he would have liked that proficience to which his
+mind, his will, and his necessities were urging him. He made the
+resolve, therefore, to divide his time equally, working half the week at
+day work, and during the other half devoting his attention to design;
+and to this second half he added all the feast-days, together with a
+great part of the nights, thus stealing time from time itself, in order
+to become famous and to escape from the hands of others so far as it
+might be possible.
+
+Having carried this intention into execution, he began to draw in the
+Chapel of Pope Julius, where the vaulting had been painted by
+Michelagnolo Buonarroti, following both his methods and the manner of
+Raffaello da Urbino. And then, going on to the ancient works in marble
+and also to the grotesques in the grottoes under the ground, which
+pleased him through their novelty, he learned the methods of working in
+stucco, gaining his bread meanwhile by grievous labour, and enduring
+every hardship in order to become excellent in his profession. Nor had
+any long time passed before he became the best and most finished
+draughtsman that there was among all who were drawing in Rome, for the
+reason that he had, perhaps, a better knowledge of muscles and of the
+difficult art of depicting the nude than many others who were held to be
+among the best masters at that time; which was the reason that he became
+known not only to the men of his profession, but also to many lords and
+prelates. And, in particular, Giulio Romano and Giovan Francesco, called
+Il Fattore, disciples of Raffaello da Urbino, having praised him not a
+little to their master, roused in him a desire to know Perino and to see
+his works in drawing; which having pleased him, and together with his
+work his manner, his spirit, and his ways of life, he declared that
+among all the young men that he had known, Perino would attain to the
+highest perfection in that art.
+
+Meanwhile Raffaello da Urbino had built the Papal Loggie, by the command
+of Leo X; and the same Pope ordered that Raffaello should also have them
+adorned with stucco, painted, and gilded, according as it should seem
+best to him. Thereupon Raffaello placed at the head of that enterprise,
+for the stucco-work and the grotesques, Giovanni da Udine, who was very
+excellent and without an equal in such works, but mostly in executing
+animals, fruits, and other little things. And since he had chosen in
+Rome and summoned from other parts a great number of masters, he had
+assembled together a company of men each very able at his own work, one
+in stucco, another in grotesques, a third in foliage, a fourth in
+festoons, another in scenes, and others in other things; and according
+as they improved they were brought forward and paid higher salaries, so
+that by competing in that work many young men attained to great
+perfection, who were afterwards held to be excellent in their various
+fields of art. Among that company Perino was assigned to Giovanni da
+Udine by Raffaello, to the end that he might execute grotesques and
+scenes together with the others; and he was told that according as he
+should acquit himself, so he would be employed by Giovanni. And thus,
+labouring out of emulation and in order to prove his powers and make
+proficience, before many months had passed Perino was held to be the
+first among all those who were working there, both in drawing and in
+colouring; the best, I say, the most perfect in grace and finish, and he
+who could execute both figures and grotesques in the most delicate and
+beautiful manner; to which clear testimony and witness are borne by the
+grotesques, festoons, and scenes by his hand that are in that work,
+which, besides surpassing the others, are executed in much more faithful
+accord with the designs and sketches that Raffaello made for them. This
+may be seen from a part of those scenes in the centre of the loggia, on
+the vaulting, where the Hebrews are depicted crossing over the Jordan
+with the sacred Ark, and also marching round the walls of Jericho, which
+fall into ruin; and the other scenes that follow, such as that of Joshua
+causing the sun to stand still during the combat with the Amorites.
+Among those painted in imitation of bronze on the base the best are
+likewise those by the hand of Perino--namely, Abraham sacrificing his
+son, Jacob wrestling with the Angel, Joseph receiving his twelve
+brethren, the fire descending from Heaven and consuming the sons of
+Levi, and many others which there is no need to name, for their number
+is very great, and they can be distinguished from the rest. At the
+beginning of the loggia, also, where one enters, he painted scenes from
+the New Testament, the Nativity and the Baptism of Christ, and His Last
+Supper with the Apostles, which are very beautiful; besides which, below
+the windows, as has been said, are the best scenes painted in the colour
+of bronze that there are in the whole work. These labours cause every
+man to marvel, both the paintings and the many works in stucco that he
+executed there with his own hand; and his colouring, moreover, is much
+more pleasing and more highly finished than that of any of the others.
+
+This work was the reason that he became famous beyond all belief, yet
+this great praise did not send him to sleep, but rather, since genius
+grows with praise, inspired him with even more zeal, and made him almost
+certain that by persisting he would come to win those fruits and honours
+that he saw every day in the possession of Raffaello da Urbino and
+Michelagnolo Buonarroti. And he laboured all the more willingly, because
+he saw that he was held in estimation by Giovanni da Udine and by
+Raffaello, and was employed in works of importance. He always showed
+extraordinary deference and obedience towards Raffaello, honouring him
+in such a manner that he was beloved by Raffaello as a son.
+
+There was executed at this time, by order of Pope Leo, the vaulting of
+the Hall of the Pontiffs, which is that through which one passes by way
+of the Loggie into the apartments of Pope Alexander VI, formerly painted
+by Pinturicchio; and that vaulting was painted by Giovanni da Udine and
+Perino. They executed in company the stucco-work and all those
+ornaments, grotesques, and animals that are to be seen there, in
+addition to the varied and beautiful inventions that were depicted by
+them in the compartments of the ceiling, which they had divided into
+certain circles and ovals to contain the seven Planets of Heaven drawn
+by their appropriate animals, such as Jupiter drawn by Eagles, Venus by
+Doves, the Moon by Women, Mars by Wolves, Mercury by Cocks, the Sun by
+Horses, and Saturn by Serpents; besides the twelve Signs of the Zodiac,
+and some figures from the forty-eight Constellations of Heaven, such as
+the Great Bear, the Dog Star, and many others, which, by reason of their
+number, we must pass over in silence, without recounting them all in
+their order, since anyone may see the work; which figures are almost all
+by the hand of Perino. In the centre of the vaulting is a circle with
+four figures representing Victories, seen foreshortened from below
+upwards, who are holding the Pope's Crown and the Keys; and these are
+very well conceived and wrought with masterly art, to say nothing of the
+delicacy with which he painted their vestments, veiling the nude with
+certain light draperies that partly reveal the naked legs and arms, a
+truly graceful and beautiful effect. This work was justly held, as it
+still is at the present day, to be very magnificent and rich in
+craftsmanship, and also cheerful and pleasing; worthy, in short, of that
+Pontiff, who did not fail to reward their labours, which truly deserved
+some signal remuneration.
+
+Perino decorated a facade in chiaroscuro--a method brought into use at
+that time by the example of Polidoro and Maturino--which is opposite to
+the house of the Marchioness of Massa, near Maestro Pasquino, executing
+it with great boldness of design and with supreme diligence.
+
+In the third year of his pontificate Pope Leo paid a visit to Florence,
+for which many triumphal preparations were made in that city, and Perino
+went thither before the Court, partly in order to see the pomps of the
+city, and partly from a wish to revisit his native country; and on a
+triumphal arch at S. Trinita he made a large and very beautiful figure,
+seven braccia high, while another was executed in competition with him
+by Toto del Nunziata, who had already been his rival in boyhood. But to
+Perino every hour seemed a thousand years until he could return to Rome,
+for he perceived that the rules and methods of the Florentine craftsmen
+were very different from those that were customary in Rome; wherefore he
+departed from Florence and returned to Rome, where he resumed his usual
+course of work. And in S. Eustachio dalla Dogana he painted a S. Peter
+in fresco, which is a figure that has very strong relief, executed with
+a simple flow of folds, and yet wrought with much design and judgment.
+
+There was in Rome at this time the Archbishop of Cyprus, a man who was a
+great lover of the arts, and particularly of painting; and he, having a
+house near the Chiavica, where he had laid out a little garden with some
+statues and other antiquities of truly noble beauty, and desiring to
+enhance their effect with some fine decorations, sent for Perino, who
+was very much his friend, and they came to the decision that he should
+paint round the walls of that garden many stories of Bacchantes, Satyrs,
+Fauns, and other wild things, in reference to an ancient statue of
+Bacchus, seated beside a tiger, which the Archbishop had there. And so
+Perino adorned that place with a variety of poetical fancies; and, among
+other things, he painted there a little loggia with small figures,
+various grotesques, and many landscapes, coloured with supreme grace and
+diligence. This work has been held by craftsmen, as it always will be,
+to be worthy of the highest praise; and it was the reason that he became
+known to the Fugger family, merchants of Germany, who, having built a
+house near the Banchi, on the way to the Church of the Florentines, and
+having seen Perino's work and liked it, caused him to paint there a
+courtyard and a loggia, with many figures, all worthy of the same praise
+as the other works by his hand, for in them may be seen much delicacy
+and grace and great beauty of manner.
+
+At this same time M. Marchionne Baldassini, having caused a house to be
+built for him near S. Agostino, as has been related, by Antonio da San
+Gallo, who designed it very well, desired that a hall which Antonio had
+constructed there should be painted all over; and after passing in
+review many of the young painters, to the end that it might be well and
+beautifully done, he finally resolved to give it to Perino. Having
+agreed about the price, Perino set his hand to it, nor did he turn his
+attention from that work to any other until he had brought it to a very
+happy conclusion in fresco. In that hall he made compartments by means
+of pilasters which have between them niches great and small; in the
+larger niches are various figures of philosophers, two in each niche,
+and in some one only, and in the smaller niches are little boys, partly
+naked and partly draped in veiling, while above those small niches are
+some heads of women, painted in imitation of marble. Above the cornice
+that crowns the pilasters there follows a second series of pictures,
+separated from the first series below, with scenes in figures of no
+great size from the history of the Romans, beginning with Romulus and
+ending with Numa Pompilius. There are likewise various ornaments in
+imitation of different kinds of marble, and over the beautiful
+chimney-piece of stone is a figure of Peace burning arms and trophies,
+which is very lifelike. This work was held in much estimation during the
+lifetime of M. Marchionne, as it has been ever since by all those who
+work in painting, and also by many others not of the profession, who
+give it extraordinary praise.
+
+In the Convent of the Nuns of S. Anna, Perino painted a chapel in fresco
+with many figures, which was executed by him with his usual diligence.
+And on an altar in S. Stefano del Cacco he painted in fresco, for a
+Roman lady, a Pieta with the Dead Christ in the lap of Our Lady, with a
+portrait from life of that lady, which still has the appearance of a
+living figure; and the whole work is very beautiful, and executed with
+great mastery and facility.
+
+In those days Antonio da San Gallo had built at the corner of a house in
+Rome, which is known as the Imagine di Ponte, a tabernacle finely
+adorned with travertine and very handsome, in which something beautiful
+in the way of painting was to be executed; and he received a commission
+from the owner of that house to give the work to one whom he should
+consider capable of painting some noble picture there. Wherefore
+Antonio, who knew Perino to be the best of the young men who were in
+Rome, allotted it to him. And he, setting his hand to the work, painted
+there a Christ in the act of crowning the Madonna, and in the background
+he made a Glory, with a choir of Seraphim and Angels clothed in light
+and delicate draperies, who are scattering flowers, and other children
+of great beauty and variety; and on the sides of the tabernacle he
+painted Saints, S. Sebastian on one side and S. Anthony on the other.
+This work was executed truly well, and was equal to the others by his
+hand, which were always full of grace and charm.
+
+A certain protonotary had erected a chapel of marble on four columns in
+the Minerva, and, desiring to leave an altar-piece there in memory of
+himself, even if it were but a small one, he came to an agreement with
+Perino, whose fame he had heard, and commissioned him to paint it in
+oils. And he chose that the subject should be the Deposition of Christ
+from the Cross, which Perino set himself to execute with the greatest
+possible zeal and diligence. In this picture he represented Him as
+already laid upon the ground, surrounded by the Maries weeping over Him,
+in whose gestures and attitudes he portrayed a melting pity and sorrow;
+besides which there are the Nicodemuses[28] and other figures that are
+much admired, all woeful and afflicted at seeing the sinless Christ
+lying dead. But the figures that he painted most divinely were those of
+the two Thieves, left fixed upon the crosses, which, besides appearing
+to be real dead bodies, reveal a very good mastery over muscles and
+nerves, which this occasion enabled him to display; wherefore, to the
+eyes of him who beholds them, their limbs present themselves all drawn
+in that violent death by the nerves, and the muscles by the nails and
+cords. There is, in addition, a landscape wrapped in darkness,
+counterfeited with much judgment and art. And if the inundation which
+came upon Rome after the sack had not done damage to this work, covering
+more than half of it, its excellence would be clearly seen; but the
+water so softened the gesso, and caused the wood to swell in such sort,
+that all the lower part that was soaked has peeled off too much for the
+picture to give any pleasure; nay, it is a grief and a truly
+heartrending sorrow to behold it, for it would certainly have been one
+of the most precious things in all Rome.
+
+There was being rebuilt at this time, under the direction of Jacopo
+Sansovino, the Church of S. Marcello in Rome, a convent of Servite
+Friars, which still remains unfinished; and when they had carried the
+walls of some chapels to completion, and had roofed them, those friars
+commissioned Perino to paint in one of these, as ornaments for a Madonna
+that is worshipped in that church, two figures in separate niches, S.
+Joseph and S. Filippo, a Servite friar and the founder of that Order,
+one on either side of the Madonna. These finished, he painted above them
+some little boys that are perfect, and in the centre of the wall he
+placed another standing upon a dado, who has upon his shoulders the ends
+of two festoons, which he directs towards the corners of the chapel,
+where there are two other little boys who support them, being seated
+upon them, with their legs in most beautiful attitudes. All this he
+executed with such art, such grace, and so beautiful a manner, and gave
+to the flesh a tint of colour so fresh and soft, that one might say that
+it was real flesh rather than painted. And certainly these figures may
+be held to be the most beautiful that ever any craftsman painted in
+fresco, for the reason that there is life in their eyes and movement in
+their attitudes, and with the mouth they make as if to break into speech
+and say that art has conquered Nature, and that even art declares that
+nothing more than this can be done in her. This work was so excellent in
+the sight of all good judges of art, that he acquired a great name
+thereby, although he had executed many works and what was known of his
+great genius in his profession was well known; and he was therefore held
+in much more account and greater estimation than ever before.
+
+For this reason Lorenzo Pucci, Cardinal Santiquattro, who had taken over
+a chapel on the left hand beside the principal chapel in the Trinita, a
+convent of Calabrian and French Friars who wear the habit of S. Francis
+of Paola, allotted it to Perino, to the end that he might paint there in
+fresco the life of Our Lady. Which having begun, Perino finished all the
+vaulting and a wall under an arch; and on the outer side, also, over an
+arch of the chapel, he painted two Prophets four braccia and a half in
+height, representing Isaiah and Daniel, who in their great proportions
+reveal all the art, excellence of design, and beauty of colouring that
+can be seen in their perfection only in a picture executed by a great
+craftsman. This will be clearly evident to one who shall consider the
+Isaiah, in whom, as he reads, may be perceived the thoughtfulness that
+study infuses in him, and his eagerness in reading new things, for he
+has his gaze fixed upon a book, with one hand to his head, exactly as a
+man often is when he is studying; and Daniel, likewise, is motionless,
+with his head upraised in celestial contemplation, in order to resolve
+the doubts of his people. Between these figures are two little boys who
+are upholding the escutcheon of the Cardinal, a shield of beautiful
+shape: and these boys, besides being so painted as to seem to be of
+flesh, also have the appearance of being in relief. The vaulting is
+divided into four scenes, separated one from another by the cross--that
+is, by the ribs of the vaulting. In the first is the Conception of Our
+Lady, in the second her Nativity, in the third the scene when she
+ascends the steps of the Temple, and in the fourth S. Joseph marrying
+her. On a wall-space equal in extent to the arch of the vaulting is her
+Visitation, in which are many figures that are very beautiful, but above
+all some who have climbed on certain socles and are standing in very
+spirited and natural attitudes, the better to see the ceremonious
+meeting of those women; besides which, there is something of the good
+and of the beautiful in the buildings and in every gesture of the other
+figures. He pursued this work no further, illness coming upon him; and
+when he was well, there began the plague of the year 1523, which raged
+so violently in Rome, that, if he wished to save his life, it became
+expedient for him to make up his mind to depart.
+
+There was in the city of Rome at that time the goldsmith Piloto, who was
+much the friend and intimate companion of Perino, and he was desirous of
+departing; and so one morning, as they were breakfasting together, he
+persuaded Perino to take himself off and go to Florence, on the ground
+that it was many years since he had been there, and that it could not
+but bring him great honour to make himself known there and to leave some
+example of his excellence in that city; saying also that, although
+Andrea de' Ceri and his wife, who had brought him up, were dead,
+nevertheless, as a native of that country, if he had no possessions
+there, he had his love for it. Wherefore, after no long time, one
+morning Perino and Piloto departed and set out on the way to Florence.
+And when they had arrived there, Perino took the greatest pleasure in
+seeing once again the old works painted by the masters of the past,
+which had been as a school to him in the days of his boyhood, and
+likewise those of the masters then living who were the most celebrated
+and held to be the best in that city, in which, through the interest of
+friends, a work was allotted to him, as will be related below. It
+happened one day that many craftsmen having assembled in his presence to
+do him honour, painters, sculptors, architects, goldsmiths, and carvers
+in wood and marble, who had gathered together according to the ancient
+custom, some to see Perino, to keep him company, and to hear what he had
+to say, many to learn what difference in practice there might be between
+the craftsmen of Rome and those of Florence, but most of them to hear
+the praise and censure that craftsmen are wont often to give to one
+another; it happened, I say, that thus discoursing together of one thing
+and another, and examining the works, both ancient and modern, in the
+various churches, they came to that of the Carmine, in order to see the
+chapel of Masaccio. There everyone gazed attentively at the paintings,
+and many various opinions were uttered in praise of that master, all
+declaring that they marvelled that he should have possessed so much
+judgment as to be able in those days, without seeing anything but the
+work of Giotto, to work with so much of the modern manner in the design,
+in the colouring, and in the imitation of Nature, and that he should
+have solved the difficulties of his art in a manner so facile; not to
+mention that among all those who had worked at painting, there had not
+as yet been one who had equalled him in strength of relief, in
+resoluteness, and in mastery of execution.
+
+This kind of discourse much pleased Perino, and to all those craftsmen
+who spoke thus he answered in these words: "I do not deny that what you
+say, and even more, may be true; but that there is no one among us who
+can equal this manner, that I will deny with my last breath. Nay, I will
+declare, if I may say it with the permission of the company, not in
+contempt, but from a desire for the truth, that I know many both more
+resolute and richer in grace, whose works are no less lifelike in the
+painting than these, and even much more beautiful. And I, by your leave,
+I who am not the first in this art, am grieved that there is no space
+near these works wherein I might be able to paint a figure; for before
+departing from Florence I would make a trial beside one of these
+figures, likewise in fresco, to the end that you might see by comparison
+whether there be not among the moderns one who has equalled him." Among
+their number was a master who was held to be the first painter in
+Florence; and he, being curious to see the work of Perino, and perhaps
+wishing to lower his pride, put forward an idea of his own, which was
+this: "Although," said he, "all the space here is full, yet, since you
+have such a fancy, which is certainly a good one and worthy of praise,
+there, on the opposite side, where there is the S. Paul by his hand, a
+figure no less good and beautiful than any other in the chapel, is a
+space in which you may easily prove what you say by making another
+Apostle, either beside that S. Peter by Masolino or beside the S. Paul
+of Masaccio, whichever you may prefer." The S. Peter was nearer the
+window, and the space beside it was greater and the light better;
+besides which, it was a figure no less beautiful than the S. Paul.
+Everyone, therefore, urged Perino to do it, because they had a great
+desire to see that Roman manner; besides which, many said that he would
+be the means of taking out of their heads the fancy that they had nursed
+in their minds for so many decades, and that if his figure should prove
+to be the best all would run after modern works. Wherefore, persuaded by
+that master, who told him at last that he ought not to disappoint the
+entreaties and expectations of so many lofty intellects, particularly
+since it would not take longer than two weeks to execute a figure in
+fresco, and they would not fail to spend years in praising his labours,
+Perino resolved to do it, although he who spoke thus had an intention
+quite contrary to his words, being persuaded that Perino would by no
+means execute anything much better than the work of those craftsmen who
+were considered to be the most excellent at that time. Perino, then,
+undertook to make this attempt; and having summoned by common consent M.
+Giovanni da Pisa, the Prior of the convent, they asked him for the space
+for the execution of the work, which he granted to them with truly
+gracious courtesy; and thus they took measurements of the space, with
+the height and breadth, and went away.
+
+An Apostle was then drawn by Perino in a cartoon, in the person of S.
+Andrew, and finished with the greatest diligence; whereupon Perino,
+having first caused the staging to be erected, was prepared to begin to
+paint it. But before this, on his arrival in Florence, his many friends,
+who had seen most excellent works by his hand in Rome, had contrived to
+obtain for him the commission for that work in fresco which I mentioned,
+to the end that he might leave some example of his handiwork in
+Florence, which might demonstrate how spirited and how beautiful was his
+genius for painting, and also to the end that he might become known and
+perchance be set to work on some labour of importance by those who were
+then governing. There were at that time certain craftsmen who used to
+assemble in a company called the Company of the Martyrs, in the
+Camaldoli at Florence; and they had proposed many times to have a wall
+that was in that place painted with the story of the Martyrs being
+condemned to death before two Roman Emperors, who, after they had been
+taken in battle, caused them to be crucified in the wood and hanged on
+trees. This story was suggested to Perino, and, although the place was
+out of the way, and the price small, so much was he attracted by the
+possibilities of invention in the story and by the size of the wall,
+that he was disposed to undertake it; besides which, he was urged not a
+little by those who were his friends, on the ground that the work would
+establish him in that reputation which his talent deserved among the
+citizens, who did not know him, and among his fellow-craftsmen in
+Florence, where he was not known save by report. Having then determined
+to do the work, he accepted the undertaking and made a small design,
+which was held to be a thing divine; and having set his hand to making a
+cartoon as large as the whole work, he never left off labouring at it,
+and carried it so far that all the principal figures were completely
+finished. And so the Apostle was abandoned, without anything more being
+done.
+
+Perino drew this cartoon on white paper, well shaded and hatched,
+leaving the paper itself for the lights, and executing the whole with
+admirable diligence. In it were the two Emperors on the seat of
+judgment, condemning to the cross all the prisoners, who were turned
+towards the tribunal, some kneeling, some standing, and others bowed,
+but all naked and bound in different ways, and writhing with piteous
+gestures in various attitudes, revealing the trembling of the limbs at
+the prospect of the severing of the soul from the body in the agony and
+torment of crucifixion; besides which, there were depicted in those
+heads the constancy of faith in the old, the fear of death in the young,
+and in others the torture that they suffer from the strain of the cords
+on their bodies and arms. And there could also be seen the swelling of
+the muscles and even the cold sweat of death, all depicted in that
+design. Then in the soldiers who were leading them there was revealed a
+terrible fury, most impious and cruel, as they presented them at the
+tribunal for condemnation and led them to the cross. The Emperors and
+the soldiers were wearing cuirasses after the ancient manner and
+garments very ornate and bizarre, with buskins, shoes, helmets, shields,
+and other pieces of armour wrought with all that wealth of the most
+beautiful ornamentation to which a craftsman can attain in imitating and
+reproducing the antique, and drawn with the greatest lovingness,
+subtlety, and delicacy that the perfection of art can display. When this
+cartoon was seen by the craftsmen and by other judges of discernment,
+they declared that they had never seen such beauty and excellence in
+design since the cartoon drawn by Michelagnolo Buonarroti in Florence
+for the Council Chamber; wherefore Perino acquired the greatest fame
+that he could have gained in art. And while he was engaged in finishing
+that cartoon, he amused himself by causing oil-colours to be prepared
+and ground in order to paint for his dearest friend, the goldsmith
+Piloto, a little picture of no great size, containing a Madonna, which
+he carried something more than half-way towards completion.
+
+For many years past Perino had been intimately acquainted with a certain
+lame priest, Ser Raffaello di Sandro, a chaplain of S. Lorenzo, who
+always bore love to the craftsmen of design. This priest, then,
+persuaded Perino to take up his quarters with him, seeing that he had no
+one to cook for him or to keep house for him, and that during the time
+that he had been in Florence he had stayed now with one friend and now
+with another; wherefore Perino went to lodge with him, and stayed there
+many weeks. Meanwhile the plague began to appear in certain parts of
+Florence, and filled Perino with fear lest he should catch the
+infection; on which account he determined to go away, but wished first
+to recompense Ser Raffaello for all the days that he had eaten at his
+table. But Ser Raffaello would never consent to take anything, only
+saying: "I would be fully paid by having a scrap of paper from your
+hand." Seeing him to be determined, Perino took about four braccia of
+coarse canvas, and, after having it fixed to the wall between two doors
+in the priest's little room, painted on it in a day and a night a scene
+coloured in imitation of bronze. On this canvas, which was to serve as a
+screen for the wall, he painted the story of Moses passing the Red Sea
+and Pharaoh being submerged with his horses and his chariots; and Perino
+painted therein figures in most beautiful attitudes, some swimming in
+armour and some naked, others swimming while clasping the horses round
+the neck, with their beards and hair all soaked, crying out in the fear
+of death and struggling with all their power to escape. On the other
+side of the sea are Moses, Aaron, and all the other Hebrews, male and
+female, who are thanking God, and a number of vases that he
+counterfeited, carried off by them from Egypt, varied and beautiful in
+form and shape, and women with head-dresses of great variety. Which
+finished, he left it as a mark of lovingness to Ser Raffaello, to whom
+it was as dear as the Priorate of S. Lorenzo would have been. This
+canvas was afterwards much extolled and held in estimation, and after
+the death of Ser Raffaello it passed, together with his other
+possessions, to his brother Domenico di Sandro, the cheesemonger.
+
+Departing, then, from Florence, Perino abandoned the work of the
+Martyrs, which caused him great regret; and certainly, if it had been in
+any other place but the Camaldoli, he would have finished it; but,
+considering that the officials of health had taken that very Convent of
+Camaldoli for those infected with the plague, he thought it better to
+save himself than to leave fame behind him in Florence, being satisfied
+that he had proved how much he was worth in the design. The cartoon,
+with his other things, remained in the possession of the goldsmith
+Giovanni di Goro, his friend, who died in the plague; and after that it
+fell into the hands of Piloto, who kept it spread out in his house for
+many years, showing it readily as a very rare work to every person of
+intelligence; but I do not know what became of it after the death of
+Piloto.
+
+Perino stayed for many months in various places, seeking to avoid the
+plague, but for all this he never spent his time in vain, for he was
+continually drawing and studying the secrets of art; and when the plague
+had ceased, he returned to Rome and gave his attention to executing
+little works of which I shall say nothing more. In the year 1523 came
+the election of Pope Clement VII, which was the greatest of blessings
+for the arts of painting and sculpture, which had been so kept down by
+Adrian VI during his lifetime, that not only had nothing been executed
+for him, but, as has been related in other places, not delighting in
+them, or rather, holding them in detestation, he had brought it about
+that no other person delighted in them, or spent money upon them, or
+employed a single craftsman. Then, therefore, after the election of the
+new Pontiff, Perino executed many works.
+
+Afterwards it was proposed that Giulio Romano and Giovan Francesco,
+called Il Fattore, should be made heads of the world of art in place of
+Raffaello, who was dead, to the end that they might distribute the
+various works to the others, according to the previous custom. But
+Perino, in executing an escutcheon of the Pope in fresco over the door
+of Cardinal Cesarino, after the cartoon of Giulio Romano, acquitted
+himself so excellently well, that they doubted whether he would not be
+preferred to themselves, because, although they were known as the
+disciples of Raffaello and as the heirs to his possessions, they had not
+inherited the whole of the art and grace that he used to give to his
+figures with colours. Giulio and Giovan Francesco therefore made up
+their minds to attach Perino to themselves; and so in the holy year of
+Jubilee, 1525, they gave him Caterina, the sister of Giovan Francesco,
+for wife, to the end that the perfect friendship which had been
+maintained between them for so long might be converted into kinship.
+Thereupon, continuing the works that he had in hand, no long time had
+passed when, on account of the praises bestowed upon him for the first
+work executed by him in S. Marcello, it was resolved by the Prior of
+that convent and by certain heads of the Company of the Crocifisso,
+which has a chapel there built by its members as a place of assembly,
+that the chapel should be painted; and so they allotted this work to
+Perino, in the hope of having some excellent painting by his hand.
+Perino, having caused the staging to be erected, began the work; and in
+the centre of the barrel-shaped vaulting he painted the scene when God,
+after creating Adam, takes his wife Eve from his side. In this scene
+Adam, a most beautiful naked figure painted with perfect art, is seen
+lying overcome by sleep, while Eve, with great vivacity, rises to her
+feet with the hands clasped and receives the benediction of her Maker,
+the figure of whom is depicted grave in aspect and sublime in majesty,
+standing with many draperies about Him, which curve round His nude form
+with their borders. On one side, on the right hand, are two Evangelists,
+S. Mark and S. John, the first of whom Perino finished entirely, and
+also the second with the exception of the head and a naked arm. Between
+these two Evangelists, by way of ornament, he made two little boys
+embracing a candelabrum, which are truly of living flesh; and the
+Evangelists, likewise, in the heads, the draperies, the arms, and all
+that he painted in them with his own hand, are very beautiful.
+
+While he was executing this work, he suffered many interruptions from
+illness and from other misfortunes, such as happen every day to all who
+live in this world; besides which, it is said that the men of the
+Company also ran short of money. And so long did this business drag on,
+that in the year 1527 there came upon them the ruin of Rome, when that
+city was given over to sack, many craftsmen were killed, and many works
+destroyed or carried away. Whereupon Perino, caught in that turmoil, and
+having a wife and a baby girl, ran from place to place in Rome with the
+child in his arms, seeking to save her, and finally, poor wretch, was
+taken prisoner and reduced to paying a ransom, which hit him so hard
+that he was like to go out of his mind. When the fury of the sack had
+abated, he was so crushed down by the fear that still possessed him,
+that all thought of art was worlds away from him, but nevertheless he
+painted canvases in gouache and other fantasies for certain Spanish
+soldiers; and after regaining his composure, he lived like the rest in
+some poor fashion. Alone among so many, Baviera, who had the engravings
+of Raffaello, had not lost much; wherefore, moved by the friendship that
+he had with Perino, and wishing to employ him, he commissioned him to
+draw some of the stories of the Gods transforming themselves in order to
+achieve the consummation of their loves. These were engraved on copper
+by Jacopo Caraglio, an excellent engraver of prints, who acquitted
+himself so well in the matter of these designs, that, preserving the
+outlines and manner of Perino, and hatching the work with beautiful
+facility, he sought also to impart to the engravings that grace and that
+delicacy which Perino had given to the drawings.
+
+While the havoc of the sack had destroyed Rome and driven away the
+inhabitants and the Pope himself, who was living at Orvieto, not many
+remaining in the city, and no business of any kind being done there,
+there arrived in Rome one Niccola Viniziano, a rare and even unrivalled
+master of embroidery, the servant of Prince Doria. He, moved by his
+long-standing friendship with Perino, and being a man who always
+favoured and wished well to the men of our arts, persuaded him to leave
+that misery and set out for Genoa, promising that he would so go to work
+with that Prince, who was a lover of art and delighted in painting, that
+he would commission Perino to execute some big works, and saying,
+moreover, that His Excellency had often told him that he would like to
+have a suite of rooms adorned with handsome decorations. It did not take
+much to persuade Perino, for he was oppressed by want and burning with
+desire to leave Rome; and he determined to depart with Niccola. Having
+therefore made arrangements for leaving his wife and daughter well cared
+for by relatives in Rome, and having put all his affairs in order, he
+set off for Genoa. Arriving there, and making himself known to that
+Prince by means of Niccola, his coming was as welcome to His Excellency
+as any agreeable experience that he had ever had in all his life. He was
+received, therefore, with the greatest possible warmth and gladness, and
+after many conversations and discussions they finally arranged that he
+should begin the work; and they decided that he should execute a palace
+adorned with stucco-work and with pictures in fresco, in oils, and of
+every kind, which I will strive to describe as briefly as I am able,
+with all the rooms, pictures, and general arrangement, saying nothing as
+to where Perino first began to labour, to the end that I may not obscure
+this work, which is the best of all those by his hand, with words.
+
+I begin, then, by saying that at the entrance of the Prince's Palace
+there is a marble portal composed in the Doric Order, and built after
+designs and models by the hand of Perino, with all its appurtenances of
+pedestals, socles, shafts, capitals, architrave, frieze, cornice and
+pediment, and with some most beautiful seated figures of women, who are
+supporting an escutcheon. The masonry and carving of this work were
+executed by Maestro Giovanni da Fiesole, and the figures were finished
+to perfection by Silvio, the sculptor of Fiesole, a bold and resolute
+master. Entering within the portal, one finds over the vestibule a vault
+covered with stucco-work, varied scenes, and grotesques, and little
+arches in each of which are scenes of war and various kinds of battles,
+some fighting on foot and others on horseback, and all wrought with
+truly extraordinary diligence and art. On the left one finds the
+staircase, which has decorations of little grotesques after the antique
+that could not be richer or more beautiful, with various scenes and
+little figures, masks, children, animals, and other things of fancy,
+executed with that invention and judgment that always marked his work,
+insomuch that of their kind they may well be called divine. Having
+ascended the staircase, one comes into a most beautiful loggia, which
+has at each end a very handsome door of stone; and over each of these
+doors, in the pediment, are painted two figures, one male and the other
+female, represented in directly opposite attitudes, one showing the
+front view and the other the back. The vaulting has five arches, and is
+wrought superbly in stucco, and it is also divided by pictures in
+certain ovals, containing scenes executed with the most perfect beauty
+that could be achieved; and the walls are painted down to the floor with
+many seated figures of captains in armour, some drawn from life and some
+from imagination, and representing all the ancient and modern captains
+of the house of Doria, and above them are large letters of gold, which
+run thus--"Magni viri, maximi duces, optima fecere pro patria." In the
+first hall, which opens into the loggia and is entered by one of the two
+doors, that on the left hand, there are most beautiful ornaments of
+stucco on the corners of the vaulting, and in the centre there is a
+large scene of the Shipwreck of AEneas in the sea, in which are nude
+figures, living and dead, in attitudes of infinite variety, besides a
+good number of ships and galleys, some sound and some shattered by the
+fury of the tempest; not without beautiful considerations in the figures
+of the living, who are striving to save themselves, and expressions of
+terror that are produced in their features by the struggle with the
+waves, the danger of death, and all the emotions aroused by the perils
+of the sea. This was the first scene and the first work that Perino
+began for the Prince. It is said that when he arrived in Genoa, Girolamo
+da Treviso had already appeared there in advance of him in order to
+execute certain pictures, and was painting a wall that faced towards the
+garden. And after Perino had begun to draw the cartoon for the scene of
+the Shipwreck that has been described above, while he was taking his
+time about it, amusing himself and seeing Genoa, and labouring only at
+intervals at the cartoon, although a great part was finished in various
+ways and those nudes were drawn, some in chiaroscuro, some in charcoal,
+and others in black chalk, some being drawn in imitation of
+gradine-work, others shaded, and others again only outlined; while, I
+say, Perino was going on in this way, without beginning to paint,
+Girolamo da Treviso murmured against him, saying, "Cartoons, and nothing
+but cartoons! I have my art at the tip of my brush." Decrying him very
+often in this or some other similar manner, it came to the ears of
+Perino, who, taking offence, straightway caused his cartoon to be fixed
+to the vaulting where the scene was to be painted, and the boards of his
+staging to be removed in many places, to the end that the work might be
+seen from below; and then he threw open the hall. Which hearing, all
+Genoa ran to see it, and, amazed by Perino's grand design, they praised
+him to the skies. Thither, among others, went Girolamo da Treviso, who
+saw what he had never thought to see from the hand of Perino; whereupon,
+dumbfoundered by the beauty of the work, he departed from Genoa without
+asking leave of Prince Doria, and returned to Bologna, where he lived.
+Perino was thus left alone in the service of the Prince, and finished
+that hall, painting it in oils on the surface of the walls; and it was
+held to be, as indeed it is, a thing unrivalled in its beauty, with its
+lovely work in stucco in the centre of the vaulting and all around, even
+below the lunettes, as I have described. In the other hall, into which
+one enters by the right-hand door in the loggia, he executed on the
+vaulting works in stucco almost similar in design to those of the other,
+and painted pictures in fresco of Jove slaying the Giants with his
+thunderbolts, in which are many very beautiful nudes, larger than life.
+In the Heaven, likewise, are all the Gods, who are making gestures of
+great vivacity and truly appropriate to their natures, amid the terrible
+uproar of the thunder; besides which, the stucco-work is executed with
+supreme diligence, and the fresco-colouring could not be more beautiful,
+seeing that Perino was very able--indeed, a perfect master--in that
+field. Near this he adorned four chambers, the ceilings of which are all
+wrought in stucco, and distributed among them, in fresco, are the most
+beautiful fables from Ovid, which have all the appearance of reality,
+nor could any one imagine the beauty, the abundance, the variety, and
+the great numbers of the little figures, animals, foliage, and
+grotesques that are in them, all executed with lively invention. Beside
+the other hall, likewise, he adorned four more chambers, but only
+directing the work, which was carried out by his assistants, although he
+gave them the designs both of the stucco-decorations and of the scenes,
+figures, and grotesques, upon which a vast number of them worked, some
+little and some much; such as Luzio Romano, who did much work in stucco
+there and many grotesques, and a number of Lombards. Let it suffice to
+say that there is no room there that has not something by his hand and
+is not full of ornaments, even to the space below the vaulting, with
+various compositions full of children, bizarre masks, and animals, which
+all defies description; not to mention that the little studies, the
+antechambers, the closets, and all other parts of the palace, are
+painted and made beautiful. From the palace one passes into the garden
+and into a low building, which has the most ornate decorations in all
+the rooms, even below the ceilings, and so also the halls, chambers,
+and anterooms, all adorned by the same hand. In this work Pordenone
+also took a part, as I said in his Life, and likewise Domenico Beccafumi
+of Siena, a very rare painter, who showed that he was not inferior to
+any of the others, although the works by his hand that are in Siena are
+the most excellent among the vast number that he painted.
+
+But to return to the works that Perino executed after those that he did
+in the Palace of the Prince; he executed a frieze in a room in the house
+of Giannetin Doria, containing most beautiful women, and he did many
+works for various gentlemen throughout the city, both in fresco and in
+oil-colours. He painted a most beautiful altar-piece, very finely
+designed, for S. Francesco, and another for a church called S. Maria "de
+Consolatione," at the commission of a gentleman of the house of
+Baciadonne: in which picture he painted the Nativity of Christ, a work
+that is much extolled, but it was placed in a position so dark, that, by
+reason of the light not being good enough, one is not able to recognize
+its perfection, and all the more because Perino strove to paint it in a
+dark manner, so that it has need of a strong light. He also made
+drawings of the greater part of the AEneid, with the stories of Dido,
+from which tapestries were woven; and he likewise drew beautiful
+ornaments for the poops of galleys, which were carved and finished to
+perfection by Carota and Tasso, wood-carvers of Florence, who proved
+excellently well how able they were in that art. And in addition to all
+these things he also executed a vast number of works on cloth for the
+galleys of the Prince, and the largest standards that could be made for
+their adornment and embellishment. Wherefore he was so beloved by that
+Prince for his fine qualities, that, if he had continued to serve him,
+the Prince would have richly rewarded his abilities.
+
+But while he was working in Genoa, the fancy came to him to fetch his
+wife from Rome, and so he bought a house in Pisa, being pleased with
+that city and half thinking of choosing it as his place of habitation
+when old age should come upon him. Now at that time the Warden of the
+Duomo at Pisa was M. Antonio di Urbano, who had a very great desire to
+embellish that temple, and had already caused a beginning to be made
+with some very beautiful ornaments of marble for the chapels of the
+church, which had been executed by the hand of Stagio da Pietrasanta, a
+very able and well practised carver of marble: removing some old,
+clumsy, and badly proportioned chapels that were there. Having thus made
+a beginning, the Warden proposed to fill up those ornaments in the
+interior with altar-pieces in oils, and on the outer side with a series
+of scenes in fresco and decorations in stucco, by the hands of the best
+and most excellent masters that he could find, without grudging any
+expense that might be incurred. He had already set to work on the
+sacristy, which he had placed in the great recess behind the high-altar,
+and there the ornamentation of marble was already finished, and many
+pictures had been painted by the Florentine painter Giovanni Antonio
+Sogliani, the rest of which, together with the altar-pieces and the
+chapels that were wanting, were finished many years afterwards by order
+of M. Sebastiano della Seta, the Warden of the Duomo in those days.
+
+At that time Perino returned from Genoa to Pisa, and, having seen that
+beginning, at the instance of Battista del Cervelliera, a person well
+conversant with art and a most ingenious master of wood-carving,
+perspective, and inlaying, he was presented to the Warden. After they
+had discoursed together on the subject of the works of the Duomo, Perino
+was asked to paint an altar-piece for an ornament immediately within the
+ordinary door of entrance, the ornamental frame being already finished,
+and above that a scene of S. George slaying the Dragon and delivering
+the King's Daughter. Perino therefore made a most beautiful design,
+which included a row of children and other ornaments in fresco between
+one chapel and the other, and niches with Prophets and scenes of various
+kinds; and this design pleased the Warden. And so, having made the
+cartoon for one of them, the first one, that opposite to the door
+mentioned above, he began to execute it in colour, and finished six
+children, which are very well painted. He was to have continued this
+right round, which would have made a very rich and very beautiful
+decoration; and the whole work together would have proved to be
+something very handsome. But he was seized with a desire to return to
+Genoa, where he had involved himself in love affairs and other
+pleasures, to which he was inclined at certain times: and on his
+departure he gave to the Nuns of S. Maffeo a little altar-piece that he
+had painted for them in oils, which is now in their possession in the
+convent. Then, having arrived in Genoa, he stayed there many months,
+executing other works for the Prince.
+
+His departure from Pisa displeased the Warden greatly, and even more the
+circumstance that the work remained unfinished; wherefore he did not
+cease to write to him every day that he should return, or to make
+inquiries from Perino's wife, whom he had left in Pisa. But finally,
+perceiving that the matter would never end, Perino neither answering nor
+returning, he allotted the altar-piece of that chapel to Giovanni
+Antonio Sogliani, who finished it and set it into its place. Not long
+after this Perino returned to Pisa, and, seeing the work of Sogliani,
+flew into a rage, and would on no account continue what he had begun,
+saying that he did not choose that his pictures should serve as
+ornaments for those of other masters; wherefore, so far as concerned
+him, that work remained unfinished. Giovanni Antonio carried it on to
+such purpose that he painted four altar-pieces: but these, at a later
+date, appeared to Sebastiano della Seta, the new Warden, to be all in
+the same manner, and somewhat less beautiful than the first, and he
+allotted to Domenico Beccafumi of Siena--after proving his worth from
+some pictures that he painted round the sacristy, which are very
+beautiful--an altar-piece which he executed in Pisa. This not giving as
+much satisfaction as the first pictures, he caused the two last that
+were wanting to be painted by Giorgio Vasari of Arezzo; and they were
+placed at the two doors beside the corner-walls of the main facade of
+the church. Of these, as well as of many other works, both large and
+small, that are dispersed throughout Italy and various places abroad, it
+does not become me to say more, and I will leave the right of free
+judgment about them to all who have seen or may see them. The loss of
+this work caused real vexation to Perino, he having already made the
+designs for it, which gave promise that it would prove to be something
+worthy of him, and likely to give that temple great fame over and above
+that of its antiquities, and also to make Perino immortal.
+
+During the many years of his sojourn in Genoa, although he drew both
+profit and pleasure from that city, Perino had grown weary of it, as he
+remembered Rome in the happy days of Leo. But although, during the
+lifetime of Cardinal Ippolito de' Medici, he had received letters
+inviting him into his service, and he had been disposed to enter it, the
+death of that lord brought it about that he hesitated to repatriate
+himself. While matters stood thus, with his many friends urging his
+return, himself desiring it infinitely more than any of them, and
+several letters being exchanged, one morning, in the end, the fancy took
+him, and without saying a word he set off from Pisa and made his way to
+Rome. There, after making himself known to the most reverend Cardinal
+Farnese, and then to Pope Paul, he stayed many months without doing
+anything; first, because he was put off from one day to another, and
+then because he was attacked by some infirmity in one of his arms, on
+account of which he spent several hundreds of crowns, to say nothing of
+the discomfort, before he could be cured of it. Wherefore, having no one
+to maintain him, and being vexed by his cold welcome from the Court, he
+was tempted many times to go away; but Molza and many other friends
+exhorted him to have patience, telling him that Rome was no longer what
+she had been, and that now she expected that a man should be exhausted
+and weary of her before she would choose and cherish him as her own, and
+particularly if he were pursuing the path of some fine art.
+
+At this time M. Pietro de' Massimi bought a chapel in the Trinita, with
+the vaulting and the lunettes painted and adorned with stucco, and the
+altar-piece painted in oils, all by Giulio Romano and Perino's
+brother-in-law, Giovan Francesco; and that gentleman was desirous to
+have it finished. In the lunettes were four stories of S. Mary Magdalene
+in fresco, and in the altar-piece in oils was Christ appearing to Mary
+Magdalene in the form of a gardener; and M. Pietro first caused a gilt
+frame of wood to be made for the altar-piece, which had a miserable one
+of stucco, and then allotted the walls to Perino, who, having caused the
+staging and the screen to be erected, set his hand to the work, and
+after many months brought it to completion. He made a design of bizarre
+and beautiful grotesques, partly in low-relief and partly painted; and
+he executed two little scenes of no great size, one on each wall,
+surrounding them with an ornament in stucco of great variety. In one
+scene was the Pool of Bethesda, with all the cripples and sick persons,
+and the Angel who comes to move the waters, the porticoes seen most
+beautifully foreshortened in perspective, and the movements and
+vestments of the priests, all painted with great grace and vivacity,
+although the figures are not very large. In the other, he painted the
+Raising of Lazarus after he had been dead four days, wherein he is seen
+newly restored to life, and still marked by the pallor and fear of
+death: and round him are many who are unswathing him, and not a few who
+are marvelling, and others struck with awe, besides which the scene is
+adorned with some little temples that recede into the distance, executed
+with supreme lovingness, as are also the works in stucco all around.
+There are likewise four very small scenes, two to each wall, and one on
+either side of the larger scene; in one of which is the Centurion
+beseeching Christ that He should heal with a word his son who is dying,
+in another Christ driving the traders from the Temple, in a third the
+Transfiguration, and in the last a similar scene. And on the projections
+of the pilasters within the chapel he painted four figures in the guise
+of Prophets, which, in their proportions, their excellence, and their
+beauty, are as well executed and finished as they could well be. In a
+word, the whole work was carried out with such diligence, and is so
+delicate, that it resembles miniature rather than painting. In it may be
+seen much charm and vivacity of colouring, and signs of great patience
+in its execution, revealing that true love which should be felt for art;
+and he painted this whole work with his own hand, although he had a
+great part of the stucco-work executed after his designs by Guglielmo
+Milanese, whom he had formerly had with him at Genoa, loving him much,
+and once even offering to give him his daughter in marriage. This
+Guglielmo, in reward for restoring the antiquities of the house of
+Farnese, has now been made Friar of the Piombo, in the place of Fra
+Sebastiano Viniziano.
+
+I must not omit to tell that against one wall of this chapel was a most
+beautiful tomb of marble, with a dead woman of marble, beautifully
+carved by the sculptor Bologna, on the sarcophagus, and two little naked
+boys at the sides. The countenance of that woman was a lifelike
+portrait of a very famous courtezan of Rome, who left that memorial of
+herself, which was removed by the friars because they felt scruples that
+such a woman should have been laid to rest there with so much honour.
+
+This work, with many designs that he made, was the reason that the very
+reverend Cardinal Farnese began to give him an allowance and to make use
+of him in many works. By order of Pope Paul, a chimney-piece that was in
+the Chamber of the Burning of the Borgo was placed in that of the
+Segnatura, where there were the panellings with perspective views in
+wood executed by the hand of the carver Fra Giovanni for Pope Julius.
+Raffaello had painted both of those chambers; but it became necessary to
+repaint all the base to the scenes in the Chamber of the Segnatura,
+which is that in which is the picture of Mount Parnassus. On which
+account a decorative design in imitation of marble was painted by
+Perino, with various terminal figures, festoons, masks, and other
+ornaments; and, in certain spaces, scenes painted to look like bronze,
+which are very beautiful for works in fresco. In these scenes, even as
+above them were Philosophers discoursing on Philosophy, Theologians on
+Theology, and Poets on Poetry, were all the actions of those who have
+been eminent in those professions. And although he did not execute them
+all with his own hand, he retouched them so much "a secco," besides
+making perfectly finished cartoons, that they may almost be said to be
+entirely by his hand; which method he employed because, being troubled
+by a catarrh, he was not fit for so much labour. Whereupon the Pope,
+recognizing that he deserved something both on account of his age and
+for all his work, and hearing him much recommended, gave him an
+allowance of twenty-five ducats a month, which lasted up to his death,
+on the condition that he should have charge of the Palace and of the
+house of the Farnese family.
+
+By this time Michelagnolo Buonarroti had uncovered the wall with the
+Last Judgment in the Papal Chapel, and there remained still unpainted
+the base below, where there was to be fixed a screen of arras woven in
+silk and gold, like the tapestries that adorn the Chapel. Wherefore, the
+Pope having ordained that the weaving should be done in Flanders, it
+was arranged with the consent of Michelagnolo that Perino should begin
+to paint a canvas of the same size, which he did, executing in it women,
+children and terminal figures, holding festoons, and all very lifelike,
+with the most bizarre things of fancy; but this work, which was truly
+worthy of him and of the divine picture that it was to adorn, remained
+unfinished after his death in some apartments of the Belvedere.
+
+After this, Antonio da San Gallo having finished the building of the
+Great Hall of Kings in front of the Chapel of Sixtus IV in the Papal
+Palace, Perino divided the ceiling into a large pattern of octagonal
+compartments, crosses, and ovals, both sunk and in relief; which done,
+Perino was also commissioned to adorn it with stucco-work, with the
+richest and most beautiful ornaments that could be produced by all the
+resources of that art. He thus began it, and in the octagons, in place
+of rosettes, he made four little boys in full relief, who, with their
+feet pointing to the centre and their arms forming a circle, make a most
+beautiful rosette, and in the rest of the compartments are all the
+devices of the house of Farnese, with the arms of the Pope in the centre
+of the vaulting. And this work in stucco may be said with truth to have
+surpassed in mastery of execution, in beauty, and in delicacy, all those
+that have ever been done by ancients or moderns, and to be truly worthy
+of the head of the Christian religion. After the designs of the same
+man, likewise, the glass windows were executed by Pastorino da Siena, an
+able master of that craft; and Perino caused the walls below to be
+prepared with very beautiful ornaments in stucco, intending to paint
+scenes there with his own hand, which were afterwards continued by the
+painter Daniello Ricciarelli of Volterra, who, if death had not cut
+short the noble aspirations that he had, would have proved how the
+moderns have the courage not only to equal the ancients with their
+works, but perhaps even to surpass them by a great measure.
+
+While the stucco-work of this vaulting was in progress, and Perino was
+considering the designs for his scenes, the old walls of the Church of
+S. Pietro at Rome were being pulled down to make way for those of the
+new building, and the masons came to a wall where there was a Madonna,
+with other pictures, by the hand of Giotto; which being seen by Perino,
+who was in the company of Messer Niccolo Acciaiuoli, a Florentine doctor
+and much his friend, both of them were moved to pity for that picture
+and would not allow it to be destroyed; nay, having caused the wall to
+be cut away around it, they had it well braced with beams and bars of
+iron and deposited below the organ of S. Pietro, in a place where there
+was neither altar nor any other consecrated object. And before the wall
+that had been round the Madonna was pulled down, Perino copied the
+figure of Orso dell' Anguillara, the Roman Senator who had crowned M.
+Francesco Petrarca on the Campidoglio, and who was at the feet of that
+Madonna. Round the picture of the Madonna were to be made some ornaments
+in stucco and painting, and together with them a memorial to a certain
+Niccolo Acciaiuoli, who had formerly been a Roman Senator; and Perino,
+having made the designs, straightway set his hand to the work, and,
+assisted by his young men and by Marcello Mantovano, his disciple,
+carried it out with great diligence.
+
+In the same S. Pietro the Sacrament did not occupy, with regard to
+masonry, a very honourable position; wherefore certain deputies were
+appointed from the Company of the Sacrament, who ordained that a chapel
+should be built in the centre of the old church by Antonio da San Gallo,
+partly with remains in the form of ancient marble columns, and partly
+with other ornaments of marble, bronze, and stucco, placing in the
+centre a tabernacle by the hand of Donatello, by way of further
+adornment; and Perino executed there a very beautiful ceiling with many
+minute scenes full of figures from the Old Testament, symbolical of the
+Sacrament. In the middle of it, also, he painted a somewhat larger
+scene, containing the Last Supper of Christ with the Apostles, and below
+it two Prophets, one on either side of the body of Christ.
+
+The same master, likewise, caused his young men to paint in the Church
+of S. Giuseppe, near the Ripetta, the chapel of that church, which was
+afterwards retouched and finished by himself; and he also had a chapel
+painted after his designs in the Church of S. Bartolommeo in Isola,
+which he retouched in like manner, and caused some scenes to be painted
+at the high-altar of S. Salvatore del Lauro, with some grotesques on the
+vaulting, and likewise an Annunciation on the facade outside, which was
+executed by his pupil, Girolamo Sermoneta. Thus, then, partly because he
+was not able, and partly because the labour wearied him, liking to
+design his works rather than to execute them, he pursued the same course
+that Raffaello da Urbino had formerly followed at the end of his life.
+How harmful and how blameworthy is this practice, is proved by the Chigi
+works and by all those carried out by other hands, and is also shown by
+those that Perino caused to be executed in the same way; besides which,
+those works of Giulio Romano's that he did not paint with his own hand
+have not done him much honour. And although this method pleases Princes,
+giving them their works quickly, and perhaps benefits the craftsmen who
+labour upon them, yet, if they were the ablest men in the world, they
+could never feel that love for the works of others which a man feels for
+his own. Nor, however well drawn the cartoons may be, can they be
+imitated as exactly and as thoroughly as by the hand of their author,
+who, seeing the work going to ruin, in despair leaves it to fall into
+complete destruction. He, then, who thirsts for honour, should do his
+own painting. This I can say from experience, for after I had laboured
+with the greatest possible pains on the cartoons for the Hall of the
+Cancelleria in the Palace of S. Giorgio in Rome, the work having to be
+executed with great haste in a hundred days, a vast number of painters
+were employed to paint it, who departed so far from their outlines and
+their true form, that I made a resolution, to which I have adhered, that
+from that time onward no one should lay a hand on any works of mine.
+Whoever, therefore, wishes to ensure long life for his name and his
+works, should undertake fewer and do them all with his own hand, if he
+desires to obtain that full meed of honour that a man of exalted genius
+seeks to acquire.
+
+I say, then, that Perino, by reason of the number of the labours
+committed to his care, was forced to employ many persons; and he
+thirsted rather for gain than for glory, considering that he had thrown
+away his life and had saved nothing in his youth. And it vexed him so
+much to see young men coming forward to undertake work, that he sought
+to enroll them all under his own command, to the end that they might not
+encroach on his position. Now in the year 1546 there came to Rome the
+Venetian Tiziano da Cadore, a painter highly celebrated for his
+portraits, who, having formerly taken a portrait of Pope Paul at the
+time when His Holiness went to Busseto, without exacting any
+remuneration either for that or for some others that he had executed for
+Cardinal Farnese and Santa Fiore, was received by those prelates with
+the greatest honour in the Belvedere; at which a rumour arose in the
+Court, and then spread throughout Rome, to the effect that he had come
+in order to paint scenes with his own hand in the Hall of Kings in the
+Palace, where Perino was to paint them and the stucco-work was already
+in progress. This arrival caused much vexation to Perino, and he
+complained of it to many of his friends, not because he believed that
+Tiziano was likely to surpass him at painting historical scenes in
+fresco, but because he desired to occupy himself with that work
+peacefully and honourably until his death, and, if he was to do it, he
+wished to do it without competition, the wall and the vaulting by
+Michelagnolo in the Chapel close by being more than enough for him by
+way of comparison. That suspicion was the reason that while Tiziano
+stayed in Rome, Perino always avoided him, and remained in an ill-humour
+until his departure.
+
+The Castellan of the Castello di S. Angelo, Tiberio Crispo, who was
+afterwards made a Cardinal, being a person who delighted in our arts,
+made up his mind to beautify the Castle, and rebuilt loggie, chambers,
+halls, and apartments in a very handsome manner, in order to be able to
+receive His Holiness more worthily when he went there. Many rooms and
+other ornaments were executed from the designs and under the direction
+of Raffaello da Montelupo, and then in the end by Antonio da San Gallo,
+and a loggia was wrought in stucco under the supervision of Raffaello,
+who also made the Angel of marble, a figure six braccia high, which was
+placed on the summit of the highest tower in the Castle. Tiberio then
+caused the said loggia, which is the one facing the meadows, to be
+painted by Girolamo Sermoneta; which finished, the rest of the rooms
+were entrusted in part to Luzio Romano, and finally the halls and other
+important apartments were finished partly by Perino with his own hand,
+and partly by others after his cartoons. The principal hall is very
+pleasing and beautiful, being wrought in stucco and all filled with
+scenes from Roman history, executed for the most part by Perino's young
+men, and not a few by the hand of Marco da Siena, the disciple of
+Domenico Beccafumi; and in certain rooms there are most beautiful
+friezes.
+
+Perino, when he could find young men of ability, was wont to make use of
+them willingly in his works; but for all that he never ceased to execute
+any commonplace commission. He very often painted pennons for trumpets,
+banners for the Castle, and those of the fleet of the Militant Order;
+and he executed hangings, tabards, door-curtains, and the most
+insignificant works of art. He began some canvases from which tapestries
+were to be woven for Prince Doria, and he painted a chapel for the very
+reverend Cardinal Farnese, and a writing-study for the most illustrious
+Madama Margherita of Austria. He caused an ornamental frame to be made
+round the Madonna in S. Maria del Pianto, and also another ornamental
+frame round the Madonna in Piazza Giudea; and he executed many other
+works, of which, by reason of their number, I will not now make any
+further mention, particularly because he was accustomed to accept any
+sort of work that came to his hand. This disposition of Perino's, which
+was well known to the officials of the Palace, was the reason that he
+always had something to do for one or another of them, and he did it
+willingly, in order to bind them to himself, so that they might be
+obliged to serve him in the payment of his allowances and in his other
+requirements. In addition to this, Perino had acquired such authority
+that all the work in Rome was allotted to him, for the reason that,
+besides the circumstance that it appeared to be in a certain sense his
+due, he would sometimes execute commissions for the most paltry prices;
+whereby he did little good, nay rather, much harm, to himself and to
+art. That these words are true is proved by this, that if he had
+undertaken to paint the Hall of Kings in the Palace on his own account,
+and had worked at it together with his own assistants, he would have
+saved several hundreds of crowns, which all went to the overseers who
+had charge of the work and paid the daily wages to those who worked
+there.
+
+Thus, having undertaken a burden so heavy and so laborious, and being
+infirm and enfeebled by catarrh, he was not able to endure such
+discomforts, having to draw day and night and to meet the demands of the
+Palace, and, among other things, to make the designs of embroideries, of
+engravings for banner-makers, and of innumerable ornaments required by
+the caprice of Farnese and other Cardinals and noblemen. In short,
+having his mind incessantly occupied, and being always surrounded by
+sculptors, masters in stucco, wood-carvers, seamsters, embroiderers,
+painters, gilders, and other suchlike craftsmen, he had never an hour of
+repose; and the only happiness and contentment that he knew in this life
+was to find himself at times with some of his friends at a tavern, which
+was his favourite haunt in all the places where it fell to his lot to
+live, considering that this was the true blessedness and peace of this
+world, and the only repose from his labours. And thus, having ruined his
+constitution by the fatigues of his art and by his excesses in eating
+and in love, he was attacked by asthma, which, sapping his strength
+little by little, finally caused him to sink into consumption; and one
+evening, while talking with a friend near his house, he fell dead of an
+apoplectic seizure in his forty-seventh year. At this many craftsmen
+felt infinite sorrow, it being a truly great loss that art suffered; and
+he received honourable burial from his son-in-law, M. Gioseffo Cincio,
+the physician of Madama, and from his wife, in the Chapel of S. Giuseppe
+in the Ritonda at Rome, with the following epitaph:
+
+     PERINO BONACCURSIO VAGAE FLORENTINO, QUI INGENIO ET ARTE
+     SINGULARI EGREGIOS CUM PICTORES PERMULTOS, TUM PLASTAS OMNES
+     FACILE SUPERAVIT, CATHERINA PERINI CONJUGI, LAVINIA BONACCURSIA
+     PARENTI, JOSEPHUS CINCIUS SOCERO CARISSIMO ET OPTIMO FECERE.
+     VIXIT ANN. 46, MEN. 3, DIES 21. MORTUUS EST 14 CALEND. NOVEMB.
+     ANN. CHRIST. 1547.
+
+The place of Perino was filled by Daniello of Volterra, who had worked
+much with him, and who finished the two other Prophets that are in the
+Chapel of the Crocifisso in S. Marcello. Daniello has also adorned a
+chapel in S. Trinita most beautifully with stucco-work and painting, for
+Signora Elena Orsina; with many other works, of which mention will be
+made in the proper place.
+
+Perino, then, as may be seen from the works described and from many
+others that might be mentioned, was one of the most versatile painters
+of our times, in that he assisted the craftsmen to work excellently in
+stucco, and executed grotesques, landscapes, animals, and all the other
+things of which a painter can have knowledge, using colours in fresco,
+in oils, and in distemper. Whence it may be said that he was the father
+of these most noble arts, seeing that his talents live in those who are
+continually imitating him in every honourable field of art. After
+Perino's death were published many prints taken from his drawings, such
+as the Slaying of the Giants that he executed in Genoa, eight stories of
+S. Peter taken from the Acts of the Apostles, of which he made designs
+for the embroidering of a cope for Pope Paul III, and many other things,
+which are known by the manner.
+
+Perino made use of many young men, and taught the secrets of art to many
+disciples; but the best of them all, and the one of whom he availed
+himself more than of any other, was Girolamo Siciolante of Sermoneta, of
+whom there will be an account in the proper place. His disciple,
+likewise, was Marcello Mantovano, who executed on a wall at the entrance
+of the Castello di S. Angelo, after the design and under the direction
+of Perino, a Madonna with many Saints in fresco, which was a very
+beautiful thing; but of his works as well there will be an account
+elsewhere.
+
+Perino left many designs at his death, some by his hand and some by
+others; among the latter, one of the whole Chapel of Michelagnolo
+Buonarroti, drawn by the hand of Leonardo Cungi of Borgo a San Sepolcro,
+which was an excellent work. All these designs, with other things, were
+sold by his heirs; and in our book are many drawings done by him with
+the pen, which are very beautiful.
+
+FOOTNOTE:
+
+[27] Or Perino.
+
+[28] Vasari sometimes groups under this name all the male
+figures that appear in a picture of the Deposition from the Cross.
+
+
+
+
+GIORGIO VASARI TO THE CRAFTSMEN IN DESIGN
+
+
+
+
+TO THE CRAFTSMEN IN DESIGN
+
+GIORGIO VASARI
+
+
+EXCELLENT AND WELL-BELOVED BROTHER-CRAFTSMEN--
+
+So great has always been the delight, to say nothing of the profit and
+honour, that I have derived from practising my hand to the best of my
+ability in this most noble art of ours, that I have not only had a
+burning desire to exalt and to celebrate her, and to honour her in every
+manner open to me, but have also been full of affection for all those
+who have taken the same pleasure in her and have succeeded in practising
+her more happily than I, perhaps, have been able to do. And from this my
+good will, so full of the most sincere affection, it appears to me that
+I have gathered hitherto fruits that are an ample reward, for I have
+been always loved and honoured by you all, and we have been united in
+the most perfect intimacy or brotherhood, I know not which to call it;
+mutually showing our works to one another, I to you and you to me, and
+helping one another with counsel and assistance whenever the occasion
+has presented itself. Wherefore I have always felt myself deeply bound
+by this loving fellowship, and much more by your excellent abilities,
+and no less, also, by this my inclination, by nature, and by a most
+powerful attraction, to assist and serve you in every way and every
+matter wherein I have considered myself able to bring you pleasure or
+advantage. To this end I published in the year 1550 the Lives of our
+best and most famous Craftsmen, moved by a cause that has been mentioned
+in another place, and also, to tell the truth, by a generous indignation
+that so much talent should have been for so long a time, and should
+still remain, buried in oblivion. And this my labour appears not to have
+been in any way unwelcome; on the contrary, so acceptable, that, not to
+mention what has been said and written to me from many quarters, out of
+the vast number that were printed at that time, there is not one single
+volume to be found at the booksellers.
+
+Thus, therefore, receiving every day requests from many friends, and
+understanding no less clearly the unexpressed desires of many others,
+once more, although in the midst of most important undertakings, I have
+applied myself to the same labour, with the intention not only of adding
+those masters who have passed to a better world between that time and
+the present, thus giving me the opportunity of writing their Lives in
+full, but also of supplying that which may have been wanting to the
+perfection of my first work. For since then I have had leisure to come
+to a better knowledge of many matters, and to re-examine others, not
+only by the favour of these my most illustrious Lords, whom I serve, the
+true refuge and protection of all the arts, but also through the
+facilities that they have given me to search the whole of Italy once
+again and to see and understand many things which had not before come
+under my notice. I have been able, therefore, not merely to make
+corrections, but also to add so many things, that many of the Lives may
+be said to have been almost written anew; while some, indeed, even of
+the old masters, which were not there before, have been added. Nor, the
+better to revive the memory of those whom I so greatly honour, have I
+grudged the great labour, pains and expense of seeking out their
+portraits, which I have placed at the head of their Lives. And for the
+greater satisfaction of many friends not of our profession, who are yet
+devoted lovers of art, I have included in a compendium the greater part
+of the works of those who are still living and are worthy to be for ever
+renowned on account of their abilities; for that scruple which formerly
+restrained me can have no place here in the opinion of any thoughtful
+reader, since I deal with no works save those that are excellent and
+worthy of praise. And this may perchance serve as a spur to make every
+craftsman continue to labour worthily and advance unceasingly from good
+to better; insomuch that he who shall write the rest of this history,
+may be able to give it more grandeur and majesty, having occasion to
+describe those rarer and more perfect works which, begun from time to
+time through the desire of immortality, and finished by the loving care
+of intellects so divine, the world in days to come shall see issuing
+from your hands. And the young men who follow with their studies,
+incited by hope of glory (if hope of gain has not enough force), may
+perchance be inspired by such an example to attain to excellence.
+
+And to the end that this work may prove to be in every way complete, and
+that there may be no need to seek anything outside its pages, I have
+added a great part of the works of the most celebrated craftsmen of
+antiquity, both Greek and of other nations, whose memory has been
+preserved down to our own day by Pliny and other writers, without whose
+pens they would have been buried, like many others, in eternal oblivion.
+And this consideration, also, may perchance increase the willingness of
+men in general to labour valiantly, and may impel and inspire us all, as
+we behold the nobility and greatness of our art, and how she has always
+been prized and rewarded by all nations, and particularly by the most
+lofty minds and the most powerful Princes, to leave the world adorned by
+works infinite in number and unsurpassed in excellence; whence, rendered
+beautiful by us, it may give to us that rank which it has given to those
+ever marvellous and celebrated spirits.
+
+Accept, then, with a friendly mind, these my labours, which, whatever
+they may be, have been lovingly carried to conclusion by me for the
+glory of art and for the honour of her craftsmen, and take them as a
+sure token and pledge of my heart, which is desirous of nothing more
+ardently than of your greatness and glory, in which, seeing that I also
+have been received by you into your company (for which I render my
+thanks to you, and congratulate myself not a little on my own account),
+I shall always consider myself in a certain sense a participator.
+
+
+
+
+DOMENICO BECCAFUMI
+
+
+
+
+LIFE OF DOMENICO BECCAFUMI OF SIENA
+
+PAINTER AND MASTER OF CASTING
+
+
+That same quality, the pure gift of nature, which has been seen in
+Giotto and in some others among those painters of whom we have spoken
+hitherto, has been revealed most recently in Domenico Beccafumi, the
+painter of Siena, in that he, while guarding some sheep for his father
+Pacio, the labourer of the Sienese citizen Lorenzo Beccafumi, was
+observed to practise his hand by himself, child as he was, in drawing
+sometimes on stones and sometimes in other ways. It happened that the
+said Lorenzo saw him one day drawing various things with a pointed stick
+on the sand of a small stream, where he was watching his little charges,
+and he asked for the child from his father, meaning to employ him as his
+servant, and at the same time to have him taught. The boy, therefore,
+who was then called Mecherino, having been given up by his father Pacio
+to Lorenzo, was taken to Siena, where Lorenzo caused him for a while to
+spend all the spare time that he had after his household duties in the
+workshop of a painter who was his neighbour. This painter, who was no
+great craftsman, caused Mecherino to learn all that he could not himself
+teach him from designs by eminent painters that he had in his
+possession, of which he availed himself for his own purposes, as those
+masters are wont to do who are not very able in design. Exercising his
+hand, therefore, in this manner, Mecherino gave promise of being
+destined to become an excellent painter.
+
+During this time Pietro Perugino, then a famous painter, came to Siena,
+where, as has been related, he painted two altar-pieces; and his manner
+pleased Domenico greatly, so that he set himself to study it and to copy
+those altar-pieces, and no long time passed before he had caught that
+manner. Then, after the Chapel of Michelagnolo and the works of
+Raffaello da Urbino had been thrown open in Rome, Domenico, who desired
+nothing so much as to learn, and knew that he was losing his time in
+Siena, took leave of Lorenzo Beccafumi, from whom he acquired the family
+name of Beccafumi, and made his way to Rome. There he placed himself
+under a painter, who gave him board and lodging, and executed many works
+in company with him, giving his attention at the same time to studying
+the works of Michelagnolo, Raffaello, and other eminent masters, and the
+marvellous statues and sarcophagi of antiquity. No long time passed,
+therefore, before he became a bold draughtsman, fertile in invention,
+and a very pleasing colourist; but during this period, which did not
+exceed two years, he did nothing worthy of record save a facade in the
+Borgo with an escutcheon of Pope Julius II in colour.
+
+Meanwhile, there had been brought to Siena by a merchant of the
+Spannocchi family, as will be related in the proper place, the painter
+Giovanni Antonio of Vercelli, a young man of passing good ability, who
+was much employed, particularly in making portraits from life, by the
+gentlemen of that city, which has always been the friend and patron of
+all men of talent. Domenico, who was very desirous of returning to his
+own country, having heard this news, made his way back to Siena; and
+when he saw that Giovanni Antonio was very well grounded in drawing,
+which he knew to be the essence of the excellence of a craftsman, not
+resting content with what he had done in Rome, he set himself with the
+utmost zeal to follow him, devoting himself much to anatomy and to
+drawing nudes; which helped him so much, that in a short time he began
+to be greatly esteemed in that most noble city. Nor was he beloved less
+for his goodness and his character than for his art, for the reason
+that, whereas Giovanni Antonio was coarse, licentious, and eccentric,
+being called Il Sodoma because he always mixed and lived with beardless
+boys, and answering willingly enough to that name, Domenico, on the
+other hand, was a pattern of good conduct and uprightness, living like a
+Christian and keeping very much to himself. But such persons as are
+called merry fellows and good companions are very often more esteemed by
+men than the virtuous and orderly, and most of the young men of Siena
+followed Sodoma, extolling him as a man of originality. And this
+Sodoma, being an eccentric, and wishing to please the common herd,
+always kept at his house parrots, apes, dwarf donkeys, little Elba
+horses, a talking raven, barbs for running races, and other suchlike
+creatures; from which he had won such a name among the vulgar, that they
+spoke of nothing but his follies.
+
+Sodoma, then, had painted with colours in fresco the facade of the house
+of M. Agostino Bardi, and Domenico at the same time, in competition with
+him, painted the facade of a house of the Borghese, close to the
+Postierla column, near the Duomo, with which he took very great pains.
+Below the roof, in a frieze in chiaroscuro, he executed some little
+figures that were much extolled; and in the spaces between the three
+ranges of windows of travertine that adorn that palace, he painted many
+ancient gods and other figures in imitation of bronze, in chiaroscuro
+and in colour, which were more than passing good, although the work of
+Sodoma was more extolled. Both these facades were executed in the year
+1512.
+
+Domenico afterwards painted for S. Benedetto, a seat of Monks of Monte
+Oliveto, without the Porta a Tufi, an altar-piece of S. Catharine of
+Siena in a building receiving the Stigmata, with a S. Benedict standing
+on her right hand, and on her left a S. Jerome in the habit of a
+Cardinal; which altar-piece, being very soft in colouring and strong in
+relief, was much praised, as it still is. In the predella of this
+picture, likewise, he painted some little scenes in distemper with
+incredible boldness and vivacity, and with such facility of design, that
+they could not be more graceful, and yet they have the appearance of
+having been executed without the slightest effort in the world. In one
+of these little scenes is the Angel placing in the mouth of that same S.
+Catharine part of the Host consecrated by the priest; in another is
+Jesus Christ marrying her, in a third she is receiving the habit from S.
+Dominic, and there are other stories.
+
+For the Church of S. Martino the same master painted a large altar-piece
+with Christ born and being adored by the Virgin, by Joseph, and by the
+Shepherds; and above the hut is a most beautiful choir of Angels
+dancing. In this work, which is much extolled by craftsmen, Domenico
+began to show to those who had some understanding that his works were
+painted with a different foundation from those of Sodoma. He then
+painted in fresco, in the Great Hospital, the Madonna visiting S.
+Elizabeth, in a manner very pleasing and very natural. And for the
+Church of S. Spirito he executed an altar-piece of the Madonna holding
+in her arms the Child, who is marrying the above-mentioned S. Catharine
+of Siena, and at the sides S. Bernardino, S. Francis, S. Jerome, and S.
+Catharine the Virgin-Martyr, with S. Peter and S. Paul upon some marble
+steps in front, on the polished surface of which he counterfeited with
+great art some reflections of the colour of their draperies. This work,
+which was executed with fine judgment and design, brought him much
+honour, as did also some little figures painted on the predella of the
+picture, in which is S. John baptizing Christ, a King causing the wife
+and children of S. Gismondo to be thrown into a well, S. Dominic burning
+the books of the heretics, Christ presenting to S. Catharine of Siena
+two crowns, one of roses and the other of thorns, and S. Bernardino of
+Siena preaching on the Piazza of Siena to a vast multitude.
+
+[Illustration: DOMENICO BECCAFUMI: S. CATHARINE BEFORE THE CRUCIFIX
+
+(_Siena_: _Pinacoteca_, 420. _Canvas_)]
+
+Next, by reason of the fame of these works, there was allotted to
+Domenico an altar-piece that was to be placed in the Carmine, in which
+he had to paint a S. Michael doing vengeance on Lucifer; and he, being
+full of fancy, set himself to think out a new invention, in order to
+display his talent and the beautiful conceptions of his brain. And so,
+seeking to represent Lucifer and his followers driven for their pride
+from Heaven to the lowest depths of Hell, he began a shower of nude
+figures raining down, which is very beautiful, although, from his having
+taken too great pains with it, it appears if anything rather confused.
+This altar-piece, which remained unfinished, was taken after the death
+of Domenico to the Great Hospital and placed at the top of some steps
+near the high-altar, where it is still regarded with marvel on account
+of some very beautiful foreshortenings in the nudes. In the Carmine,
+where this picture was to have been set up, was placed another, in the
+upper part of which is counterfeited a God the Father above the clouds
+with many Angels round Him, painted with marvellous grace; and in the
+centre of the picture is the Angel Michael in armour, flying, and
+pointing to Lucifer, whom he has driven to the centre of the earth,
+where there are burning buildings, rugged caverns, and a lake of fire,
+with Angels in various attitudes, and nude figures of lost souls, who
+are swimming with different gestures of agony in that fire. All this is
+painted with such beauty and grace of manner, that it appears that this
+marvellous work, in its thick darkness, is illuminated by the fire;
+wherefore it is held to be a rare picture. Baldassarre Peruzzi of Siena,
+an excellent painter, could never have his fill of praising it, and I
+myself, one day that I saw it uncovered in his company, while passing
+through Siena, was struck with astonishment by it, as I also was by the
+five little scenes that are in the predella, painted with distemper in a
+judicious and beautiful manner. For the Nuns of Ognissanti in the same
+city Domenico painted another altar-piece, in which is Christ on high in
+the heavens, crowning the Glorified Virgin, and below them are S.
+Gregory, S. Anthony, S. Mary Magdalene, and S. Catharine the
+Virgin-Martyr; and in the predella, likewise, are some very beautiful
+little figures executed in distemper.
+
+In the house of Signor Marcello Agostini Domenico painted some very
+lovely works in fresco on the ceiling of an apartment, which has three
+lunettes on each main side and two at each end, with a series of friezes
+that go right round. The centre of the ceiling is divided into two
+quadrangular compartments; in the first, where a silken arras is
+counterfeited as upheld by the ornament, there may be seen, as if woven
+upon it, Scipio Africanus restoring the young woman untouched to her
+husband, and in the other the celebrated painter Zeuxis, who is copying
+several nude women in order to paint his picture, which was to be placed
+in the Temple of Juno. In one of the lunettes, painted with little
+figures only about half a braccio high, but very beautiful, are the two
+Roman Brothers who, having been enemies, became friends for the public
+good and for the sake of their country. In that which follows is
+Torquatus,[29] who, in order to observe the laws, when his son has been
+condemned to lose his eyes, causes one of his son's and one of his own
+to be put out. In the next is the Petition of ...,[30] who, after
+hearing the recital of his crimes against his country and the Roman
+people, is put to death. In the lunette beside that one is the Roman
+people deliberating on the expedition of Scipio to Africa; and next to
+this, in another lunette, is an ancient sacrifice crowded with a variety
+of most beautiful figures, with a temple drawn in perspective, which has
+no little relief, for in that field Domenico was a truly excellent
+master. In the last is Cato killing himself after being overtaken by
+some horsemen that are most beautifully painted there. And in the
+recesses of the lunettes, also, are some little scenes very well
+finished.
+
+The excellence of this work was the reason that Domenico was recognized
+as a rare painter by those who were then governing, and was commissioned
+to paint the vaulting of a hall in the Palace of the Signori, to which
+he devoted all the diligence, study, and effort of which any man is
+capable, in order to prove his worth and to adorn that celebrated
+building of his native city, which was honouring him so much. This hall,
+which is two squares long and one square wide, has the ceiling made not
+with lunettes, but after the manner of a groined vaulting; wherefore
+Domenico executed the compartments in painting, thinking that this would
+give the best result, with friezes and cornices overlaid with gold, and
+all so beautifully, that, without any stucco-work or other ornaments,
+they are so well painted and so graceful that they appear to be really
+in relief. On each of the two ends of this hall there is a large picture
+with an historical scene, and on each main wall there are two, one on
+either side of an octagon; and thus the pictures are six and the
+octagons two, and in each of the latter is a scene. At each corner of
+the vaulting, where the rib is, there is drawn a round compartment,
+which extends half on one wall and half on the other, so that these
+compartments, being divided by the ribs of the vaulting, form eight
+spaces, in each of which are large seated figures, representing
+distinguished men who have defended their Republic and have observed her
+laws. The highest part of the surface of the vaulting is divided into
+three parts, in such a manner as to form a circular compartment in the
+centre, immediately above the octagons, and two square compartments over
+those on the walls.
+
+In one of the octagons, then, is a woman with some children round her,
+who holds a heart in her hand, representing the love that men owe to
+their country. In the other octagon is another woman, with an equal
+number of children, as a symbol of civic concord. And these are one on
+either side of a Justice that is in the circle, with the sword and
+scales in her hands, and seen from below in such bold foreshortening
+that it is a marvel, for at the feet she is dark both in drawing and in
+colour, and about the knees she becomes lighter, and so continues little
+by little towards the torso, the shoulders, and the arms, until she
+rises into a celestial splendour at the head, which makes it appear as
+if that figure dissolves gradually in a mist: wherefore it is not
+possible to imagine, much less to see, a more beautiful figure than this
+one, or one executed with greater judgment and art, among all that were
+ever painted to be seen in foreshortening from below.
+
+As for the stories, in the first, at the end of the hall and on the left
+hand as one enters, are M. Lepidus and Fulvius Flaccus the Censors, who,
+after being at enmity with one another, as soon as they became
+colleagues in the office of the Censorship, laid aside their private
+hatred for the good of their country, and acted in that office like the
+closest friends. And Domenico painted them on their knees, embracing
+each other, with many figures round them, and with a most beautiful
+prospect of buildings and temples drawn in perspective so ingeniously
+and so well, that one may see in them what a master of perspective was
+Domenico. On the next wall there follows a picture with the story of the
+Dictator Postumius Tiburtius, who, having left his only son at the head
+of his army in place of himself, commanding him that he should do
+nothing else but guard the camp, put him to death for having been
+disobedient and having with a fair occasion attacked the enemy and
+gained a victory. In this scene Domenico painted Postumius as an old man
+with shaven face, with the right hand on his axe, and with the left
+showing to the army his son lying dead upon the ground, and depicted
+very well in foreshortening; and below this picture, which is most
+beautiful, is an inscription very well composed. In the octagon that
+follows, in the centre of the wall, is the story of Spurius Cassius,
+whom the Roman Senate, suspecting that he was plotting to become King,
+caused to be beheaded, and his house to be pulled down; and in this
+scene the head, which is beside the executioner, and the body, which is
+on the ground in foreshortening, are very beautiful. In the next picture
+is the Tribune Publius Mucius, who caused all his fellow-tribunes, who
+were conspiring with Spurius to become tyrants of their country, to be
+burned; and here the fire that is consuming their bodies is painted very
+well and with great art.
+
+At the other end of the hall, in another picture, is the Athenian
+Codrus, who, having heard from the oracle that the victory would fall to
+that side whose King should be killed by the enemy, laid aside his
+robes, entered unknown among the enemy, and let himself be slain, thus
+giving the victory to his people by his own death. Domenico painted him
+seated, with his nobles round him as he puts off his robes, near a most
+beautiful round temple; and in the distant background of the picture he
+is seen dead, with his name in an epitaph below. Then, as one turns to
+the other long wall, opposite to the two pictures with the octagon in
+the centre between them, in the first scene one finds Prince Zaleucus,
+who, in order not to break the law, caused one of his own eyes to be put
+out, and one of his son's; and here many are standing round him, praying
+him that he should not do that cruelty to himself and his son, and in
+the distance is his son offering violence to a maiden, and below is his
+name in an inscription. In the octagon that is beside that picture is
+the story of Marcus Manilius being hurled down from the Capitol; and the
+figure of the young Marcus, who is being thrown down from a kind of
+balcony, is painted so well in foreshortening, with the head downwards,
+that it seems to be alive, as also seem some figures that are below. In
+the next picture is Spurius Melius, who belonged to the Equestrian
+Order, and was killed by the Tribune Servilius because the people
+suspected that he was conspiring to become tyrant of his country; which
+Servilius is seated with many round him, and one who is in the centre
+points to Spurius lying dead upon the ground, a figure painted with
+great art.
+
+Then, in the circles at the corners, where there are the eight figures
+mentioned above, are many men who have been distinguished for their
+defence of their country. In the first part is the famous Fabius
+Maximus, seated and in armour; and on the other side is Speusippus,
+Prince of the Tegeatae, who, being exhorted by a friend that he should
+rid himself of his rival and adversary, answered that he did not wish,
+at the bidding of his own private interest, to deprive his country of
+such a citizen. In the circle that is at the next corner, in one part,
+there is the Praetor Celius, who, for having fought against the advice
+and wish of the soothsayers, although he had won and had gained a
+victory, was punished by the Senate; and beside him sits Thrasybulus,
+who with the aid of some friends valorously slew thirty tyrants, in
+order to free his country. Thrasybulus is an old man, shaven, with white
+locks, and has his name written beneath him, as have also all the
+others. In a circle at one corner of the lower end of the hall is the
+Praetor Genutius Cippus, who having had a bird with wings in the form of
+horns miraculously alight on his head, was told by the oracle that he
+would become King of his country, whereupon, although already an old
+man, he chose to go into exile, in order not to take away her liberty;
+and Domenico therefore painted a bird upon his head. Beside him sits
+Charondas, who, having returned from the country, and having gone
+straightway into the Senate without disarming himself, in violation of a
+law which ordained that one who entered the Senate with arms should be
+put to death, killed himself on perceiving his error. In the second
+circle on the other side are Damon and Phintias, whose unexampled
+friendship is so well known, and with them is Dionysius, Tyrant of
+Sicily; and beside these figures sits Brutus, who from love of his
+country condemned his two sons to death, because they were conspiring to
+bring the Tarquins back to their country.
+
+This work, then, so truly extraordinary, made known to the people of
+Siena the ability and worth of Domenico, who showed most beautiful art,
+judgment, and genius in all that he did.
+
+The first time that the Emperor Charles V came to Italy, it was expected
+that he would go to Siena, for he had declared such an intention to the
+Ambassadors of that Republic; and among other vast and magnificent
+preparations that were made for the reception of so great an Emperor,
+Domenico fashioned a horse eight braccia high and in full relief, all of
+paste-board and hollow within. The weight of that horse was supported by
+an armature of iron, and upon it was the statue of the Emperor, armed in
+the ancient fashion, with a sword in his hand. And below it were three
+large figures--vanquished by him, as it were--which also supported part
+of the weight, the horse being in the act of leaping with the front legs
+high in the air; which three figures represented three provinces
+conquered and subdued by the Emperor. In that work Domenico showed that
+he was a master no less of sculpture than of painting; to which it must
+be added that he had placed the whole work upon a wooden structure four
+braccia high, with a number of wheels below it, which, being set in
+motion by men concealed within, caused the whole to move forward; and
+the design of Domenico was that at the entry of His Majesty this horse,
+having been set in motion as has been described, should accompany him
+from the gate as far as the Palace of the Signori, and should then come
+to rest in the middle of the Piazza. This horse, after being carried by
+Domenico so near completion that there only remained to gild it, was
+left in that condition, because His Majesty after all did not at that
+time go to Siena, but left Italy after being crowned at Bologna; and the
+work remained unfinished. But none the less the art and ingenuity of
+Domenico were recognized, and all men greatly praised the grandeur and
+excellence of that great structure, which stood in the Office of Works
+of the Duomo from that time until His Majesty, returning from his
+victorious enterprise in Africa, passed through Messina and then Naples,
+Rome, and finally Siena; at which time Domenico's work was placed on the
+Piazza del Duomo, to his great honour.
+
+The fame of the ability of Domenico being thus spread abroad, Prince
+Doria, who was with the Court, after seeing all the works by his hand
+that were in Siena, besought him that he should go to Genoa to work in
+his palace, where Perino del Vaga, Giovanni Antonio of Pordenone, and
+Girolamo da Treviso had worked. But Domenico could not promise that lord
+that he would go to serve him at that time, although he engaged himself
+for another time, for in those days he had set his hand to finishing a
+part of the marble pavement in the Duomo, which Duccio, the painter of
+Siena, had formerly begun in a new manner of work. The figures and
+scenes were already in great part designed on the marble, the outlines
+being hollowed out with the chisel and filled with a black mixture, with
+ornaments of coloured marble all around, and likewise the grounds for
+the figures. But Domenico, with fine judgment, saw that this work could
+be much improved, and he therefore took grey marbles, to the end that
+these, profiled with the chisel and placed beside the brilliancy of the
+white marble, might give the middle shades; and he found that in this
+way, with white and grey marble, pictures of stone could be made with
+great perfection after the manner of chiaroscuro. Having then made a
+trial, the work succeeded so well in invention, in solidity of design,
+and in abundance of figures, that he made a beginning after this fashion
+with the grandest, the most beautiful, and the most magnificent pavement
+that had ever been made; and in the course of his life, little by
+little, he executed a great part of it. Round the high-altar he made a
+border of pictures, in which, in order to follow the order of the
+stories begun by Duccio, he executed scenes from Genesis; namely, Adam
+and Eve expelled from Paradise and tilling the earth, the Sacrifice of
+Abel, and that of Melchizedek. In front of the altar is a large scene
+with Abraham about to sacrifice Isaac, and this has round it a border of
+half-length figures, carrying various animals which they seem to be
+going to sacrifice. Descending the steps, one finds another large
+picture, which serves to accompany that above, and in it Domenico
+represented Moses receiving the Laws from God on Mount Sinai; and below
+this is the scene when, having found the people worshipping the Golden
+Calf, he is seized with anger and breaks the Tables on which those Laws
+were written. Below this scene, opposite to the pulpit, and right across
+the church, is a frieze with a great number of figures, which is
+composed with so much grace and such design that it defies description;
+and in this is Moses, who, striking the rock in the desert, causes water
+to gush out and gives drink to his thirsty people. Here, along the whole
+length of the frieze, Domenico represented the stream of water, from
+which the people are drinking in various ways with a vivacity so
+pleasing, that it is almost impossible to imagine any effect more
+lovely, or figures in more graceful and beautiful attitudes than are
+those in this scene--some stooping to the ground to drink, some kneeling
+before the rock that is spouting with water, some drawing it in vases
+and others in cups, and others, finally, drinking with their hands.
+There are, moreover, some who are leading animals to drink, amid the
+great rejoicing of that people; and, among other things, most marvellous
+is a little boy who has taken a little dog by the head and neck and
+plunges its muzzle into the water, in order to make it drink, after
+which the dog, having drunk, and not wishing to drink any more, shakes
+its head so naturally that it seems to be alive. In short, this frieze
+is so beautiful, that for a work of that kind it could not be executed
+with greater art, seeing that the various kinds of shadows that may be
+seen in these figures are not merely beautiful, but miraculous; and
+although the whole work, on account of the fantastic nature of its
+craftsmanship, is one of great beauty, this part is held to be the most
+beautiful and the best. Below the cupola, moreover, there is a hexagonal
+compartment, which is divided into seven hexagons and six rhombs, of
+which hexagons Domenico finished four before he died, representing in
+them the stories and sacrifices of Elijah, and doing all this much at
+his leisure, because this work was as a school and a pastime to
+Domenico, nor did he ever abandon it altogether for his other works.
+
+While he was thus labouring now at this work and now elsewhere, he
+painted a large altar-piece in oils which is in S. Francesco on the
+right hand as one enters into the church, containing Christ descending
+in Glory to the Limbo of Hell in order to deliver the Holy Fathers;
+wherein, among many nudes, is a very beautiful Eve, and a Thief who is
+behind Christ with the cross is a very well-executed figure, while the
+cavern of Limbo and the demons and fires of that place are fantastic to
+a marvel. And since Domenico was of the opinion that pictures painted in
+distemper preserved their freshness better than those painted in oils,
+saying that it seemed to him that the works of Luca da Cortona, of the
+Pollaiuoli, and of the other masters who painted in oils in those days,
+had suffered from age more than those of Fra Giovanni, Fra Filippo,
+Benozzo, and the others before their time who painted in distemper--for
+this reason, I say, having to paint an altar-piece for the Company of S.
+Bernardino on the Piazza di S. Francesco, he resolved to do it in
+distemper; and in this way he executed it excellently well, painting in
+it Our Lady with many Saints. In the predella, which is very beautiful,
+and painted by him likewise in distemper, he depicted S. Francis
+receiving the Stigmata; S. Anthony of Padua, who, in order to convert
+some heretics, performs the miracle of the Ass, which makes obeisance
+before the sacred Host; and S. Bernardino of Siena, who is preaching to
+the people of his city on the Piazza de' Signori. And on the walls of
+this Company, also, he painted two stories of Our Lady in fresco, in
+competition with some others that Sodoma had executed in the same place.
+In one he represented the Visitation of S. Elizabeth, and in the other
+the Passing of Our Lady, with the Apostles all around; and both of these
+are much extolled.
+
+Finally, after having been long expected in Genoa by Prince Doria,
+Domenico made his way there, but with great reluctance, being a man who
+was accustomed to a life of peace and contented with that which his
+wants required, and nothing more; besides which, he was not much used to
+making journeys, for the reason that, having built himself a little
+house in Siena, and having also a vineyard a mile beyond the Porta a
+Camollia, which he cultivated with his own hand as a recreation, going
+there often, it was a long time since he had gone far from Siena. Having
+then arrived in Genoa, he painted a scene there, beside that of
+Pordenone, in which he succeeded very well, and yet not in such a manner
+that it could be counted among his best works. But, since the ways of
+the Court did not please him, being used to a life of freedom, he did
+not stay very willingly in that place, and, indeed, appeared as if he
+were stupefied. Wherefore, having come to the end of that work, he
+sought leave of the Prince and set out to return home; and passing by
+Pisa, in order to see that city, he met with Battista del Cervelliera
+and was shown all the most noteworthy things in the city, and in
+particular the altar-pieces of Sogliani and the pictures that are in the
+recess behind the high-altar of the Duomo.
+
+Meanwhile Sebastiano della Seta, the Warden of Works of the Duomo,
+having heard from Cervelliera of the qualities and abilities of
+Domenico, and being desirous to finish the work so long delayed by
+Giovanni Antonio Sogliani, allotted two of the pictures for that recess
+to Domenico, to the end that he might execute them at Siena and send
+them finished to Pisa; and so it was done. In one is Moses, who, having
+found that the people had sacrificed to the Golden Calf, is breaking the
+Tables; and in this Domenico painted some nudes that are figures of
+great beauty. In the other is the same Moses, with the earth opening and
+swallowing up a part of the people; and in this, also, are some nudes
+killed by flaming thunderbolts, which are marvellous. These pictures,
+when taken to Pisa, led to Domenico painting four pictures for the front
+of that recess--namely, two on each side--of the four Evangelists, which
+were four very beautiful figures. Whereupon Sebastiano della Seta, who
+saw that he had been served quickly and well, commissioned Domenico,
+after these pictures, to paint the altar-piece of one of the chapels in
+the Duomo, Sogliani having by that time painted four. Settling in Pisa,
+therefore, Domenico painted in that altar-piece Our Lady in the sky with
+the Child in her arms, upon some clouds supported by some little Angels,
+with many Saints both male and female below, all executed passing well,
+but yet not with that perfection which marked the pictures described
+above. But he, excusing himself for this to many of his friends, and
+particularly on one occasion to Giorgio Vasari, said that since he was
+away from the air of Siena and from certain comforts of his own, he did
+not seem to be able to do anything.
+
+Having therefore returned home, determined that he would never again go
+away to work elsewhere, he painted for the Nuns of S. Paolo, near S.
+Marco, an altar-piece in oils of the Nativity of Our Lady, with some
+nurses, and S. Anne in a bed that is foreshortened and represented as
+standing within a door; and in a dark shadow is a woman who is drying
+clothes, without any other light but that which comes from the blaze of
+the fire. In the predella, which is full of charm, are three scenes in
+distemper--the Presentation of the Virgin at the Temple, her Marriage,
+and the Adoration of the Magi. In the Mercanzia, a tribunal in that
+city, the officials have a little altar-piece which they say was painted
+by Domenico when he was young; it is very beautiful, and it contains in
+the centre a S. Paul seated, and on one side his Conversion, in little
+figures, and on the other the scene of his Beheading.
+
+Finally, Domenico was commissioned to paint the great recess of the
+Duomo, which is at the end behind the high-altar. In this he first made
+a decoration of stucco with foliage and figures, all with his own hand,
+and two Victories in the vacant spaces in the semicircle; which
+decoration was in truth a very rich and beautiful work. Then in the
+centre he painted in fresco the Ascension of Christ into Heaven; and
+from the cornice downwards he painted three pictures divided by columns
+in relief, and executed in perspective. In the middle picture, which has
+above it an arch in perspective, are Our Lady, S. Peter, and S. John;
+and in the spaces at the sides are ten Apostles, five on each side, all
+in various attitudes and gazing at Christ, who is ascending into Heaven;
+and above each of the two pictures of the Apostles is an Angel in
+foreshortening, the two together representing those two Angels who,
+after the Ascension, declared that He had risen into Heaven. This work
+is certainly admirable, but it would have been even more so if Domenico
+had given beautiful expressions to the heads; as it is, they have
+something in the expressions that is not very pleasing, and it appears
+that in his old age he adopted for his countenances an expression of
+terror by no means agreeable. This work, I say, if there had been any
+beauty in the heads, would have been so beautiful that there would have
+been nothing better to be seen. But in this matter of the expressions of
+the heads, in the opinion of the people of Siena, Sodoma was superior to
+Domenico, for the reason that Sodoma made them much more beautiful,
+although those of Domenico had more design and greater force. And, in
+truth, the manner of the heads in these our arts is of no little
+importance, and by painting them with graceful and beautiful expressions
+many masters have escaped the censure that they might have incurred for
+the rest of their work.
+
+This was the last work in painting executed by Domenico, who, having
+taken it into his head in the end to work in relief, began to give his
+attention to casting in bronze, and went so far with this that he
+executed, although with extraordinary labour, six Angels of bronze in
+the round, little less than life-size, for the six columns nearest the
+high-altar of the Duomo. These Angels, which are very beautiful, are
+holding tazze, or rather little basins, which support candelabra
+containing lights, and in the last of them he acquitted himself so well,
+that he was very highly praised for them. Whereupon, growing in courage,
+he made a beginning with figures of the twelve Apostles, which were to
+be placed on the columns lower down, where there are now some of marble,
+old and in a bad manner; but he did not continue them, for he did not
+live long after that. And since he was a man of infinite ingenuity, and
+succeeded well in everything, he engraved wood-blocks by himself in
+order to make prints in chiaroscuro, and there are to be seen prints of
+two Apostles engraved by him excellently well, of which we have one in
+our book of drawings, together with some sheets drawn divinely by his
+hand. He also engraved copper-plates with the burin, and he executed
+with aquafortis some very fanciful little stories of alchemy, in which
+Jove and the other Gods, wishing to congeal Mercury, place him bound in
+a crucible, and Vulcan and Pluto make fire around him; but when they
+think that he must be fixed, Mercury flies away and goes off in smoke.
+
+Domenico, in addition to the works described above, executed many others
+of no great importance, pictures of the Madonna and other suchlike
+chamber-pictures, such as a Madonna that is in the house of the
+Chevalier Donati, and a picture in distemper in which Jove changes
+himself into a shower of gold and rains into the lap of Danae. Piero
+Catanei, likewise, has a round picture in oils of a very beautiful
+Virgin by the hand of the same master. He also painted a most beautiful
+bier for the Confraternity of S. Lucia, and likewise another for that of
+S. Antonio; nor should anyone be astonished that I make mention of such
+works, for the reason that they are beautiful to a marvel, as all know
+who have seen them.
+
+Finally, having come to the age of sixty-five, he hastened the end of
+his life by toiling all by himself day and night at his castings in
+metal, polishing them himself without calling in any assistance. He
+died, then, on the 18th of May, 1549, and was given burial by his
+dearest friend, the goldsmith Giuliano, in the Duomo, where he had
+executed so many rare works. And he was carried to the tomb by all the
+craftsmen of his city, which recognized even then the great loss that
+she had suffered in the death of Domenico, and now, as she admires his
+works, recognizes it more than ever.
+
+Domenico was an orderly and upright person, fearing God and studious in
+his art, although solitary beyond measure; wherefore he well deserved to
+be honourably celebrated by his fellow-citizens of Siena, who have
+always won great praise by their attention to noble studies and to
+poetry, with verses both in Latin and in the vulgar tongue.
+
+FOOTNOTE:
+
+[29] Zaleucus.
+
+[30] Here there is a blank in the text.
+
+
+
+
+GIOVANNI ANTONIO LAPPOLI
+
+
+
+
+LIFE OF GIOVANNI ANTONIO LAPPOLI
+
+PAINTER OF AREZZO
+
+
+Rarely does it happen that from an old stock there fails to sprout some
+good shoot, which, growing with time, revives and reclothes with its
+leaves that desolate stem, and reveals with its fruits to those who
+taste them the same savour that was once known in the ancient tree. And
+that this is true is proved in this present Life of Giovanni Antonio,
+who, at the death of his father Matteo, who was a painter of passing
+good repute in his day, was left with a good income under the
+guardianship of his mother, and lived thus up to the age of twelve.
+Having come to that period of his life, and not caring to choose any
+other pursuit than that of painting, to which he was drawn, besides
+other reasons, by a wish to follow the footsteps of his father in that
+art, Giovanni Antonio began to learn the first rudiments of design under
+Domenico Pecori, a painter of Arezzo, who had been, together with his
+father Matteo, a disciple of Clemente,[31] and who was his first master.
+Then, after having been some time with him, desiring to make greater
+proficience than he was making under the discipline of that master and
+in that place, where he was not able to learn by himself, although he
+had a strong natural inclination, he turned his thoughts towards the
+idea of settling in Florence. To this intention, not to mention that he
+was left alone by the death of his mother, Fortune was favourable
+enough, for a young sister that he had was married to Leonardo Ricoveri,
+one of the first and richest citizens that there were at that time in
+Arezzo; and so he went off to Florence.
+
+There, among the works of many that he saw, the manner of Andrea del
+Sarto and of Jacopo da Pontormo pleased him more than that of all the
+others who had worked at painting in that city. Wherefore he resolved to
+place himself under one of those two, and was hesitating as to which of
+them he should choose as his master, when there were uncovered the Faith
+and Charity painted by Pontormo over the portico of the Nunziata in
+Florence, and he became fully determined to go to work under Pontormo,
+thinking that his manner was so beautiful that it might be expected that
+Jacopo, who was still a young man, was destined to surpass all the young
+painters of his own age, as, indeed, was the firm belief of everyone at
+that time. Lappoli, then, although he might have gone to work under
+Andrea, for the said reasons attached himself to Pontormo, under whose
+discipline he was for ever drawing, spurred to incredible exertions, out
+of emulation, by two motives. One of these was the presence of Giovan
+Maria dal Borgo a San Sepolcro, who was studying design and painting
+under the same master, and who, always advising him for his own good,
+brought it about that he changed his manner and adopted the good manner
+of Pontormo. The other--and this spurred him more strongly--was the
+sight of Agnolo, who was called Bronzino, being much brought forward by
+Jacopo on account of his loving submissiveness and goodness and the
+untiring diligence that he showed in imitating his master's works, not
+to mention that he drew very well and acquitted himself in colouring in
+such a manner, that he aroused hopes that he was destined to attain to
+that excellence and perfection which have been seen in him, and still
+are seen, in our own day.
+
+Giovanni Antonio, then, being desirous to learn, and impelled by the
+reasons mentioned above, spent many months in making drawings and copies
+of the works of Jacopo da Pontormo, which were so well executed, so
+good, and so beautiful, that it is certain that if he had persevered,
+what with the assistance that he had from Nature, his wish to become
+eminent, the force of competition, and the good manner of his master, he
+would have become most excellent; and to this some drawings in red chalk
+by his hand, which may be seen in our book, can bear witness. But
+pleasure, as may often be seen to happen, is in young men generally the
+enemy of excellence, and brings it about that their intellects are led
+astray; wherefore he who is engaged in the studies of any faculty,
+science, or art whatsoever should have no relations save with those who
+are of the same profession, and good and orderly besides. Giovanni
+Antonio, then, in order that he might be looked after, had gone to live
+in the house of one Ser Raffaello di Sandro, a lame chaplain, in S.
+Lorenzo, to whom he paid so much a year, and he abandoned in great
+measure the study of painting, for the reason that the priest was a man
+of the world, delighting in pictures, music, and other diversions, and
+many persons of talent frequented the rooms that he had at S. Lorenzo;
+among others, M. Antonio da Lucca, a most excellent musician and
+performer on the lute, at that time a very young man, from whom Giovanni
+learned to play the lute. And although the painter Rosso and some others
+of the profession also frequented the same place, Lappoli attached
+himself rather to the others than to the men of his art, from whom he
+might have learned much, while at the same time amusing himself. Through
+these distractions, therefore, the love of painting of which Giovanni
+Antonio had given proof cooled off in great measure; but none the less,
+being the friend of Pier Francesco di Jacopo di Sandro, who was a
+disciple of Andrea del Sarto, he went sometimes with him to the Scalzo
+to draw the pictures and nudes from life. And no long time passed before
+he applied himself to colouring and executed pictures of Jacopo's, and
+then by himself some Madonnas and portraits from life, among which were
+that of the above-mentioned M. Antonio da Lucca and that of Ser
+Raffaello, which are very good.
+
+In the year 1523, the plague being in Rome, Perino del Vaga came to
+Florence, and he also settled down to lodge with Ser Raffaello del
+Zoppo; wherefore Giovanni Antonio having formed a strait friendship with
+him and having recognized the ability of Perino, there was reawakened in
+his mind the desire to attend to painting, abandoning all other
+pleasures, and he resolved when the plague had ceased to go with Perino
+to Rome. But this design was never fulfilled, for the plague having come
+to Florence, at the very moment when Perino had finished the scene of
+the Submersion of Pharaoh in the Red Sea, painted in the colour of
+bronze in chiaroscuro for Ser Raffaello, during the execution of which
+Lappoli was always present, they were forced both the one and the other
+to fly from Florence, in order not to lose their lives there.
+
+Thereupon Giovanni Antonio returned to Arezzo, and set himself, in order
+to pass the time, to paint on canvas the scene of the death of Orpheus,
+killed by the Bacchantes: he set himself, I say, to paint this scene in
+chiaroscuro of the colour of bronze, after the manner in which he had
+seen Perino paint the picture mentioned above, and when the work was
+finished it brought him no little praise. He then set to work to finish
+an altar-piece that his former master Domenico Pecori had begun for the
+Nuns of S. Margherita: in which altar-piece, now to be seen in their
+convent, he painted an Annunciation. And he made two cartoons for two
+portraits from life from the waist upwards, both very beautiful; one was
+Lorenzo d' Antonio di Giorgio, at that time a pupil and a very handsome
+youth, and the other was Ser Piero Guazzesi, who was a convivial person.
+
+The plague having finally somewhat abated, Cipriano d' Anghiari, a rich
+man of Arezzo, who in those days had caused a chapel with ornaments and
+columns of grey-stone to be built in the Abbey of S. Fiore at Arezzo,
+allotted the altar-piece to Giovanni Antonio at the price of one hundred
+crowns. Meanwhile, Rosso passed through Arezzo on his way to Rome, and
+lodged with Giovanni Antonio, who was very much his friend; and, hearing
+of the work that he had undertaken to do, he made at the request of
+Lappoli a very beautiful little sketch full of nudes. Whereupon Giovanni
+Antonio, setting his hand to the work and imitating the design of Rosso,
+painted in that altar-piece the Visitation of S. Elizabeth, and in the
+lunette above it a God the Father and some children, copying the
+draperies and all the rest from life. And when he had brought it to
+completion, he was much praised and commended for it, and above all for
+some heads copied from life, painted in a good manner and with much
+profit to himself.
+
+Then, recognizing that if he wished to make greater proficience in his
+art he must take his leave of Arezzo, he determined, after the plague
+had ceased entirely in Rome, to go to that city, where he knew that
+Perino, Rosso, and many others of his friends had already returned and
+were employed in a number of important works. While of this mind, a
+convenient occasion of going there presented itself to him, for there
+arrived in Arezzo M. Paolo Valdambrini, the Secretary of Pope Clement
+VII, who, in returning from France in great haste, passed through Arezzo
+in order to see his brothers and nephews; and when Giovanni Antonio had
+gone to visit him, M. Paolo, who was desirous that there should be in
+his native city of Arezzo men distinguished in all the arts, who might
+demonstrate the genius which that air and that sky give to those who are
+born there, exhorted him, although there was not much need for
+exhortation, that he should go in his company to Rome, where he would
+obtain for him every convenience to enable him to attend to the studies
+of his art. Having therefore gone with M. Paolo to Rome, he found there
+Perino, Rosso, and others of his friends; and besides this he was able
+by means of M. Paolo to make the acquaintance of Giulio Romano,
+Sebastiano Viniziano, and Francesco Mazzuoli of Parma, who arrived in
+Rome about that time. This Francesco, delighting to play the lute, and
+therefore conceiving a very great affection for Giovanni Antonio and
+consorting continually with him, brought it about that Lappoli set
+himself with great zeal to draw and paint and to profit by the good
+fortune that he enjoyed in being the friend of the best painters that
+there were in Rome at that time. And he had already carried almost to
+completion a picture containing a Madonna of the size of life, which M.
+Paolo wished to present to Pope Clement in order to make Lappoli known
+to him, when, as Fortune would have it, who often sets herself in
+opposition to the designs of mankind, there took place on the 6th of
+May, in the year 1527, the accursed sack of Rome. On that miserable day
+M. Paolo galloped on horseback, and Giovanni Antonio with him, to the
+Porta di S. Spirito in the Trastevere, in order to prevent the soldiers
+of Bourbon for a time from entering by that gate; and there M. Paolo was
+killed and Lappoli was taken prisoner by the Spaniards. And in a short
+time, everything being given over to sack, the picture was lost,
+together with the designs executed in the chapel and all that poor
+Giovanni Antonio possessed. He, after having been much tormented by the
+Spaniards to induce him to pay a ransom, escaped in his shirt one night
+with some other prisoners, and, after suffering desperate hardships and
+running in great danger of his life, because the roads were not safe,
+finally made his way to Arezzo, where he was received by M. Giovanni
+Pollastra, a man of great learning, who was his uncle; but he had all
+that he could do to recover himself, so broken was he by terror and
+suffering.
+
+Then in the same year there came upon Arezzo the great plague in which
+four hundred persons died every day, and Giovanni Antonio was forced
+once more to fly, all in despair and very loth to go, and to stay for
+some months out of the city. But finally, when that pestilence had
+abated to such an extent that people could begin to mix together, a
+certain Fra Guasparri, a Conventual Friar of S. Francis, who was then
+Guardian of their convent in that city, commissioned Giovanni Antonio to
+paint the altar-piece of the high-altar in that church for one hundred
+crowns, stipulating that he should represent in it the Adoration of the
+Magi. Whereupon Lappoli, hearing that Rosso, having also fled from Rome,
+was at Borgo a San Sepolcro, and was there executing an altar-piece for
+the Company of S. Croce, went to visit him; and after showing him many
+courtesies and causing some things to be brought for him from Arezzo, of
+which he knew him to stand in need, since he had lost everything in the
+sack of Rome, he obtained for himself from Rosso a very beautiful design
+of the above-mentioned altar-piece that he had to paint for Fra
+Guasparri. And when he had returned to Arezzo he set his hand to the
+work, and finished it within a year from the day of the commission,
+according to the agreement, and that so well, that he was very highly
+praised for it. That design of Rosso's passed afterwards into the hands
+of Giorgio Vasari, and from him to the very reverend Don Vincenzio
+Borghini, Director of the Hospital of the Innocenti in Florence, who has
+it in his book of drawings by various painters.
+
+Not long afterwards, having become surety for Rosso to the amount of
+three hundred crowns, in the matter of some pictures that the said Rosso
+was to paint in the Madonna delle Lagrime, Giovanni Antonio found
+himself in a very evil pass, for Rosso went away without finishing the
+work, as has been related in his Life, and Lappoli was constrained to
+restore the money; and if his friends had not helped him, and
+particularly Giorgio Vasari, who valued at three hundred crowns the part
+that Rosso had left finished, Giovanni Antonio would have been little
+less than ruined in his effort to do honour and benefit to his native
+city. These difficulties over, Lappoli painted an altar-piece in oils
+containing the Madonna, S. Bartholomew, and S. Matthew at the commission
+of Abbot Camaiani of Bibbiena, for a chapel in the lower church at S.
+Maria del Sasso, a seat of the Preaching Friars in the Casentino; and he
+acquitted himself very well, counterfeiting the manner of Rosso. And
+this was the reason that a Confraternity at Bibbiena afterwards caused
+him to paint on a banner for carrying in processions a nude Christ with
+the Cross on His shoulder, who is shedding blood into the Chalice, and
+on the other side an Annunciation, which was one of the best things that
+he ever did.
+
+In the year 1534, Duke Alessandro de' Medici being expected in Arezzo,
+the Aretines, with Luigi Guicciardini, the commissary in that city,
+wishing to honour the Duke, ordained that two comedies should be
+performed. The charge of arranging one of those festivals was in the
+hands of a Company of the most noble young men in the city, who called
+themselves the Umidi; and the preparations and scenery for this comedy,
+which had for its subject the Intronati of Siena, were made by Niccolo
+Soggi, who was much extolled for them, and the comedy was performed very
+well and with infinite satisfaction to all who saw it. The festive
+preparations for the other were executed in competition by another
+Company of young men, likewise noble, who called themselves the Company
+of the Infiammati. And they, in order to be praised no less than the
+Umidi, performed a comedy by M. Giovanni Pollastra, a poet of Arezzo,
+under his management, and entrusted the making of the scenery to
+Giovanni Antonio, who acquitted himself consummately well; and thus
+their comedy was performed with great honour to that Company and to the
+whole city. Nor must I pass over a lovely notion of that poet's, who was
+certainly a man of beautiful ingenuity. While the preparations for these
+and other festivals were in progress, on many occasions the young men of
+the two Companies, out of rivalry and for various other reasons, had
+come to blows, and several disputes had arisen; wherefore Pollastra
+arranged a surprise (keeping the matter absolutely secret), which was as
+follows. When all the people, with the gentlemen and their ladies, had
+assembled in the place where the comedy was to be performed, four of
+those young men who had come to blows with one another in the city on
+other occasions, dashing out with naked swords and cloaks wound round
+their arms, began to shout on the stage and to pretend to kill one
+another: and the first of them to be seen rushed out with one temple as
+it were smeared with blood, crying out: "Come forth, traitors!" At which
+uproar all the people rose to their feet, men began to lay hands on
+their weapons, and the kinsmen of the young men, who appeared to be
+giving each other fearful thrusts, ran towards the stage; when he who
+had come out first, turning towards the other young men, said: "Hold
+your hands, gentlemen, and sheathe your swords, for I have taken no
+harm; and although we are at daggers drawn and you believe that the play
+will not be performed, yet it will take place, and I, wounded as I am,
+will now begin the Prologue." And so after this jest, by which all the
+spectators and the actors themselves, only excepting the four mentioned
+above, were taken in, the comedy was begun and played so well, that
+afterwards, in the year 1540, when the Lord Duke Cosimo and the Lady
+Duchess Leonora were in Arezzo, Giovanni Antonio had to prepare the
+scenery anew on the Piazza del Vescovado and have it performed before
+their Excellencies. And even as the performers had given satisfaction on
+the first occasion, so at that time they gave so much satisfaction to
+the Lord Duke, that they were afterwards invited to Florence to perform
+at the next Carnival. In these two scenic preparations, then, Lappoli
+acquitted himself very well, and he was very highly praised.
+
+He then made an ornament after the manner of a triumphal arch, with
+scenes in the colour of bronze, which was placed about the altar of the
+Madonna delle Chiavi. After a time Giovanni Antonio settled in Arezzo,
+fully determined, now that he had a wife and children, to go roaming no
+more, and living on his income and on the offices that the citizens of
+that city enjoy; and so he continued without working much. Not long,
+indeed, after these events, he sought to obtain the commissions for two
+altar-pieces that were to be painted in Arezzo, one for the Church and
+Company of S. Rocco, and the other for the high-altar of S. Domenico;
+but he did not succeed, for the reason that both those pictures were
+allotted to Giorgio Vasari, whose designs, among the many that were
+made, gave more satisfaction than any of the others. For the Company of
+the Ascension in that city Giovanni Antonio painted on a banner for
+carrying in processions Christ in the act of Resurrection, with many
+soldiers round the Sepulchre, and His Ascension into Heaven, with the
+Madonna surrounded by the twelve Apostles, which was all executed very
+well and with diligence. At Castello della Pieve he painted an
+altar-piece in oils of the Visitation of Our Lady, with some Saints
+about her, and in an altar-piece that was painted for the Pieve a San
+Stefano he depicted the Madonna and other Saints; which two works
+Lappoli executed much better than the others that he had painted up to
+that time, because he had been able to see at his leisure many works in
+relief and casts taken in gesso from the statues of Michelagnolo and
+from other ancient works, and brought by Giorgio Vasari to his house at
+Arezzo. The same master painted some pictures of Our Lady, which are
+dispersed throughout Arezzo and other places, and a Judith who is
+placing the head of Holofernes in a basket held by her serving-woman,
+which now belongs to Mons. M. Bernardetto Minerbetti, Bishop of Arezzo,
+who loved Giovanni Antonio much, as he loves all other men of talent,
+and received from him, besides other things, a young S. John the Baptist
+in the desert, almost wholly naked, which is held dear by him, since it
+is an excellent figure.
+
+Finally, recognizing that perfection in this art consists in nothing
+else but seeking in good time to become rich in invention and to study
+the nude continually, and thus to render facile the difficulties of
+execution, Giovanni Antonio repented that he had not spent in the study
+of art the time that he had given to his pleasures, perceiving that what
+can be done easily in youth cannot be done well in old age. But although
+he was always conscious of his error, yet he did not recognize it fully
+until, having set himself to study when already an old man, he saw a
+picture in oils, fourteen braccia long and six braccia and a half high,
+executed in forty-two days by Giorgio Vasari, who painted it for the
+Refectory of the Monks of the Abbey of S. Fiore at Arezzo; in which work
+are painted the Nuptials of Esther and King Ahasuerus, and there are in
+it more than sixty figures larger than life. Going therefore at times to
+see Giorgio at work, and staying to discourse with him, Giovanni Antonio
+said: "Now I see that continual study and work is what lifts men out of
+laborious effort, and that our art does not come down upon us like the
+Holy Ghost."
+
+Giovanni Antonio did not work much in fresco, for the reason that the
+colours changed too much to please him; nevertheless, there may be seen
+over the Church of Murello a Pieta with two little naked Angels by his
+hand, executed passing well. Finally, after having lived like a man of
+good judgment and one not unpractised in the ways of the world, he fell
+sick of a most violent fever at the age of sixty, in the year 1552, and
+died.
+
+A disciple of Giovanni Antonio was Bartolommeo Torri, the scion of a not
+ignoble family in Arezzo, who, making his way to Rome, and placing
+himself under Don Giulio Clovio, a most excellent miniaturist, devoted
+himself in so thorough a manner to design and to the study of the nude,
+but most of all to anatomy, that he became an able master, and was held
+to be the best draughtsman in Rome. And it is not long since Don Silvano
+Razzi related to me that Don Giulio Clovio had told him in Rome, after
+having praised this young man highly, the very thing that he has often
+declared to me--namely, that he had turned him out of his house for no
+other reason but his filthy anatomy, for he kept so many limbs and
+pieces of men under his bed and all over his rooms, that they poisoned
+the whole house. Besides this, by neglecting himself and thinking that
+living like an unwashed philosopher, accepting no rule of life, and
+avoiding the society of other men, was the way to become great and
+immortal, he ruined himself completely; for nature will not tolerate the
+unreasonable outrages that some men at times do to her. Having therefore
+fallen ill at the age of twenty-five, Bartolommeo returned to Arezzo, in
+order to regain his health and to seek to build himself up again; but he
+did not succeed, for he continued his usual studies and the same
+irregularities, and in four months, a little after the death of Giovanni
+Antonio, he died and went to join him.
+
+The loss of this young man was an infinite grief to the whole city, for
+if he had lived, to judge from the great promise of his works, he was
+like to do extraordinary honour to his native place and to all Tuscany;
+and whoever sees any of the drawings that he made when still a mere lad,
+stands marvelling at them and full of compassion for his untimely
+death.
+
+FOOTNOTE:
+
+[31] Don Bartolommeo della Gatta, Abbot of S. Clemente.
+
+
+
+
+NICCOLO SOGGI
+
+
+
+
+LIFE OF NICCOLO SOGGI
+
+PAINTER
+
+
+Among the many who were disciples of Pietro Perugino, there was not one,
+after Raffaello da Urbino, who was more studious or more diligent than
+Niccolo Soggi, whose Life we are now about to write. This master was
+born in Florence, the son of Jacopo Soggi, a worthy person, but not very
+rich; and in time he entered the service of M. Antonio dal Monte in
+Rome, because Jacopo had a farm at Marciano in Valdichiana, and, passing
+most of his time there, associated not a little with that same M.
+Antonio dal Monte, their properties being near together.
+
+Jacopo, then, perceiving that this son of his was much inclined to
+painting, placed him with Pietro Perugino; and in a short time, by means
+of continual study, he learned so much that it was not long before
+Pietro began to make use of him in his works, to the great advantage of
+Niccolo, who devoted himself in such a manner to drawing in perspective
+and copying from nature, that he afterwards became very excellent in
+both the one field and the other. Niccolo also gave much attention to
+making models of clay and wax, over which he laid draperies and soaked
+parchment: which was the reason that he rendered his manner so dry, that
+he always held to the same as long as he lived, nor could he ever get
+rid of it for all the pains that he took.
+
+The first work that this Niccolo executed after the death of his master
+Pietro was an altar-piece in oils in the Hospital for Women, founded by
+Bonifazio Lupi, in the Via San Gallo at Florence--that is, the side
+behind the altar, wherein is the Angel saluting Our Lady, with a
+building drawn in perspective, in which there are arches and a groined
+vaulting rising above pilasters after the manner of Pietro. Then, in the
+year 1512, after having executed many pictures of Our Lady for the
+houses of citizens, and other little works such as are painted every
+day, hearing that great things were being done in Rome, he departed from
+Florence, thinking to make proficience in art and also to save some
+money, and went off to Rome. There, having paid a visit to the aforesaid
+M. Antonio dal Monte, who was then a Cardinal, he was not only welcomed
+warmly, but also straightway set to work to paint, in those early days
+of the pontificate of Leo, on the facade of the palace where there is
+the statue of Maestro Pasquino, a great escutcheon of Pope Leo in
+fresco, between that of the Roman People and that of the Cardinal. In
+that work Niccolo did not acquit himself very well, for in painting some
+nude figures and others clothed that he placed there as ornaments for
+those escutcheons, he recognized that the study of models is bad for him
+who wishes to acquire a good manner. Thereupon, after the uncovering of
+that work, which did not prove to be of that excellence which many
+expected, Niccolo set himself to execute a picture in oils, in which he
+painted the Martyr S. Prassedia squeezing a sponge full of blood into a
+vessel; and he finished it with such diligence that he recovered in part
+the honour that he considered himself to have lost in painting the
+escutcheons described above. This picture, which was executed for the
+above-mentioned Cardinal dal Monte, who was titular of S. Prassedia, was
+placed in the centre of that church, over an altar beneath which is a
+well of the blood of Holy Martyrs--a beautiful idea, the picture
+alluding to the place where there was the blood of those Martyrs. After
+this Niccolo painted for his patron the Cardinal another picture in
+oils, three-quarters of a braccio in height, of Our Lady with the Child
+in her arms, S. John as a little boy, and some landscapes, all executed
+so well and with such diligence, that the whole work appears to be done
+in miniature, and not painted; which picture, one of the best works that
+Niccolo ever produced, was for many years in the apartment of that
+prelate. Afterwards, when the Cardinal arrived in Arezzo and lodged in
+the Abbey of S. Fiore, a seat of the Black Friars of S. Benedict, in
+return for the many courtesies that were shown to him, he presented that
+picture to the sacristy of that place, in which it has been treasured
+ever since, both as a good painting and in memory of the Cardinal.
+
+Niccolo himself went with the Cardinal to Arezzo, where he lived almost
+ever afterwards. At the time he formed a friendship with the painter
+Domenico Pecori, who was then painting an altar-piece with the
+Circumcision of Christ for the Company of the Trinita; and such was the
+intimacy between them that Niccolo painted for Domenico in that
+altar-piece a building in perspective with columns and arches supporting
+a ceiling full of rosettes, according to the custom of those days, which
+was held at that time to be very beautiful. Niccolo also painted for the
+same Domenico a round picture of the Madonna with a multitude below, in
+oils and on cloth, for the baldachin of the Confraternity of Arezzo,
+which was burned, as has been related in the Life of Domenico
+Pecori,[32] during a festival that was held in S. Francesco. Then,
+having received the commission for a chapel in that same S. Francesco,
+the second on the right hand as one enters the church, he painted there
+in distemper Our Lady, S. John the Baptist, S. Bernard, S. Anthony, S.
+Francis, and three Angels in the air who are singing, with God the
+Father in a pediment; which were executed by Niccolo almost entirely in
+distemper, with the point of the brush. But since the work has almost
+all peeled off on account of the strength of the distemper, it was
+labour thrown away. Niccolo did this in order to try new methods; and
+when he had recognized that the true method was working in fresco, he
+seized the first opportunity, and undertook to paint in fresco a chapel
+in S. Agostino in that city, beside the door on the left hand as one
+enters the church. In this chapel, which was allotted to him by one
+Scamarra, a master of furnaces, he painted a Madonna in the sky with a
+multitude beneath, and S. Donatus and S. Francis kneeling; but the best
+thing that he did in this work was a S. Rocco at the head of the chapel.
+
+This work giving great pleasure to Domenico Ricciardi of Arezzo, who had
+a chapel in the Church of the Madonna delle Lagrime, he entrusted the
+painting of the altar-piece of that chapel to Niccolo, who, setting his
+hand to the work, painted in it with much care and diligence the
+Nativity of Jesus Christ. And although he toiled a long time over
+finishing it, he executed it so well that he deserves to be excused for
+this, or rather, merits infinite praise, for the reason that it is a
+most beautiful work; nor would anyone believe with what extraordinary
+consideration he painted every least thing in it, and a ruined building,
+near the hut wherein are the Infant Christ and the Virgin, is drawn very
+well in perspective. In the S. Joseph and some Shepherds are many heads
+portrayed from life, such as Stagio Sassoli, a painter and the friend of
+Niccolo, and Papino della Pieve, his disciple, who, if he had not died
+when still young, would have done very great honour both to himself and
+to his country; and three Angels in the air who are singing are so well
+executed that they would be enough by themselves to demonstrate the
+talent of Niccolo and the patience with which he laboured at this work
+up to the very last. And no sooner had he finished it than he was
+requested by the men of the Company of S. Maria della Neve, at Monte
+Sansovino, to paint for that Company an altar-piece wherein was to be
+the story of the Snow, which, falling on the site of S. Maria Maggiore
+at Rome on the 5th of August, was the reason of the building of that
+temple. Niccolo, then, executed that altar-piece for the above-mentioned
+Company with much diligence; and afterwards he executed at Marciano a
+work in fresco that won no little praise.
+
+Now in the year 1524, after M. Baldo Magini had caused Antonio, the
+brother of Giuliano da San Gallo, to build in the Madonna delle Carceri,
+in the town of Prato, a tabernacle of marble with two columns,
+architrave, cornice, and a quarter-round arch, Antonio resolved to bring
+it about that M. Baldo should give the commission for the picture which
+was to adorn that tabernacle to Niccolo, with whom he had formed a
+friendship when he was working in the Palace of the above-mentioned
+Cardinal dal Monte at Monte Sansovino. He presented him, therefore, to
+M. Baldo, who, although he had been minded to have it painted by Andrea
+del Sarto, as has been related in another place, resolved, at the
+entreaties and advice of Antonio, to allot it to Niccolo. And he, having
+set his hand to it, strove with all his power to make a beautiful work,
+but he did not succeed; for, apart from diligence, there is no
+excellence of design to be seen in it, nor any other quality worthy of
+much praise, because his hard manner, with his labours over his models
+of clay and wax, almost always gave a laborious and displeasing effect
+to his work. And yet, with regard to the labours of art, that man could
+not have done more than he did or shown more lovingness; and since he
+knew that none ...[33] for many years he could never bring himself to
+believe that others surpassed him in excellence. In this work, then,
+there is a God the Father who is sending down the crown of virginity and
+humility upon the Madonna by the hands of some Angels who are round her,
+some of whom are playing various instruments. Niccolo made in the
+picture a portrait from life of M. Baldo, kneeling at the feet of S.
+Ubaldo the Bishop, and on the other side he painted S. Joseph; and those
+two figures are one on either side of the image of the Madonna, which
+worked miracles in that place. Niccolo afterwards painted a picture
+three braccia in height of the same M. Baldo Magini from life, standing
+with the Church of S. Fabiano di Prato in his hand, which he presented
+to the Chapter of the Canons of the Pieve; and this Niccolo executed for
+that Chapter, which, in memory of the benefit received, caused the
+picture to be placed in the sacristy, an honour well deserved by that
+remarkable man, who with excellent judgment conferred benefits on that
+church, the principal church of his native city, and so renowned for the
+Girdle of the Madonna, which is preserved there. This portrait was one
+of the best works that Niccolo ever executed in painting. It is also the
+belief of some that a little altar-piece that is in the Company of S.
+Pier Martire on the Piazza di S. Domenico, at Prato, in which are many
+portraits from life, is by the hand of the same Niccolo; but in my
+opinion, even if this be true, it was painted by him before any of the
+other pictures mentioned above.
+
+After these works, Niccolo--under whose discipline Domenico Giuntalodi,
+a young man of excellent ability belonging to Prato, had learned the
+rudiments of the art of painting, although, in consequence of having
+acquired the manner of Niccolo, he never became a great master in
+painting, as will be related--departed from Prato and came to work in
+Florence; but, having seen that the most important works in art were
+given to better and more eminent men than himself, and that his manner
+was not up to the standard of Andrea del Sarto, Pontormo, Rosso, and the
+others, he made up his mind to return to Arezzo, in which city he had
+more friends, greater credit, and less competition. Which having done,
+no sooner had he arrived than he made known to M. Giuliano Bacci, one of
+the chief citizens of that place, a desire that he had in his heart,
+which was this, that he wished that Arezzo should become his country,
+and that therefore he would gladly undertake to execute some work which
+might maintain him for a time in the practice of his art, whereby he
+hoped to demonstrate to that city the nature of his talents. Whereupon
+Messer Giuliano, an ingenious man who desired that his native city
+should be embellished and should contain persons engaged in the arts, so
+went to work with the men then governing the Company of the Nunziata,
+who in those days had caused a great vaulting to be built in their
+church, with the intention of having it painted, that one arch of the
+wall-surface of that vaulting was allotted to Niccolo; and it was
+proposed that he should be commissioned to paint the rest, if the first
+part, which he had to do then, should please the men of the aforesaid
+Company. Having therefore set his hand to this work with great
+diligence, in two years Niccolo finished the half, but not more, of one
+arch, on which he painted in fresco the Tiburtine Sibyl showing to the
+Emperor Octavian the Virgin in Heaven with the Infant Jesus Christ in
+her arms, and Octavian in reverent adoration. In the figure of Octavian
+he portrayed the above-mentioned M. Giuliano Bacci, and his pupil
+Domenico in a tall young man draped in red, and others of his friends in
+other heads; and, in a word, he acquitted himself in this work in such a
+manner that it did not displease the men of that Company and the other
+men of that city. It is true, indeed, that everyone grew weary of seeing
+him take so long and toil so much over executing his works; but
+notwithstanding all this the rest would have been given to him to
+finish, if that had not been prevented by the arrival in Arezzo of the
+Florentine Rosso, a rare painter, to whom, after he had been put forward
+by the Aretine painter Giovanni Antonio Lappoli and M. Giovanni
+Pollastra, as has been related in another place, much favour was shown
+and the rest of that work allotted. At which Niccolo felt such disdain,
+that, if he had not taken a wife the year before and had a son by her,
+so that he was settled in Arezzo, he would have departed straightway.
+However, having finally become pacified, he executed an altar-piece for
+the Church of Sargiano, a place two miles distant from Arezzo, where
+there are Frati Zoccolanti; in which he painted the Assumption of Our
+Lady into Heaven, with many little Angels supporting her, and S. Thomas
+below receiving the Girdle, while all around are S. Francis, S. Louis,
+S. John the Baptist, and S. Elizabeth, Queen of Hungary. In some of
+these figures, and particularly in some of the little Angels, he
+acquitted himself very well; and so also in the predella he painted some
+scenes with little figures, which are passing good. He executed,
+likewise, in the Convent of the Nuns of the Murate, who belong to the
+same Order, in that city, a Dead Christ with the Maries, which is
+wrought with a high finish for a picture in fresco. In the Abbey of S.
+Fiore, a seat of Black Friars, behind the Crucifix that is placed on the
+high-altar, he painted in oils, on a canvas, Christ praying in the
+Garden and the Angel showing to Him the Chalice of the Passion and
+comforting Him, which was certainly a work of no little beauty and
+excellence. And for the Nuns of S. Benedetto, of the Order of Camaldoli,
+at Arezzo, on an arch above a door by which one enters the convent, he
+painted the Madonna, S. Benedict, and S. Catharine, a work which was
+afterwards thrown to the ground in order to enlarge the church.
+
+In the township of Marciano in Valdichiana, where he passed much of his
+time, living partly on the revenues that he had in that place and partly
+on what he could earn there, Niccolo began an altar-piece of the Dead
+Christ and many other works, with which he occupied himself for a time.
+And meanwhile, having with him the above-mentioned Domenico Giuntalodi
+of Prato, whom he loved as a son and kept in his house, he strove to
+make him excellent in the matters of art, teaching him so well how to
+draw in perspective, to copy from nature, and to make designs, that he
+was already becoming very able in all these respects, showing a good and
+beautiful genius. And this Niccolo did, besides being moved by the love
+and affection that he bore to that young man, in the hope of having one
+who might help him now that he was nearing old age, and might give him
+some return in his last years for so much labour and lovingness. Niccolo
+was in truth most loving with every man, true by nature, and much the
+friend of those who laboured in order to attain to something in the
+world of art; and what he knew he taught to them with extraordinary
+willingness.
+
+No long time after this, when Niccolo had returned from Marciano to
+Arezzo and Domenico had left him, the men of the Company of the Corpo di
+Cristo, in that city, had a commission to give for the painting of an
+altar-piece for the high-altar of the Church of S. Domenico. Now,
+Niccolo desiring to paint it, and likewise Giorgio Vasari, then a mere
+lad, the former did something which probably not many of the men of our
+art would do at the present day, which was as follows: Niccolo, who was
+one of the members of the above-mentioned Company, perceiving that many
+were disposed to have it painted by Giorgio, in order to bring him
+forward, and that the young man had a very great desire for it,
+resolved, after remarking Giorgio's zeal, to lay aside his own desire
+and need and to have the picture allotted by his companions to Giorgio,
+thinking more of the advantage that the young man might gain from the
+work than of his own profit and interest; and even as he wished, so
+exactly did the men of that Company decide.
+
+In the meantime Domenico Giuntalodi, having gone to Rome, found Fortune
+so propitious that he became known to Don Martino, the Ambassador of the
+King of Portugal, and went to live with him; and he painted for him a
+canvas with some twenty portraits from life, all of his followers and
+friends, with himself in the midst of them, engaged in conversation;
+which work so pleased Don Martino, that he looked upon Domenico as the
+first painter in the world. Afterwards Don Ferrante Gonzaga, having been
+made Viceroy of Sicily, and desiring to fortify the towns of that
+kingdom, wished to have about his person a man who might draw and put
+down on paper for him all that he thought of from day to day; and he
+wrote to Don Martino that he should find for him a young man who might
+be both able and willing to serve him in this way, and should send him
+off as soon as possible. Don Martino, therefore, first sent to Don
+Ferrante some designs by the hand of Domenico, among which was a
+Colosseum, engraved on copper by Girolamo Fagiuoli of Bologna for
+Antonio Salamanca, but drawn in perspective by Domenico; an old man in
+a child's go-cart, drawn by the same hand and published in engraving,
+with letters that ran thus, "Ancora imparo"; and a little picture with
+the portrait of Don Martino himself. And shortly afterwards he sent
+Domenico, at the wish of the aforesaid lord, Don Ferrante, who had been
+much pleased with that young man's works. Having then arrived in Sicily,
+there were assigned to Domenico an honourable salary, a horse, and a
+servant, all at the expense of Don Ferrante; and not long afterwards he
+was set to work on the walls and fortresses of Sicily. Whereupon,
+abandoning his painting little by little, he devoted himself to
+something else which for a time was more profitable to him; for, being
+an ingenious person, he made use of men who were well adapted to heavy
+labour, kept beasts of burden in the charge of others, and caused sand
+and lime to be collected and furnaces to be set up; and no long time had
+passed before he found that he had saved so much that he was able to buy
+offices in Rome to the extent of two thousand crowns, and shortly
+afterwards some others. Then, after he had been made keeper of the
+wardrobe to Don Ferrante, it happened that his master was removed from
+the government of Sicily and sent to that of Milan; whereupon Domenico
+went with him, and, working on the fortifications of that State,
+contrived, what with being industrious and with being something of a
+miser, to become very rich; and what is more, he came into such credit
+that he managed almost everything in that government.
+
+Hearing of this, Niccolo, who was at Arezzo, now an old man, needy, and
+without any work to do, went to find Domenico in Milan, thinking that
+even as he had not failed Domenico when he was a young man, so Domenico
+should not fail him now, but should avail himself of his services, since
+he had many in his employ, and should be both able and willing to assist
+him in his poverty-stricken old age. But he found to his cost that the
+judgments of men, in expecting too much from others, are often deceived,
+and that the men who change their condition also change more often than
+not their nature and their will. For after arriving in Milan, where he
+found Domenico raised to such greatness that he had no little difficulty
+in getting speech of him, Niccolo related to him all his troubles, and
+then besought him that he should help him by making use of his
+services; but Domenico, not remembering or not choosing to remember
+with what lovingness he had been brought up by Niccolo as if he had been
+his own son, gave him a miserably small sum of money and got rid of him
+as soon as he was able. And so Niccolo returned to Arezzo very sore at
+heart, having recognized that with the labour and expense with which, as
+he thought, he had reared a son, he had formed one who was little less
+than an enemy.
+
+In order to earn his bread, therefore, he went about executing all the
+work that came to his hand, as he had done many years before, and he
+painted among other things a canvas for the Commune of Monte Sansovino,
+containing the said town of Monte Sansovino and a Madonna in the sky,
+with two Saints at the sides; which picture was set up on an altar in
+the Madonna di Vertigli, a church belonging to the Monks of the Order of
+Camaldoli, not far distant from the Monte, where it has pleased and
+still pleases Our Lord daily to perform many miracles and to grant
+favours to those who recommend themselves to the Queen of Heaven.
+Afterwards, Julius III having been created Supreme Pontiff, Niccolo, who
+had been much connected with the house of Monte, made his way to Rome,
+although he was an old man of eighty, and, having kissed the foot of His
+Holiness, besought him that he should deign to make use of him in the
+buildings which were to be erected, so men said, at the Monte, a place
+which the Lord Duke of Florence had given in fief to the Pontiff. The
+Pope, then, having received him warmly, ordained that the means to live
+in Rome should be given to him without exacting any sort of exertion
+from him; and in this manner Niccolo spent several months in Rome,
+drawing many antiquities to pass the time.
+
+Meanwhile the Pope resolved to increase his native town of Monte
+Sansovino, and to make there, besides many ornamental works, an
+aqueduct, because that place suffered much from want of water; and
+Giorgio Vasari, who had orders from the Pope to cause those buildings to
+be begun, recommended Niccolo Soggi strongly to His Holiness, entreating
+him that Niccolo should be given the office of superintendent over those
+works. Whereupon Niccolo went to Arezzo filled with these hopes, but he
+had not been there many days when, worn out by the fatigues and
+hardships of this world and by the knowledge that he had been abandoned
+by him who should have been the last to forsake him, he finished the
+course of his life and was buried in S. Domenico in that city.
+
+Not long afterwards Domenico Giuntalodi, Don Ferrante Gonzaga having
+died, departed from Milan with the intention of returning to Prato and
+of passing the rest of his life there in repose. However, finding there
+neither relatives nor friends, and recognizing that Prato was no abiding
+place for him, he repented too late that he had behaved ungratefully to
+Niccolo, and returned to Lombardy to serve the sons of Don Ferrante. But
+no long time passed before he fell sick unto death; whereupon he made a
+will leaving ten thousand crowns to his fellow-citizens of Prato, to the
+end that they might buy property to that amount and form a fund
+wherewith to maintain continually at their studies a certain number of
+students from Prato, in the manner in which they maintained certain
+others, as they still do, according to the terms of another bequest. And
+this has been carried out by the men of that town of Prato, who,
+grateful for such a benefit, which in truth has been a very great one
+and worthy of eternal remembrance, have placed in their Council Chamber
+the image of Domenico, as that of one who has deserved well of his
+country.
+
+FOOTNOTE:
+
+[32] See p. 208, Vol. III.
+
+[33] These words are missing in the text.
+
+
+
+
+INDEX
+
+
+
+
+INDEX OF NAMES
+
+OF THE CRAFTSMEN MENTIONED IN VOLUME VI
+
+
+    Abacco, Antonio L', 113, 114, 130, 136, 137
+
+    Abbot of S. Clemente (Don Bartolommeo della Gatta), 255
+
+    Agnolo, Baccio d' (Baccio Baglioni), _Life_, 65-68. 69, 72
+
+    Agnolo, Battista d' (Battista del Moro), _Life_, 27-28. 108
+
+    Agnolo, Domenico di Baccio d', 68, 70, 72
+
+    Agnolo, Filippo di Baccio d', 68, 70
+
+    Agnolo, Giuliano di Baccio d', _Life_, 68-72
+
+    Agnolo, Marco di Battista d', 27, 28
+
+    Agnolo Bronzino, 118, 256
+
+    Agostino Viniziano (Agostino de' Musi), _Life_, 102-103. 106
+
+    Aimo, Domenico (Il Bologna), 217
+
+    Alberti, Leon Batista, 45
+
+    Alberto Monsignori (Bonsignori), 29
+
+    Albrecht (Heinrich) Aldegrever, 119
+
+    Albrecht Duerer, _Life_, 92-98. 99, 102, 119, 165
+
+    Aldegrever, Albrecht (Heinrich), 119
+
+    Alessandro Cesati (Il Greco), _Life_, 85
+
+    Alessandro Falconetto, 47, 48
+
+    Alessandro Filipepi (Sandro Botticelli), 91
+
+    Andrea Contucci (Andrea Sansovino), 66, 133
+
+    Andrea dal Castagno, 182
+
+    Andrea de' Ceri, 190-192, 201
+
+    Andrea del Sarto, 60, 106, 255-257, 272, 273
+
+    Andrea Mantegna, 15, 29, 30, 91
+
+    Andrea Palladio, 28, 48
+
+    Andrea Sansovino (Andrea Contucci), 66, 133
+
+    Angelico, Fra (Fra Giovanni da Fiesole), 246
+
+    Anichini, Luigi, 85
+
+    Anselmo Canneri, 22
+
+    Antoine Lafrery (Antonio Lanferri), 113
+
+    Antonio da San Gallo (the elder), 66, 123, 272
+
+    Antonio da San Gallo (the younger), _Life_, 123-141. 167, 197,
+      198, 219, 220, 222
+
+    Antonio da Trento (Antonio Fantuzzi), 108
+
+    Antonio del Pollaiuolo, 182, 246
+
+    Antonio di Giorgio Marchissi, 126
+
+    Antonio di Marco di Giano (Il Carota), 213
+
+    Antonio Fantuzzi (Antonio da Trento), 108
+
+    Antonio l'Abacco, 113, 114, 130, 136, 137
+
+    Antonio Lanferri (Antoine Lafrery), 113
+
+    Antonio (or Vittore) Pisano (or Pisanello), 35
+
+    Antonio Salamanca, 276
+
+    Antonio Scarpagni (Scarpagnino or Zanfragnino,) 10
+
+    Aretino, Leone (Leone Lioni), 87
+
+    Aretusi, Pellegrino degli (Pellegrino da Modena, or de' Munari), 125
+
+    Avanzi, Niccolo, 79, 80
+
+
+    Bacchiacca, Il (Francesco Ubertini), 60
+
+    Baccio Baglioni (Baccio d' Agnolo), _Life_, 65-68. 69, 72
+
+    Baccio Baldini, 91
+
+    Baccio Bandinelli, 69-71, 103, 105, 111
+
+    Baccio d' Agnolo (Baccio Baglioni), _Life_, 65-68. 69, 72
+
+    Baldassarre Peruzzi, 107, 167, 174, 177, 239
+
+    Baldini, Baccio, 91
+
+    Bandinelli, Baccio, 69-71, 103, 105, 111
+
+    Barile, Giovan, 177
+
+    Barlacchi, Tommaso, 104, 113
+
+    Barozzo, Jacopo, 114
+
+    Bartolommeo da Castiglione, 152
+
+    Bartolommeo della Gatta, Don (Abbot of S. Clemente), 255
+
+    Bartolommeo di San Marco, Fra, 66
+
+    Bartolommeo Ridolfi, 48
+
+    Bartolommeo Torri, 264, 265
+
+    Battista d' Agnolo (Battista del Moro), _Life_, 27-28. 108
+
+    Battista del Cervelliera, 214, 247, 248
+
+    Battista del Moro (Battista d' Agnolo), _Life_, 27-28. 108
+
+    Battista del Tasso, 213
+
+    Battista Franco, 108, 114, 156
+
+    Battista Gobbo, 133, 140
+
+    Battista of Vicenza (Battista Pittoni), 108
+
+    Baviera, 100, 101, 109, 209
+
+    Bazzi, Giovanni Antonio (Il Sodoma), 236-238, 247, 249
+
+    Beatricio, Niccolo (Nicolas Beautrizet), 114
+
+    Beccafumi, Domenico (Domenico di Pace), _Life_, 235-251. 108,
+      213, 215, 223, 235-251
+
+    Beham, Hans, 119
+
+    Belli, Valerio (Valerio Vicentino), _Life_, 82-84. 76, 79
+
+    Bellini, Giovanni, 173
+
+    Bellini, Jacopo, 11, 35
+
+    Benedetto da Maiano, 66
+
+    Benedetto Ghirlandajo, 57
+
+    Benedetto Pagni, 152, 154-156, 169
+
+    Benozzo Gozzoli, 246
+
+    Benvenuto Cellini, 86, 87
+
+    Bernardi, Giovanni (Giovanni da Castel Bolognese), _Life_, 76-79.
+      83, 84
+
+    Bernardino Pinturicchio, 195
+
+    Bologna, Il (Domenico Aimo), 217
+
+    Bolognese, Marc' Antonio (Marc' Antonio Raimondi, or de' Franci),
+      _Life_, 95-96, 99-106. 108, 109, 120
+
+    Bonasone, Giulio, 114
+
+    Bonsignori (Monsignori), Alberto, 29
+
+    Bonsignori (Monsignori), Fra Cherubino, 34
+
+    Bonsignori (Monsignori), Fra Girolamo, _Life_, 34-35
+
+    Bonsignori (Monsignori), Francesco, _Life_, 29-35
+
+    Borgo, Raffaello dal (Raffaello dal Colle), 152, 169
+
+    Borgo a San Sepolcro, Giovan Maria dal, 256
+
+    Bosch, Hieronymus, 118
+
+    Botticelli, Sandro (Alessandro Filipepi), 91
+
+    Boyvin, Rene (Renato), 115
+
+    Bramante da Urbino, 6, 124, 126, 136, 138
+
+    Brescianino (Girolamo Muziano, or Mosciano), 114
+
+    Bronzino, Agnolo, 118, 256
+
+    Brunelleschi, Filippo, 68, 71
+
+    Brusciasorzi, Domenico (Domenico del Riccio), 82
+
+    Bugiardini, Giuliano, 183
+
+    Buonaccorsi, Perino (Perino del Vaga, or Perino de' Ceri),
+      _Life_, 189-225. 78, 109, 125, 129, 139, 148, 177, 189-225,
+      244, 257-259
+
+    Buonarroti, Michelagnolo, 57, 59, 60, 66, 68, 78, 79, 85, 92,
+      107, 111, 113, 114, 129, 135, 136, 139, 140, 167, 174-177, 183,
+      185, 191, 193, 195, 205, 218, 219, 222, 225, 236, 263
+
+
+    Cadore, Tiziano da (Tiziano Vecelli), 109, 111, 114, 161, 183, 222
+
+    Calcar, Johann of (Jan Stephanus van Calcker), 116
+
+    Caliari, Paolo (Paolo Veronese), 22, 27
+
+    Cammei, Domenico de', 76
+
+    Canneri, Anselmo, 22
+
+    Caraglio, Gian Jacopo, 109, 110, 209
+
+    Caravaggio, Polidoro da, 177, 196
+
+    Carota, Il (Antonio di Marco di Giano), 213
+
+    Caroto, Giovan Francesco, _Life_, 15-21. 37
+
+    Caroto, Giovanni, _Life_, 21-22. 15
+
+    Carpi, Ugo da, 106, 107
+
+    Carrara, Danese da (Danese Cattaneo), 26-28, 54
+
+    Carrucci, Jacopo (Jacopo da Pontormo), 60, 255-257, 273
+
+    Castagno, Andrea dal, 182
+
+    Castel Bolognese, Giovanni da (Giovanni Bernardi), _Life_, 76-79.
+      83, 84
+
+    Castelfranco, Giorgione da, 23, 173, 174
+
+    Castiglione, Bartolommeo da, 152
+
+    Catanei, Piero, 250
+
+    Cattaneo, Danese (Danese da Carrara), 26-28, 54
+
+    Cavalieri, Giovan Battista de', 113
+
+    Cavazzuola, Paolo (Paolo Morando), _Life_, 39-42. 15, 24, 25, 29,
+      39-42, 50
+
+    Cellini, Benvenuto, 86, 87
+
+    Ceri, Andrea de', 190-192, 201
+
+    Ceri, Perino de' (Perino del Vaga, or Perino Buonaccorsi),
+      _Life_, 189-225. 78, 109, 125, 129, 139, 148, 177, 189-225, 244,
+      257-259
+
+    Cervelliera, Battista del, 214, 247, 248
+
+    Cesati, Alessandro (Il Greco), _Life_, 85
+
+    Cherubino Monsignori (Bonsignori), Fra, 34
+
+    Cicogna, Girolamo, 22
+
+    Cioli, Simone, 133
+
+    Clovio, Don Giulio, 51, 54, 111, 264
+
+    Cock, Hieronymus, _Life_, 116-120. 108
+
+    Colle, Raffaello dal (Raffaello dal Borgo), 152, 169
+
+    Contucci, Andrea (Andrea Sansovino), 66, 133
+
+    Coriolano, Cristofano, 120
+
+    Corniole, Giovanni delle, 76, 84
+
+    Cortona, Luca da (Luca Signorelli), 246
+
+    Cosimo (Jacopo) da Trezzo, 86
+
+    Cosini, Silvio, 210
+
+    Cousin, Jean (Giovanni Cugini), 114
+
+    Coxie, Michael (Michele), 116, 178
+
+    Cristofano Coriolano, 120
+
+    Cristofano Lombardi (Tofano Lombardino), 167
+
+    Cronaca, Il (Simone del Pollaiuolo), 66, 70
+
+    Cugini, Giovanni (Jean Cousin), 114
+
+    Cungi, Leonardo, 225
+
+
+    Danese Cattaneo (Danese da Carrara), 26-28, 54
+
+    Daniello Ricciarelli, 113, 219, 224
+
+    David Ghirlandajo, 57
+
+    Dente, Marco (Marco da Ravenna), _Life_, 102-103. 106
+
+    Domenico Aimo (Il Bologna), 217
+
+    Domenico Beccafumi (Domenico di Pace), _Life_, 235-251. 108,
+      213, 215, 223, 235-251
+
+    Domenico Brusciasorzi (Domenico del Riccio), 82
+
+    Domenico de' Cammei, 76
+
+    Domenico del Riccio (Domenico Brusciasorzi), 82
+
+    Domenico di Baccio d' Agnolo, 68, 70, 72
+
+    Domenico di Pace (Domenico Beccafumi), _Life_, 235-251. 108,
+      213, 215, 223, 235-251
+
+    Domenico di Polo, 84
+
+    Domenico Ghirlandajo, 57, 58, 191
+
+    Domenico Giuntalodi, 273-279
+
+    Domenico Morone, _Life_, 35-36. 29, 38
+
+    Domenico Pecori, 255, 258, 271
+
+    Domenico Poggini, 87
+
+    Domenico Viniziano, 182
+
+    Don Bartolommeo della Gatta (Abbot of S. Clemente), 255
+
+    Don Giulio Clovio, 51, 54, 111, 264
+
+    Donato (Donatello), 220
+
+    Duccio, 245
+
+    Duerer, Albrecht, _Life_, 92-98. 99, 102, 119, 165
+
+
+    Enea Vico, _Life_, 111-112
+
+
+    Faenza, Figurino da, 169
+
+    Fagiuoli, Girolamo, 87, 276
+
+    Falconetto, Alessandro, 47, 48
+
+    Falconetto, Giovan Maria, _Life_, 43-48. 22, 29, 42, 43-48
+
+    Falconetto, Giovanni Antonio (the elder), 42
+
+    Falconetto, Giovanni Antonio (the younger), 42, 43
+
+    Falconetto, Jacopo, 42, 43
+
+    Falconetto, Ottaviano, 47, 48
+
+    Falconetto, Provolo, 47, 48
+
+    Fantuzzi, Antonio (Antonio da Trento), 108
+
+    Fattore, Il (Giovan Francesco Penni), 146-148, 150, 151, 153,
+      177, 193, 194, 207, 216
+
+    Fermo Ghisoni, 34, 167, 169
+
+    Fiacco (or Flacco), Orlando, _Life_, 28
+
+    Fiesole, Fra Giovanni da (Fra Angelico), 246
+
+    Fiesole, Maestro Giovanni da, 210
+
+    Figurino da Faenza, 169
+
+    Filipepi, Alessandro (Sandro Botticelli), 91
+
+    Filippino (Filippo Lippi), 66
+
+    Filippo Brunelleschi, 68, 71
+
+    Filippo di Baccio d' Agnolo, 68, 70
+
+    Filippo Lippi (Filippino), 66
+
+    Filippo Lippi, Fra, 246
+
+    Filippo Negrolo, 86
+
+    Finiguerra, Maso, 91
+
+    Flacco (or Fiacco), Orlando, _Life_, 28
+
+    Floris, Franz (Franz de Vrient), 119, 120
+
+    Fra Angelico (Fra Giovanni da Fiesole), 246
+
+    Fra Bartolommeo di San Marco, 66
+
+    Fra Cherubino Monsignori (Bonsignori), 34
+
+    Fra Filippo Lippi, 246
+
+    Fra Giocondo, _Life_, 3-11. 28, 47, 126
+
+    Fra Giovanni da Fiesole (Fra Angelico), 246
+
+    Fra Giovanni da Verona, 38, 39, 51, 218
+
+    Fra Girolamo Monsignori (Bonsignori), _Life_, 34-35
+
+    Fra Sebastiano Viniziano del Piombo (Sebastiano Luciani),
+      _Life_, 173-186. 108, 139, 148, 173-186, 217, 259
+
+    Francesco Bonsignori (Monsignori), _Life_, 29-35
+
+    Francesco da San Gallo, 133, 173
+
+    Francesco dai Libri (the elder), _Life_, 49. 29
+
+    Francesco dai Libri (the younger), _Life_, 52-54
+
+    Francesco de' Rossi (Francesco Salviati), 108, 111, 177
+
+    Francesco dell' Indaco, 126
+
+    Francesco Francia, 95
+
+    Francesco Granacci (Il Granaccio), _Life_, 57-61. 66
+
+    Francesco Marcolini, 115
+
+    Francesco Mazzuoli (Parmigiano), 107-109, 114, 259
+
+    Francesco Monsignori (Bonsignori), _Life_, 29-35
+
+    Francesco Morone, _Life_, 36-39. 29, 36-39, 40, 41, 50
+
+    Francesco Primaticcio, 115, 157
+
+    Francesco Salviati (Francesco de' Rossi), 108, 111, 177
+
+    Francesco Turbido (Il Moro), _Life_, 22-28. 14, 15, 21, 22-28, 40,
+      50, 164
+
+    Francesco Ubertini (Il Bacchiacca), 60
+
+    Franci, Marc' Antonio de' (Marc' Antonio Bolognese, or Raimondi),
+      _Life_, 95-96, 99-106. 108, 109, 120
+
+    Francia, Francesco, 95
+
+    Franco, Battista, 108, 114, 156
+
+    Franz Floris (Franz de Vrient), 119, 120
+
+
+    Gabriele Giolito, 115
+
+    Galeazzo Mondella, 42, 80
+
+    Galeotto, Pietro Paolo, 87
+
+    Gasparo Misuroni (Misceroni), 86
+
+    Gatta, Don Bartolommeo della (Abbot of S. Clemente), 255
+
+    Georg Pencz, 119
+
+    Gherardo, 92
+
+    Ghirlandajo, Benedetto, 57
+
+    Ghirlandajo, David, 57
+
+    Ghirlandajo, Domenico, 57, 58, 191
+
+    Ghirlandajo, Ridolfo, 191, 192
+
+    Ghisi (Mantovano), Giorgio, 113, 118
+
+    Ghisoni, Fermo, 34, 167, 169
+
+    Gian Jacopo Caraglio, 109, 110, 209
+
+    Giannuzzi, Giulio Pippi de' (Giulio Romano), _Life_, 145-169.
+      20, 24, 103-105, 110, 114, 145-169, 177, 193, 194, 207, 216,
+      221, 259
+
+    Giannuzzi, Raffaello Pippi de', 168
+
+    Giano, Antonio di Marco di (Il Carota), 213
+
+    Giocondo, Fra, _Life_, 3-11. 28, 47, 126
+
+    Giolito, Gabriele, 115
+
+    Giorgio Mantovano (Ghisi), 113, 118
+
+    Giorgio Vasari. See Vasari (Giorgio)
+
+    Giorgione da Castelfranco, 23, 173, 174
+
+    Giotto, 114, 202, 219, 220, 235
+
+    Giovan Barile, 177
+
+    Giovan Battista de' Cavalieri, 113
+
+    Giovan Battista de' Rossi (Il Rosso), 109, 111, 115, 257-261, 273, 274
+
+    Giovan Battista Mantovano (Sculptore), 110, 111, 157, 164, 165, 169
+
+    Giovan Battista Rosso (or Rosto), 164
+
+    Giovan Battista Sozzini, 87
+
+    Giovan Francesco Caroto, _Life_, 15-21. 37
+
+    Giovan Francesco Penni (Il Fattore), 146-148, 150, 151, 153, 177,
+      193, 194, 207, 216
+
+    Giovan Maria dal Borgo a San Sepolcro, 256
+
+    Giovan Maria Falconetto, _Life_, 43-48. 22, 29, 42, 43-48
+
+    Giovanni Antonio Bazzi (Il Sodoma), 236-238, 247, 249
+
+    Giovanni Antonio de' Rossi, 86
+
+    Giovanni Antonio Falconetto (the elder), 42
+
+    Giovanni Antonio Falconetto (the younger), 42, 43
+
+    Giovanni Antonio Lappoli, _Life_, 255-265
+
+    Giovanni Antonio Licinio (Pordenone), 213, 244, 247
+
+    Giovanni Antonio Sogliani, 214, 215, 247, 248
+
+    Giovanni Battista Veronese, 13
+
+    Giovanni Bellini, 173
+
+    Giovanni Bernardi (Giovanni da Castel Bolognese), _Life_, 76-79. 83, 84
+
+    Giovanni Caroto, _Life_, 21-22. 15
+
+    Giovanni Cugini (Jean Cousin), 114
+
+    Giovanni da Castel Bolognese (Giovanni Bernardi), _Life_, 76-79. 83, 84
+
+    Giovanni da Fiesole, Fra (Fra Angelico), 246
+
+    Giovanni da Fiesole, Maestro, 210
+
+    Giovanni da Lione, 152, 169
+
+    Giovanni da Udine (Giovanni Nanni, or Ricamatori), 147, 148, 180,
+      194-196
+
+    Giovanni da Verona, Fra, 38, 39, 51, 218
+
+    Giovanni delle Corniole, 76, 84
+
+    Giovanni di Goro, 206
+
+    Giovanni Ricamatori (Giovanni da Udine, or Nanni), 147, 148, 180,
+      194-196
+
+    Girolamo Cicogna, 22
+
+    Girolamo da Treviso, 211, 212, 244
+
+    Girolamo dai Libri, _Life_, 49-52. 29, 37, 49-52, 54
+
+    Girolamo Fagiuoli, 87, 276
+
+    Girolamo Misuroni (Misceroni), 86
+
+    Girolamo Monsignori (Bonsignori), Fra, _Life_, 34-35
+
+    Girolamo Mosciano (Girolamo Muziano, or Brescianino), 114
+
+    Girolamo Siciolante (Girolamo Sermoneta), 221, 222, 225
+
+    Giugni, Rosso de', 87
+
+    Giuliano Bugiardini, 183
+
+    Giuliano da Maiano, 131
+
+    Giuliano da San Gallo, 6, 66, 123, 124, 126
+
+    Giuliano di Baccio d' Agnolo, _Life_, 68-72
+
+    Giuliano (di Niccolo Morelli), 251
+
+    Giuliano Leno, 130, 150
+
+    Giulio Bonasone, 114
+
+    Giulio Clovio, Don, 51, 54, 111, 264
+
+    Giulio Romano (Giulio Pippi de' Giannuzzi), _Life_, 145-169. 20,
+      24, 103-105, 110, 114, 145-169, 177, 193, 194, 207, 216, 221,
+      259
+
+    Giuntalodi, Domenico, 273-279
+
+    Giuseppe del Salviati (Giuseppe Porta), 115
+
+    Giuseppe Niccolo (Joannicolo) Vicentino, 108
+
+    Giuseppe Porta (Giuseppe del Salviati), 115
+
+    Gobbo, Battista, 133, 140
+
+    Goro, Giovanni di, 206
+
+    Gozzoli, Benozzo, 246
+
+    Granacci, Francesco (Il Granaccio), _Life_, 57-61. 66
+
+    Greco, Il (Alessandro Cesati), _Life_, 85
+
+    Guglielmo Milanese, 217
+
+
+    Hans Beham, 119
+
+    Hans Liefrinck, 117
+
+    Heemskerk, Martin, 116
+
+    Heinrich (Albrecht) Aldegrever, 119
+
+    Hieronymus Bosch, 118
+
+    Hieronymus Cock, _Life_, 116-120. 108
+
+    Holland, Lucas of (Luca di Leyden, or Lucas van Leyden), _Life_, 96-99
+
+
+    Il Bacchiacca (Francesco Ubertini), 60
+
+    Il Bologna (Domenico Aimo), 217
+
+    Il Carota (Antonio di Marco di Giano), 213
+
+    Il Cronaca (Simone del Pollaiuolo), 66, 70
+
+    Il Fattore (Giovan Francesco Penni), 146-148, 150, 151, 153, 177,
+      193, 194, 207, 216
+
+    Il Granaccio (Francesco Granacci), _Life_, 57-61. 66
+
+    Il Greco (Alessandro Cesati), _Life_, 85
+
+    Il Moro (Francesco Turbido), _Life_, 22-28. 14, 15, 21, 22-28, 40,
+      50, 164
+
+    Il Rosso (Giovan Battista de' Rossi), 109, 111, 115, 257-261, 273, 274
+
+    Il Sodoma (Giovanni Antonio Bazzi), 236-238, 247, 249
+
+    Indaco, Francesco dell', 126
+
+
+    Jacomo Melighino, 139, 140
+
+    Jacopo Barozzo, 114
+
+    Jacopo Bellini, 11, 35
+
+    Jacopo da Pontormo (Jacopo Carrucci), 60, 255-257, 273
+
+    Jacopo da Trezzo, 86
+
+    Jacopo (Cosimo) da Trezzo, 86
+
+    Jacopo Falconetto, 42, 43
+
+    Jacopo Sansovino, 47, 125, 127, 199
+
+    Jan Stephanus van Calcker (Johann of Calcar), 116
+
+    Jean Cousin (Giovanni Cugini), 114
+
+    Joannicolo (Giuseppe Niccolo) Vicentino, 108
+
+    Johann of Calcar (Jan Stephanus van Calcker), 116
+
+
+    Lafrery, Antoine (Antonio Lanferri), 113
+
+    Lamberto Suave (Lambert Zutmann), 110
+
+    Lanferri, Antonio (Antoine Lafrery), 113
+
+    Lappoli, Giovanni Antonio, _Life_, 255-265
+
+    Lappoli, Matteo, 255
+
+    Laureti, Tommaso (Tommaso Siciliano), 186
+
+    Leno, Giuliano, 130, 150
+
+    Leon Batista Alberti, 45
+
+    Leonardo Cungi, 225
+
+    Leone Aretino (Leone Lioni), 87
+
+    Leyden, Luca di (Lucas of Holland, or Lucas van Leyden), _Life_, 96-99
+
+    Liberale, _Life_, 11-15. 23, 24, 35, 36, 49
+
+    Libri, Francesco dai (the elder), _Life_, 49. 29
+
+    Libri, Francesco dai (the younger), _Life_, 52-54
+
+    Libri, Girolamo dai, _Life_, 49-52. 29, 37, 49-52, 54
+
+    Licinio, Giovanni Antonio (Pordenone), 213, 244, 247
+
+    Liefrinck, Hans, 117
+
+    Lione, Giovanni da, 152, 169
+
+    Lioni, Leone (Leone Aretino), 87
+
+    Lippi, Filippo (Filippino), 66
+
+    Lippi, Fra Filippo, 246
+
+    Lodovico Marmita, 84
+
+    Lombardino, Tofano (Cristofano Lombardi), 167
+
+    Luca da Cortona (Luca Signorelli), 246
+
+    Luca di Leyden (Lucas of Holland, or Lucas van Leyden), _Life_, 96-99
+
+    Luca Penni, 115
+
+    Luca Signorelli (Luca da Cortona), 246
+
+    Lucas of Holland (Luca di Leyden, or Lucas van Leyden), _Life_, 96-99
+
+    Luciani, Sebastiano (Fra Sebastiano Viniziano del Piombo), _Life_,
+      173-186. 108, 139, 148, 173-186, 217, 259
+
+    Luigi Anichini, 85
+
+    Luzio Romano, 212, 222
+
+
+    Maestro Giovanni da Fiesole, 210
+
+    Maestro Niccolo, 164
+
+    Maestro Salvestro, 87
+
+    Maiano, Benedetto da, 66
+
+    Maiano, Giuliano da, 131
+
+    Manno, 78
+
+    Mantegna, Andrea, 15, 29, 30, 91
+
+    Mantovano (Ghisi), Giorgio, 113, 118
+
+    Mantovano (Sculptore), Giovan Battista, 110, 111, 157, 164, 165, 169
+
+    Mantovano, Marcello (Marcello Venusti), 220, 225
+
+    Mantovano, Rinaldo, 155, 156, 160, 161, 169
+
+    Marc' Antonio Bolognese (Marc' Antonio Raimondi, or de' Franci),
+      _Life_, 95-96, 99-106. 108, 109, 120
+
+    Marcello Mantovano (Marcello Venusti), 220, 225
+
+    Marchissi, Antonio di Giorgio, 126
+
+    Marco da Ravenna (Marco Dente), _Life_, 102-103. 106
+
+    Marco da Siena, 223
+
+    Marco Dente (Marco da Ravenna), _Life_, 102-103. 106
+
+    Marco di Battista d' Agnolo, 27, 28
+
+    Marcolini, Francesco, 115
+
+    Marmita, 84
+
+    Marmita, Lodovico, 84
+
+    Martin Heemskerk, 116
+
+    Martin Schongauer, _Life_, 91-92
+
+    Masaccio, 202, 203
+
+    Maso Finiguerra, 91
+
+    Masolino da Panicale, 203
+
+    Matteo dal Nassaro, _Life_, 79-82. 76
+
+    Matteo Lappoli, 255
+
+    Maturino, 177, 196
+
+    Mazzuoli, Francesco (Parmigiano), 107-109, 114, 259
+
+    Melighino, Jacomo, 139, 140
+
+    Michael (Michele Coxie), 116, 178
+
+    Michelagnolo Buonarroti, 57, 59, 60, 66, 68, 78, 79, 85, 92, 107,
+      111, 113, 114, 129, 135, 136, 139, 140, 167, 174-177, 183, 185,
+      191, 193, 195, 205, 218, 219, 222, 225, 236, 263
+
+    Michele (Michael Coxie), 116, 178
+
+    Michele San Michele, 25, 26, 47, 130
+
+    Michelino, 76
+
+    Milanese, Guglielmo, 217
+
+    Minio, Tiziano (Tiziano da Padova), 47
+
+    Misuroni (Misceroni), Gasparo, 86
+
+    Misuroni (Misceroni), Girolamo, 86
+
+    Modena, Pellegrino da (Pellegrino degli Aretusi, or de' Munari), 125
+
+    Mondella, Galeazzo, 42, 80
+
+    Monsignori (Bonsignori), Alberto, 29
+
+    Monsignori (Bonsignori), Fra Cherubino, 34
+
+    Monsignori (Bonsignori), Fra Girolamo, _Life_, 34-35
+
+    Monsignori (Bonsignori), Francesco, _Life_, 29-35
+
+    Montelupo, Raffaello da, 133, 222
+
+    Morando, Paolo (Paolo Cavazzuola), _Life_, 39-42. 15, 24, 25, 29,
+      39-42, 50
+
+    Morelli, Giuliano di Niccolo, 251
+
+    Moro, Battista del (Battista d' Agnolo), _Life_, 27-28. 108
+
+    Moro, Il (Francesco Turbido), _Life_, 22-28. 14, 15, 21, 22-28, 40,
+      50, 164
+
+    Morone, Domenico, _Life_, 35-36. 29, 38
+
+    Morone, Francesco, _Life_, 36-39. 29, 36-39, 40, 41, 50
+
+    Mosca, Simone, 133
+
+    Mosciano, Girolamo (Girolamo Muziano, or Brescianino), 114
+
+    Munari, Pellegrino de' (Pellegrino da Modena, or degli Aretusi), 125
+
+    Musi, Agostino de' (Agostino Viniziano), _Life_, 102-103. 106
+
+    Muziano, Girolamo (Girolamo Mosciano, or Brescianino), 114
+
+
+    Nanni, Giovanni (Giovanni da Udine, or Ricamatori), 147, 148, 180,
+      194-196
+
+    Nassaro, Matteo dal, _Life_, 79-82. 76
+
+    Navarra, Pietro, 126
+
+    Negrolo, Filippo, 86
+
+    Niccola Viniziano, 209
+
+    Niccolo (called Tribolo), 133
+
+    Niccolo, Maestro, 164
+
+    Niccolo Avanzi, 79, 80
+
+    Niccolo Beatricio (Nicolas Beautrizet), 114
+
+    Niccolo Soggi, _Life_, 269-279. 261
+
+    Nicolas Beautrizet (Niccolo Beatricio), 114
+
+    Nunziata, Toto del, 191, 196
+
+
+    Orlando Fiacco (or Fiacco), _Life_, 28
+
+    Ottaviano Falconetto, 47, 48
+
+
+    Pace, Domenico di (Domenico Beccafumi), _Life_, 235-251. 108, 213,
+      215, 223, 235-251
+
+    Padova, Tiziano da (Tiziano Minio), 47
+
+    Pagni, Benedetto, 152, 154-156, 169
+
+    Palladio, Andrea, 28, 48
+
+    Panicale, Masolino da, 203
+
+    Paolo Caliari (Paolo Veronese), 22, 27
+
+    Paolo Cavazzuola (Paolo Morando), _Life_, 39-42. 15, 24, 25, 29,
+      39-42, 50
+
+    Paolo Veronese (Paolo Caliari), 22, 27
+
+    Papacello, Tommaso, 152
+
+    Papino della Pieve, 272
+
+    Parmigiano (Francesco Mazzuoli), 107-109, 114, 259
+
+    Pastorino da Siena, 87, 219
+
+    Pecori, Domenico, 255, 258, 271
+
+    Pellegrino da Modena (Pellegrino degli Aretusi, or de' Munari), 125
+
+    Pencz, Georg, 119
+
+    Penni, Giovan Francesco (Il Fattore), 146-148, 150, 151, 153, 177,
+      193, 194, 207, 216
+
+    Penni, Luca, 115
+
+    Perino del Vaga (Perino Buonaccorsi, or Perino de' Ceri), _Life_,
+      189-225. 78, 109, 125, 129, 139, 148, 177, 189-225, 244, 257-259
+
+    Perugino, Pietro (Pietro Vannucci), 235, 269
+
+    Peruzzi, Baldassarre, 107, 167, 174, 177, 239
+
+    Pescia, Pier Maria da, 76
+
+    Pier Francesco da Viterbo, 130, 132
+
+    Pier Francesco di Jacopo di Sandro, 257
+
+    Pier Maria da Pescia, 76
+
+    Piero Catanei, 250
+
+    Piero del Pollaiuolo, 182, 246
+
+    Pietrasanta, Stagio da, 214
+
+    Pietro Navarra, 126
+
+    Pietro Paolo Galeotto, 87
+
+    Pietro Perugino (Pietro Vannucci), 235, 269
+
+    Pieve, Papino della, 272
+
+    Piloto, 201, 205, 207
+
+    Pinturicchio, Bernardino, 195
+
+    Piombo, Fra Sebastiano Viniziano del (Sebastiano Luciani), _Life_,
+      173-186. 108, 139, 148, 173-186, 217, 259
+
+    Pisano (or Pisanello), Vittore (or Antonio), 35
+
+    Pittoni, Battista (Battista of Vicenza), 108
+
+    Poggini, Domenico, 87
+
+    Polidoro da Caravaggio, 177, 196
+
+    Pollaiuolo, Antonio del, 182, 246
+
+    Pollaiuolo, Piero del, 182, 246
+
+    Pollaiuolo, Simone del (Il Cronaca), 66, 70
+
+    Polo, Domenico di, 84
+
+    Pontormo, Jacopo da (Jacopo Carrucci), 60, 255-257, 273
+
+    Pordenone (Giovanni Antonio Licinio), 213, 244, 247
+
+    Porta, Giuseppe (Giuseppe del Salviati), 115
+
+    Primaticcio, Francesco, 115, 157
+
+    Provolo Falconetto, 47, 48
+
+
+    Raffaello da Montelupo, 133, 222
+
+    Raffaello da Urbino (Raffaello Sanzio), 6, 38, 66, 69, 99-104,
+      106-108, 114, 120, 126, 127, 130, 145-148, 153, 156, 165,
+      174-178, 181, 183, 193-195, 207, 209, 218, 221, 236, 269
+
+    Raffaello dal Colle (Raffaello dal Borgo), 152, 169
+
+    Raffaello Pippi de' Giannuzzi, 168
+
+    Raffaello Sanzio (Raffaello da Urbino), 6, 38, 66, 69, 99-104,
+      106-108, 114, 120, 126, 127, 130, 145-148, 153, 156, 165,
+      174-178, 181, 183, 193-195, 207, 209, 218, 221, 236, 269
+
+    Raimondi, Marc' Antonio (Marc' Antonio Bolognese, or de' Franci),
+      _Life_, 95-96, 99-106. 108, 109, 120
+
+    Ravenna, Marco da (Marco Dente), _Life_, 102-103. 106
+
+    Reggio, Sebastiano da, 165
+
+    Renato (Rene Boyvin), 115
+
+    Ricamatori, Giovanni (Giovanni da Udine, or Nanni), 147, 148, 180,
+      194-196
+
+    Ricciarelli, Daniello, 113, 219, 224
+
+    Riccio, Domenico del (Domenico Brusciasorzi), 82
+
+    Ridolfi, Bartolommeo, 48
+
+    Ridolfo Ghirlandajo, 191, 192
+
+    Rinaldo Mantovano, 155, 156, 160, 161, 169
+
+    Romano, Giulio (Giulio Pippi de' Giannuzzi), _Life_, 145-169. 20,
+      24, 103-105, 110, 114, 145-169, 177, 193, 194, 207, 216, 221, 259
+
+    Romano, Luzio, 212, 222
+
+    Rossi, Francesco de' (Francesco Salviati), 108, 111, 177
+
+    Rossi, Giovan Battista de' (Il Rosso), 109, 111, 115, 257-261, 273, 274
+
+    Rossi, Giovanni Antonio de', 86
+
+    Rosso (or Rosto), Giovan Battista, 164
+
+    Rosso, Il (Giovan Battista de' Rossi), 109, 111, 115, 257-261, 273, 274
+
+    Rosso de' Giugni, 87
+
+    Rosto (or Rosso), Giovan Battista, 164
+
+
+    Salamanca, Antonio, 276
+
+    Salvestro, Maestro, 87
+
+    Salviati, Francesco (Francesco de' Rossi), 108, 111, 177
+
+    Salviati, Giuseppe del (Giuseppe Porta), 115
+
+    S. Clemente, Abbot of (Don Bartolommeo della Gatta), 255
+
+    San Gallo, Antonio da (the elder), 66, 123, 272
+
+    San Gallo, Antonio da (the younger), _Life_, 123-141. 167, 197,
+      198, 219, 220, 222
+
+    San Gallo, Francesco da, 133, 173
+
+    San Gallo, Giuliano da, 6, 66, 123, 124, 126
+
+    San Marco, Fra Bartolommeo di, 66
+
+    San Michele, Michele, 25, 26, 47, 130
+
+    Sandro, Pier Francesco di Jacopo di, 257
+
+    Sandro Botticelli (Alessandro Filipepi), 91
+
+    Sansovino, Andrea (Andrea Contucci), 66, 133
+
+    Sansovino, Jacopo, 47, 125, 127, 199
+
+    Sanzio, Raffaello (Raffaello da Urbino), 6, 38, 66, 69, 99-104,
+      106-108, 114, 120, 126, 127, 130, 145-148, 153, 156, 165,
+      174-178, 181, 183, 193-195, 207, 209, 218, 221, 236, 269
+
+    Sarto, Andrea del, 60, 106, 255-257, 272, 273
+
+    Sassoli, Stagio, 272
+
+    Scarpagni, Antonio (Scarpagnino or Zanfragnino), 10
+
+    Schongauer, Martin, _Life_, 91-92
+
+    Sculptore (Mantovano), Giovan Battista, 110, 111, 157, 164, 165, 169
+
+    Sebastiano da Reggio, 165
+
+    Sebastiano Luciani (Fra Sebastiano Viniziano del Piombo), _Life_,
+      173-186. 108, 139, 148, 173-186, 217, 259
+
+    Sebastiano Serlio, 113
+
+    Sebastiano Viniziano del Piombo, Fra (Sebastiano Luciani), _Life_,
+      173-186. 108, 139, 148, 173-186, 217, 259
+
+    Serlio, Sebastiano, 113
+
+    Sermoneta, Girolamo (Girolamo Siciolante), 221, 222, 225
+
+    Siciliano, Tommaso (Tommaso Laureti), 186
+
+    Siciolante, Girolamo (Girolamo Sermoneta), 221, 222, 225
+
+    Siena, Marco da, 223
+
+    Siena, Pastorino da, 87, 219
+
+    Signorelli, Luca (Luca da Cortona), 246
+
+    Silvio Cosini, 210
+
+    Simone Cioli, 133
+
+    Simone del Pollaiuolo (Il Cronaca), 66, 70
+
+    Simone Mosca, 133
+
+    Sodoma, Il (Giovanni Antonio Bazzi), 236-238, 247, 249
+
+    Soggi, Niccolo, _Life_, 269-279. 261
+
+    Sogliani, Giovanni Antonio, 214, 215, 247, 248
+
+    Sozzini, Giovan Battista, 87
+
+    Stagio da Pietrasanta, 214
+
+    Stagio Sassoli, 272
+
+    Stefano, Vincenzio di, 11
+
+    Stefano Veronese (Stefano da Zevio), 35, 42
+
+    Suave, Lamberto (Lambert Zutmann), 110
+
+
+    Tasso, Battista del, 213
+
+    Tiziano da Cadore (Tiziano Vecelli), 109, 111, 114, 161, 183, 222
+
+    Tiziano da Padova (Tiziano Minio), 47
+
+    Tiziano Vecelli (Tiziano da Cadore), 109, 111, 114, 161, 183, 222
+
+    Tofano Lombardino (Cristofano Lombardi), 167
+
+    Tommaso Barlacchi, 104, 113
+
+    Tommaso Laureti (Tommaso Siciliano), 186
+
+    Tommaso Papacello, 152
+
+    Tommaso Siciliano (Tommaso Laureti), 186
+
+    Torri, Bartolommeo, 264, 265
+
+    Toto del Nunziata, 191, 196
+
+    Trento, Antonio da (Antonio Fantuzzi), 108
+
+    Treviso, Girolamo da, 211, 212, 244
+
+    Trezzo, Cosimo (Jacopo) da, 86
+
+    Trezzo, Jacopo da, 86
+
+    Tribolo (Niccolo), 133
+
+    Turbido, Francesco (Il Moro), _Life_, 22-28. 14, 15, 21, 22-28,
+      40, 50, 164
+
+
+    Ubertini, Francesco (Il Bacchiacca), 60
+
+    Udine, Giovanni da (Giovanni Nanni, or Ricamatori), 147, 148, 180,
+      194-196
+
+    Ugo da Carpi, 106, 107
+
+    Urbino, Bramante da, 6, 124, 126, 136, 138
+
+    Urbino, Raffaello da (Raffaello Sanzio), 6, 38, 66, 69, 99-104,
+      106-108, 114, 120, 126, 127, 130, 145-148, 153, 156, 165,
+      174-178, 181, 183, 193-195, 207, 209, 218, 221, 236, 269
+
+
+    Vaga, 191, 192
+
+    Vaga, Perino del (Perino Buonaccorsi, or Perino de' Ceri), _Life_,
+      189-225. 78, 109, 125, 129, 139, 148, 177, 189-225, 244, 257-259
+
+    Valerio Vicentino (Valerio Belli), _Life_, 82-84. 76-79
+
+    Valverde, 116
+
+    Vannucci, Pietro (Pietro Perugino), 235, 269
+
+    Vasari, Giorgio--
+      as art-collector, 3, 22, 54, 60, 120, 157, 175, 225, 230, 250,
+        256, 260, 263
+      as author, 3, 6, 10, 11, 13, 15, 22, 23, 27, 28, 32, 35, 39, 42,
+        46, 48, 53, 54, 57-59, 65, 75, 76, 79, 82, 84-87, 91, 93-95,
+        105-107, 112, 113, 120, 123, 133, 152, 153, 159, 161, 165-167,
+        175, 176, 178, 190, 194, 196, 202, 204, 207, 210-213, 215, 217,
+        221, 223, 229-231, 235, 239, 246, 248-250, 258, 261, 264, 269,
+        273
+      as painter, 22, 72, 120, 215, 221, 263, 264, 276
+      as architect, 70, 139, 278
+
+    Vecelli, Tiziano (Tiziano da Cadore), 109, 111, 114, 161, 183, 222
+
+    Venusti, Marcello (Marcello Mantovano), 220, 225
+
+    Verese, 118
+
+    Verona, Fra Giovanni da, 38, 39, 51, 218
+
+    Veronese, Giovanni Battista, 13
+
+    Veronese, Paolo (Paolo Caliari), 22, 27
+
+    Veronese, Stefano (Stefano da Zevio), 35, 42
+
+    Vicentino, Joannicolo (Giuseppe Niccolo), 108
+
+    Vicentino, Valerio (Valerio Belli), _Life_, 82-84. 76, 79
+
+    Vicenza, Battista of (Battista Pittoni), 108
+
+    Vico, Enea, _Life_, 111-112
+
+    Vincenzio di Stefano, 11
+
+    Viniziano, Agostino (Agostino de' Musi), _Life_, 102-103. 106
+
+    Viniziano, Domenico, 182
+
+    Viniziano, Niccola, 209
+
+    Viterbo, Pier Francesco da, 130, 132
+
+    Vitruvius, 5, 45, 140
+
+    Vittore (or Antonio) Pisano (or Pisanello), 35
+
+    Vrient, Franz de (Franz Floris), 119, 120
+
+
+    Zanfragnino (Antonio Scarpagni, or Scarpagnino), 10
+
+    Zeuxis, 239
+
+    Zevio, Stefano da (Stefano Veronese), 35, 42
+
+    Zoppo, 81
+
+    Zutmann, Lambert (Lamberto Suave), 110
+
+
+END OF VOL VI.
+
+
+  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
+
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