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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) + + + + + + +</pre> + + +<hr style="width: 65%;"> +<h1>LIVES OF THE MOST EMINENT PAINTERS SCULPTORS & ARCHITECTS</h1> +<h2>BY</h2> +<h2>GIORGIO VASARI:</h2> + +<h2>VOLUME VI.<br> FRA GIOCONDO TO NICCOLÒ 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'> </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">Niccolò 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 Dürer</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 Dürer</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 Dürer</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 Tè</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 Tè, 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 Budé +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 Cæsar; and he was the first who made a drawing of the +bridge built by Cæsar over the River Rhone, and described by him in +those same Commentaries, but misunderstood in the time of Fra +Giocondo. Him the aforesaid Budé 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 Budé, +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—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 détour 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—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—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 <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—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—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—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.</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, Budé, and Aldus Manutius, with +all the Academy of Rome; and he had a disciple in Julius Cæsar +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. +Niccolò 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 +Pietà 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—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.</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—that is to say, only +written—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—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. Niccolò, 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. Niccolò, 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 Actæon 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 façade of the house of the Manuelli, +which stands on the abutment of the Ponte Nuovo, and a façade 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 Verità, 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 façade 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 façade 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 Niccolò. 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—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—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 façade 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 Pietà, 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 Niccolò 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—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 Niccolò 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 +Brà, 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—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—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—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.</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—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.</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—the other being painted by Francesco Morone, his +<span class="pagenum"><a id="Page_51" name="Page_51">[Pg 51]</a></span> 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 Aquæ Gradatæ, 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">Poichè 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. Trinità; 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 façade 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. Trinità 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 façade full of columns and niches, with a +range of fine marble statues; and this façade 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 Città 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 Carrà 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 Niccolò 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—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—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—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 Dürer 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 Dürer.<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 Dürer.<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—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 Dürer, 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 Dürer, 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 Dürer.<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 Dürer +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 Æneas 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 Æneas 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 Dürer, 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—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.</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 Trinità, 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 Æneas 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—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 protégé 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 Trinità 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 Pietà, 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, Niccolò 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 Forlì? 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—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—Jael, Ruth, Abigail, Judith, Esther, and +Susannah; and two from the New—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—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—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 Dürer 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—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—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 Cività 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 façade 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 +façade 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—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—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 façade, 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 <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 façade 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 façade, 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, PRÆCIPUEQUE D. PETRI TEMPLO ORNAN. ARCHITECTORUM FACILE<br> + PRINCIPI, DUM VELINI LACUS EMISSIONEM PARAT, PAULO PONT. MAX.<br> + AUCTORE, INTERAMNÆ INTEMPESTIVE EXTINCTO, ISABELLA DETA UXOR<br> + MŒSTISS. 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—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, <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 façade +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—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 <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 +Niccolò 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—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 Tè, 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 Tè</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 Phœbus 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 Tè; 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 Dædalus, 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 Dædalus 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.</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—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 Tè, 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 Tè. 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—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 façades 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—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 façade, 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 +Niccolò 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 Dürer 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 façade 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—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—velvet, satin, ormuzine, <span class="pagenum"><a id="Page_180" name="Page_180">[Pg 180]</a></span> 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.</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—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 Niccolò 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—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 façade 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.</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. Trinità 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 Pietà 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 +Trinità, 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—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—"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 Æneas 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—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, +<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 Æneid, 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—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 +façade 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 Trinità, +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 Niccolò 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 Niccolò 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 façade +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 VAGÆ 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. Trinità 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>—</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 façade 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 façade of the +house of M. Agostino Bardi, and Domenico at the same time, in +competition with him, painted the façade 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 façades 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 Tegeatæ, 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 Prætor 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 Prætor 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—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.</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—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—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—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.</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—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 Danaë. 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—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.</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 +Niccolò 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 Pietà 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—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> NICCOLÒ 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 NICCOLÒ 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 Niccolò 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 Niccolò, 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. Niccolò 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 Niccolò 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 <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 +façade 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 Niccolò 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, +Niccolò 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 Niccolò 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 Niccolò 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> Niccolò 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 Trinità; and such +was the intimacy between them that Niccolò 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. Niccolò +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 +Niccolò 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. Niccolò 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 Niccolò, 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 Niccolò, 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 Niccolò 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. Niccolò, 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 Niccolò, 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 Niccolò. 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. Niccolò 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. Niccolò 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 Niccolò +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 Niccolò 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 Niccolò; 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, Niccolò—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 Niccolò, 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 <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 Niccolò; 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 Niccolò +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 Niccolò 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, Niccolò 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 Niccolò 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. Niccolò 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 Niccolò 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, +Niccolò 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: Niccolò, +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, Niccolò, 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, Niccolò +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 Niccolò 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 Niccolò 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, +Niccolò, 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 Niccolò 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 Niccolò Soggi strongly to His Holiness, +entreating him that Niccolò should be given the office of +superintendent over those works. Whereupon Niccolò 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 Niccolò, 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 Dürer, <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, Niccolò, +<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, Niccolò (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, René (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>Dürer, 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 Niccolò 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 Niccolò (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 Niccolò) 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 Niccolò, +<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 Niccolò, +<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>Niccolò (called Tribolo), +<a href="#Page_133"><b>133</b></a></li> + +<li>Niccolò, Maestro, +<a href="#Page_164"><b>164</b></a></li> + +<li>Niccolò Avanzi, +<a href="#Page_79"><b>79</b></a>, +<a href="#Page_80"><b>80</b></a></li> + +<li>Niccolò Beatricio (Nicolas Beautrizet), +<a href="#Page_114"><b>114</b></a></li> + +<li>Niccolò 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 (Niccolò 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 (René 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, Niccolò, <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 (Niccolò), +<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—</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 Niccolò), +<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> René 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. 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