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diff --git a/31845-h/31845-h.htm b/31845-h/31845-h.htm new file mode 100644 index 0000000..a61c4f9 --- /dev/null +++ b/31845-h/31845-h.htm @@ -0,0 +1,11056 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1"> + <title> + The Project Gutenberg eBook of Lives of the Most Eminent Painters Sculptors & Architects, + Volume VII. by Georgio Vasari. + </title> + <style type="text/css"> +<!-- +p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } +h1,h2,h3,h4 { + text-align: center; /* all headings centered */ + clear: both; + } +hr { width: 33%; + margin-top: 2em; + margin-bottom: 3em; + margin-left: auto; + margin-right: auto; + clear: both;} + +div.centered {text-align: center;} /* work around for IE centering with CSS problem part 1 */ +div.centered table {margin-left: auto; margin-right: auto; text-align: left;} /* work around for IE centering with CSS problem part 2 */ + +body {margin-left: 10%; + margin-right: 10%;} + +div.trans-note {border-style: solid; border-width: 1px; + margin: 3em 15%; padding: 1em; text-align: center;} + +ul.none {list-style-type: none;} + +.pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: 12px; + text-align: right; + font-weight: normal; font-variant: normal; font-style: normal; + } /* page numbers */ + +.center {text-align: center;} +.smcap {font-variant: small-caps; font-size: 95%;} + +.caption {font-weight: bold; text-align: center;} + +.figcenter {margin: auto; text-align: center; margin-top: 3em;} + +.footnotes {border: dashed 1px;} +.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} +.footnote .label {position: absolute; right: 84%; text-align: right;} +.fnanchor {vertical-align: super; font-size: .8em; text-decoration: none;} + +.link {font-size: 80%;} + +.poem20 {margin-left: 20%; font-size: 95%;} +.add1em {margin-left: 1em;} +.quote10 {margin-left: 10%; margin-right: 10%;} + +--> +</style> +</head> +<body> + + +<pre> + +The Project Gutenberg EBook of Lives of the most Eminent Painters +Sculptors and Architects, by Giorgio Vasari + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Lives of the most Eminent Painters Sculptors and Architects + Vol 07 (of 10) Tribolo to Il Sodoma + +Author: Giorgio Vasari + +Translator: Gaston du C. De Vere + +Release Date: March 31, 2010 [EBook #31845] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK PAINTERS SCULPTORS ARCHITECTS *** + + + + +Produced by Mark C. Orton, Christine P. Travers and the +Online Distributed Proofreading Team at https://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 VII.<br> +TRIBOLO TO IL SODOMA<br> +1914</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_VII" id="CONTENTS_OF_VOLUME_VII"></a>(p. v) CONTENTS OF VOLUME VII</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">Niccolò, called Tribolo</span></td><td align='right'><a href='#Page_1'><b>1</b></a></td></tr> +<tr><td align='left'><span class="smcap">Pierino [Piero] da Vinci</span></td><td align='right'><a href='#Page_39'><b>39</b></a></td></tr> +<tr><td align='left'><span class="smcap">Baccio Bandinelli</span></td><td align='right'><a href='#Page_53'><b>53</b></a></td></tr> +<tr><td align='left'><span class="smcap">Giuliano Bugiardini</span></td><td align='right'><a href='#Page_105'><b>105</b></a></td></tr> +<tr><td align='left'><span class="smcap">Cristofano Gherardi, called Doceno</span></td><td align='right'><a href='#Page_115'><b>115</b></a></td></tr> +<tr><td align='left'><span class="smcap">Jacopo da Pontormo</span></td><td align='right'><a href='#Page_145'><b>145</b></a></td></tr> +<tr><td align='left'><span class="smcap">Simone Mosca</span></td><td align='right'><a href='#Page_183'><b>183</b></a></td></tr> +<tr><td align='left'><span class="smcap">Girolamo and Bartolommeo Genga, and Giovan Battista San Marino</span></td><td align='right'><a href='#Page_197'><b>197</b></a></td></tr> +<tr><td align='left'><span class="smcap">Michele San Michele</span></td><td align='right'><a href='#Page_215'><b>215</b></a></td></tr> +<tr><td align='left'><span class="smcap">Giovanni Antonio Bazzi, called Il Sodoma</span></td><td align='right'><a href='#Page_243'><b>243</b></a></td></tr> +<tr><td align='left'><span class="smcap">Index of Names</span></td><td align='right'><a href='#Page_259'><b>259</b></a></td></tr> +</table> +</div> + +<hr style="width: 65%;"> +<h2><a name="ILLUSTRATIONS_TO_VOLUME_VII" id="ILLUSTRATIONS_TO_VOLUME_VII"></a><span class="pagenum"><a id="Page_vii" name="Page_vii"></a>[Pg vii]</span> ILLUSTRATIONS TO VOLUME VII</h2> + + +<h3>PLATES IN COLOUR</h3> + +<div class='centered'> +<table border="0" cellpadding="2" width="100%" cellspacing="0" summary="ILLUSTRATIONS TO VOLUME VII"> + +<tr> +<td><span class="smcap">Giuliano Bugiardini</span></td> +<td>Portrait of a Lady</td> +<td>Florence: Pitti, 140</td> +<td align="right"><a href='#img008'><b>106</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Jacopo Da Pontormo</span></td> +<td>Portrait of an Engraver</td> +<td>Paris: Louvre, 1241</td> +<td align="right"><a href='#img019'><b>174</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Paolo Veronese</span> (<span class="smcap">Paolino</span> <i>or</i> <span class="smcap">Caliari</span>)</td> +<td>Industry</td> +<td>Venice: Doges' Palace, Sala Anticollegio</td> +<td align="right"><a href='#img023'><b>216</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Giovanni Antonio Bazzi (Il Sodoma)</span></td> +<td>The Vision of S. Catharine</td> +<td>Siena: S. Domenico</td> +<td align="right"><a href='#img029'><b>244</b></a></td> +</table> +</div> + + +<h3>PLATES IN MONOCHROME</h3> + +<div class='centered'> +<table border="0" cellpadding="2" width="100%" cellspacing="0" summary="ILLUSTRATIONS TO VOLUME VII"> +<tr> +<td><span class="smcap">Niccolò (Tribolo)</span></td> +<td>The Hercules Fountain</td> +<td>Florence: Villa Reale di Castello</td> +<td align="right"><a href='#img002'><b>24</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Niccolò (Tribolo)</span></td> +<td>The Assumption of the Virgin</td> +<td>Bologna: S. Petronio</td> +<td align="right"><a id="FNanchor1" name="FNanchor1"></a><a href="#Footnote1" title="Go to footnote 1" class="fnanchor">[1]</a></td> +</tr> + +<tr> +<td><span class="smcap">Pierino (Piero) da Vinci</span></td> +<td>Ugolino della Gherardesca and his Sons in the Tower of Famine</td> +<td>Oxford: Ashmolean Museum</td> +<td align="right"><a href='#img003'><b>48</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Baccio Bandinelli</span></td> +<td>The Martyrdom of S. Lorenzo</td> +<td>Hereford: W. J. Davies' Collection</td> +<td align="right"><a href='#img004'><b>64</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Baccio Bandinelli</span></td> +<td>Statue of Hercules and Cacus</td> +<td>Florence: Piazza della Signoria</td> +<td align="right"><a href='#img005'><b>72</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Baccio Bandinelli</span></td> +<td>Statue of Giovanni delle Bande Nere</td> +<td>Florence: Piazza di S. Lorenzo</td> +<td align="right"><a href='#img006'><b>80</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Baccio Bandinelli</span></td> +<td>Reliefs from the Choir Screen</td> +<td>Florence: Duomo</td> +<td align="right"><a href='#img007'><b>88</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Giuliano Bugiardini</span></td> +<td>The Martyrdom of S. Catharine</td> +<td>Florence: S. Maria Novella, Rucellai Chapel</td> +<td align="right"><a href='#img009'><b>110</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Giorgio Vasari</span> and <span class="smcap">Cristofano Gherardi (Doceno)</span></td> +<td>Detail: The Supper of S. Gregory the Great</td> +<td>Bologna: Accademia, 198</td> +<td align="right"><a href='#img010'><b>122</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Jacopo da Pontormo</span></td> +<td>The Adoration of the Magi</td> +<td>Siena: S. Agostino</td> +<td align="right"><a href='#img011'><b>146</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Jacopo da Pontormo</span></td> +<td>Duke Cosimo I. de' Medici</td> +<td>Florence: Uffizi, 1270</td> +<td align="right"><a href='#img012'><b>152</b></a></td> +</tr> +<tr><td> +<span class="pagenum"><a id="Page_viii" name="Page_viii"></a>[Pg viii]</span> +<span class="smcap">Jacopo Da Pontormo</span></td> +<td>The Visitation</td> +<td>Florence: SS. Annunziata, Cloister</td> +<td align="right"><a href='#img013'><b>154</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Jacopo Da Pontormo</span></td> +<td>Joseph and his Kindred in Egypt</td> +<td>London: N. G., 1131</td> +<td align="right"><a href='#img014'><b>158</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Jacopo Da Pontormo</span></td> +<td>Detail: Vertumnus Fresco</td> +<td>Poggio a Caiano: Villa Reale</td> +<td align="right"><a href='#img015'><b>160</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Jacopo Da Pontormo</span></td> +<td>Detail: Vertumnus Fresco</td> +<td>Poggio a Caiano: Villa Reale</td> +<td align="right"><a href='#img016'><b>162</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Jacopo Da Pontormo</span></td> +<td>The Descent From the Cross</td> +<td>Florence: S. Felicita</td> +<td align="right"><a href='#img017'><b>168</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Jacopo Da Pontormo</span></td> +<td>The Martyrdom of the Forty Saints</td> +<td>Florence: Pitti, 182</td> +<td align="right"><a href='#img018'><b>170</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Simone Mosca</span> and <span class="smcap">Michele San Michele</span></td> +<td>The Altar of the Three Kings</td> +<td>Orvieto: Duomo</td> +<td align="right"><a href='#img020'><b>190</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Simone Mosca</span></td> +<td>The Salutation</td> +<td>Orvieto: Duomo</td> +<td align="right"><a href='#img021'><b>192</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Girolamo Genga</span></td> +<td>Madonna and Child with Saints</td> +<td>Milan: Brera, 202</td> +<td align="right"><a href='#img022'><b>200</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Michele San Michele</span></td> +<td>Porta del Palio</td> +<td>Verona</td> +<td align="right"><a href='#img024'><b>222</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Michele San Michele</span></td> +<td>Cappella de' Pellegrini</td> +<td>Verona: S. Bernardino</td> +<td align="right"><a href='#img025'><b>224</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Michele San Michele</span><br> +<i>See also at p. <a href="#Page_190">190</a> above</i></td> +<td>Palazzo Grimani</td> +<td>Venice</td> +<td align="right"><a href='#img026'><b>230</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Paolo Veronese</span> (<span class="smcap">Paolino</span> <i>or</i> <span class="smcap">Caliari</span>)</td> +<td>The Feast in the House of Levi</td> +<td>Venice: Accademia, 203</td> +<td align="right"><a href='#img027'><b>238</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Paolo Veronese</span> (<span class="smcap">Paolino</span> <i>or</i> <span class="smcap">Caliari</span>)</td> +<td>Venice Enthroned, with Justice and Peace</td> +<td>Venice: Ducal Palace</td> +<td align="right"><a href='#img028'><b>240</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Giovanni Antonio Bazzi (Il Sodoma)</span></td> +<td>Scene from the Life of S. Benedict</td> +<td>Monte Oliveto Maggiore</td> +<td align="right"><a href='#img030'><b>246</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Giovanni Antonio Bazzi (Il Sodoma)</span></td> +<td>Scene from the Life of S. Benedict</td> +<td>Monte Oliveto Maggiore</td> +<td align="right"><a href='#img031'><b>246</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Giovanni Antonio Bazzi (Il Sodoma)</span></td> +<td>Detail: the Marriage of Alexander and Roxana</td> +<td>Rome: Villa Farnesina</td> +<td align="right"><a href='#img032'><b>248</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Giovanni Antonio Bazzi (Il Sodoma)</span></td> +<td>S. Sebastian</td> +<td>Florence: Uffizi, 1279</td> +<td align="right"><a href='#img033'><b>250</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Giovanni Antonio Bazzi (Il Sodoma)</span></td> +<td>S. Ansano</td> +<td>Siena: Palazzo Pubblico</td> +<td align="right"><a href='#img034'><b>252</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Giovanni Antonio Bazzi (Il Sodoma)</span></td> +<td>S. Francis</td> +<td>Siena: S. Bernardino, Oratory</td> +<td align="right"><a href='#img035'><b>252</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Giovanni Antonio Bazzi (Il Sodoma)</span></td> +<td>The Adoration of the Magi</td> +<td>Siena: S. Agostino</td> +<td align="right"><a href='#img036'><b>254</b></a></td> +</tr> + +<tr> +<td><span class="smcap">Giovanni Antonio Bazzi (Il Sodoma)</span></td> +<td>The Sacrifice of Isaac</td> +<td>Pisa: Duomo</td> +<td align="right"><a href='#img037'><b>256</b></a></td> +</tr> +</table> +</div> + +<hr style="width: 65%;"> +<h2><a name="niccolotribolo" id="niccolotribolo"></a><span class="pagenum"><a id="Page_1" name="Page_1"></a>[Pg 1]</span> NICCOLÒ, CALLED TRIBOLO</h2> + +<hr style="width: 65%;"> +<h2><a name="life_of_niccolo" id="life_of_niccolo"></a><span class="pagenum"><a id="Page_3" name="Page_3"></a>[Pg 3]</span> LIFE OF NICCOLÒ, CALLED TRIBOLO<br> +SCULPTOR AND ARCHITECT</h2> + + +<p>Raffaello the carpenter, surnamed Il Riccio de' Pericoli, who lived +near the Canto a Monteloro in Florence, had born to him in the year +1500, as he used to tell me himself, a male child, whom he was pleased +to call at baptism, like his own father, Niccolò; and having perceived that +the boy had a quick and ready intelligence and a lofty spirit, he determined, +although he was but a poor artisan, that he should begin straightway +by learning to read and write well and cast accounts. Sending him +to school, therefore, it came about, since the child was very vivacious +and so high-spirited in his every action, that he was always cramped for +room and was a very devil both among the other boys at school and +everywhere else, always teasing and tormenting both himself and others, +that he lost his own name of Niccolò and acquired that of Tribolo<a id="FNanchor2" name="FNanchor2"></a><a href="#Footnote2" title="Go to footnote 2" class="fnanchor">[2]</a> to +such purpose, that he was called that ever afterwards by everyone.</p> + +<p>Now, Tribolo growing, his father, in order both to make use of him +and to curb the boy's exuberance, took him into his workshop and +taught him his own trade; but having seen in a few months that he was +ill suited for such a calling, being somewhat delicate, thin, and feeble in +health, he came to the conclusion that if he wished to keep him alive, he +must release him from the heavier labours of his craft and set him to +wood-carving. Having heard that without design, the father of all the +arts, the boy could not become an excellent master therein, Raffaello +resolved that he should begin by devoting all his time to design, and +therefore made him draw now cornices, foliage, and grotesques, and +<span class="pagenum"><a id="Page_4" name="Page_4"></a>[Pg 4]</span> now other things necessary to such a profession. And having seen that +in doing this the boy was well served both by his head and by his hand, +and reflecting, like a man of judgment, that with him Niccolò could at +best learn nothing else but to work by the square, Raffaello first spoke +of this with the carpenter Ciappino, who was the very familiar friend of +Nanni Unghero; and with his advice and assistance, he placed Niccolò +for three years with the said Nanni, in whose workshop, where both +joiner's work and carving were done, there were constantly to be found +the sculptor Jacopo Sansovino, the painter Andrea del Sarto, and others, +who afterwards became such able masters. Now Nanni, who had in +those days a passing good reputation for excellence, was executing many +works both in joinery and in carving for the villa of Zanobi Bartolini at +Rovezzano, without the Porta alla Croce, for the palace of the Bartolini, +which Giovanni, the brother of that Zanobi, was having built at that +time on the Piazza di S. Trinita, and for the house and garden of the +same man in Gualfonda; and Tribolo, who was made to work by Nanni +without discretion, always having to handle saws, planes, and other +common tools, and not being capable, by reason of the feebleness of his +body, of such exertions, began to feel dissatisfied and to say to Riccio, +when he asked for the cause of his discontent, that he did not think that +he could remain with Nanni in that craft, and that therefore Raffaello +should see to placing him with Andrea del Sarto or Jacopo Sansovino, +whom he had come to know in Unghero's workshop, for the reason that +with one or the other of them he hoped to do better and to be sounder +in health. Moved by these reasons, then, and again with the advice +and assistance of Ciappino, Riccio placed Tribolo with Jacopo Sansovino, +who took him willingly, because he had known him in the workshop of +Nanni Unghero, and had seen that he worked well in design and even +better in relief.</p> + +<p>Jacopo Sansovino, when Tribolo, now restored to health, went to +work under him, was executing in the Office of Works of S. Maria del +Fiore, in competition with Benedetto da Rovezzano, Andrea da Fiesole, +and Baccio Bandinelli, the marble statue of S. James the Apostle which +is still to be seen at the present day at that place together with the others. +<span class="pagenum"><a id="Page_5" name="Page_5"></a>[Pg 5]</span> And thus Tribolo, with these opportunities of learning, by working in +clay and drawing with great diligence, contrived to make such proficience +in that art, for which he felt a natural inclination, that Jacopo, growing +to love him more and more every day, began to encourage him and to +bring him forward by making him execute now one thing and now another. +Whereupon, although Sansovino had in his workshop at that time Solosmeo +da Settignano and Pippo del Fabro, young men of great promise, seeing that +Tribolo, having added skill in the use of chisels to his good knowledge +of working in clay and in wax, not only equalled them but surpassed +them by a great measure, he began to make much use of him in his +works. And after finishing the Apostle and a Bacchus that he made +for the house of Giovanni Bartolini in Gualfonda, and undertaking to +make for M. Giovanni Gaddi, his intimate friend, a chimney-piece and +a water-basin of hard sandstone for his house on the Piazza di Madonna, +he caused some large figures of boys in clay, which were to go above the +great cornice, to be made by Tribolo, who executed them so extraordinarily +well, that M. Giovanni, having seen the beautiful manner and the +genius of the young man, commissioned him to execute two medallions +of marble, which, finished with great excellence, were afterwards placed +over certain doors in the same house.</p> + +<p>Meanwhile there was a commission to be given for a tomb, a work +of great magnitude, for the King of Portugal; and since Jacopo had been +the disciple of Andrea Contucci of Monte Sansovino, and had the reputation +not only of having equalled his master, a man of great renown, +but of having a manner even more beautiful, that work, through the +good offices of the Bartolini, was allotted to him. Whereupon Jacopo +made a most superb model of wood, all covered with scenes and figures +of wax, which were executed for the most part by Tribolo; and these +proving to be very beautiful, the young man's fame so increased that +Matteo di Lorenzo Strozzi—Tribolo having now left Sansovino, thinking +that he was by that time able to work by himself—commissioned him +to make some children of stone, and shortly afterwards, being much +pleased with them, two of marble that are holding a dolphin which +pours water into a fish-pond, a work that is now to be seen at San +<span class="pagenum"><a id="Page_6" name="Page_6"></a>[Pg 6]</span> Casciano, a place eight miles distant from Florence, in the villa of that +M. Matteo.</p> + +<p>While these works were being executed by Tribolo in Florence, +M. Bartolommeo Barbazzi, a Bolognese gentleman who had gone there +on some business, remembered that a search was being made in Bologna +for a young man who could work well, to the end that he might be set +to making figures and scenes of marble for the façade of S. Petronio, the +principal church of that city. Wherefore he spoke to Tribolo, and having +seen some of his works, which pleased him, as also did the young man's +ways and other qualities, he took him to Bologna, where Tribolo, with +great diligence and with much credit to himself, in a short time made +the two Sibyls of marble that were afterwards placed in the ornament of +that door of S. Petronio which leads to the Della Morte Hospital. These +works finished, arrangements were being made to give him greater things +to do, and he was receiving many proofs of love and affection from +M. Bartolommeo, when the plague of the year 1525 began in Bologna +and throughout all Lombardy; whereupon Tribolo, in order to avoid that +plague, made his way to Florence. After living there during all the time +that this contagious and pestilential sickness lasted, he departed as soon +as it had ceased, and returned, in obedience to a summons, to Bologna, +where M. Bartolommeo, not allowing him to set his hand to any work +for the façade, resolved, seeing that many of his friends and relatives had +died, to have a tomb made for himself and for them. And so Tribolo, +after finishing the model, which M. Bartolommeo insisted on seeing completed +before he did anything else, went in person to Carrara to have +the marbles excavated, intending to rough-hew them on the spot and +to lighten them in such a manner, that they might not only be easier to +transport, as indeed they were, but also that the figures might come +out larger. In that place, in order not to waste his time, he blocked +out two large children of marble, which were taken to Bologna with +beasts of burden, unfinished as they were, together with the rest of the +work; and after the death of M. Bartolommeo, which caused such grief +to Tribolo that he returned to Tuscany, they were placed, with the other +marbles, in a chapel in S. Petronio, where they still are.</p> + +<p><span class="pagenum"><a id="Page_7" name="Page_7"></a>[Pg 7]</span> Having thus departed from Carrara, Tribolo, on his way back to +Florence, stayed in Pisa to visit the sculptor Maestro Stagio da Pietrasanta, +his very dear friend, who was executing in the Office of Works of +the Duomo in that city two columns with capitals of marble all in open +work, which were to stand one on either side of the high-altar and the +Tabernacle of the Sacrament; and each of these was to have upon the +capital an Angel of marble one braccio and three quarters in height, with +a candelabrum in the hand. At the invitation of the said Stagio, having +nothing else to do at that time, he undertook to make one of those +Angels: which being finished with all the perfection that could be given +to a delicate work of that size in marble, proved to be such that nothing +more could have been desired, for the reason that the Angel, with the +movement of his person, has the appearance of having stayed his flight +in order to uphold that light, and the nude form has about it some delicate +draperies which are so graceful in their effect, and look so well on every +side and from every point of view, that words could not express their +beauty. But, having consumed much time in executing this work, since +he cared for nothing but his delight in art, and not having received for +it from the Warden the payment that he expected, he resolved that he +would not make the other Angel, and returned to Florence. There he +met with Giovan Battista della Palla, who at that time was not only +causing all the sculptures and pictures that he could to be executed for +sending to King Francis I in France, but was also buying antiques of +all sorts and pictures of every kind, provided only that they were by the +hands of good masters; and every day he was packing them up and +sending them off. Now, at the very moment when Tribolo returned, +Giovan Battista had an ancient vase of granite, of a very beautiful +shape, which he wished to arrange in such a manner that it might serve +for a fountain for that King. He therefore declared his mind to Tribolo, +and what he proposed to have done; and he, setting to work, made him +a Goddess of Nature, who, raising one arm, holds that vase, the foot of +which she has upon her head, with the hands, the first row of breasts +being adorned with some boys standing out entirely detached from the +marble, who are in various most beautiful attitudes, holding certain +<span class="pagenum"><a id="Page_8" name="Page_8"></a>[Pg 8]</span> festoons in their hands, while the next range of breasts is covered with +quadrupeds, and at her feet are many different kinds of fishes. That +figure was finished with such diligence and such perfection, that it well +deserved, after being sent to France together with other works, to be +held very dear by the King, and to be placed, as a rare thing, in Fontainebleau.</p> + +<p>Afterwards, in the year 1529, when preparations were being made +for the war against Florence and the siege, Pope Clement VII, wishing +to study the exact site of the city and to consider in what manner and +in what places his forces could be distributed to the best advantage, +ordained that a plan of the city should be made secretly, with all the +country for a mile around it—the hills, mountains, rivers, rocks, houses, +churches, and other things, and also the squares and streets within, +together with the walls and bastions surrounding it, and the other defences. +The charge of all this was given to Benvenuto di Lorenzo della +Volpaia, an able maker of clocks and quadrants and a very fine astrologer, +but above all a most excellent master in taking ground-plans. This +Benvenuto chose Tribolo as his companion, and that with great judgment, +for the reason that it was Tribolo who suggested that this plan, for the +better consideration of the height of the mountains, the depth of the +low-lying parts, and all other particulars, should be made in relief; the +doing of which was not without much labour and danger, in that, staying +out all night to measure the roads and to mark the number of braccia +between one place and another, and also to measure the height of the +summits of the belfries and towers, drawing intersecting lines in every +direction by means of the compass, and going beyond the walls to compare +the height of the hills with that of the cupola, which they had +marked as their centre, they did not execute such a work save after many +months; but they used great diligence, for they made it of cork, for the +sake of lightness, and limited the whole plan to the space of four braccia, +and measured everything to scale. Having then been finished in this +manner, and being made in pieces, that plan was packed up secretly and +smuggled out of Florence in some bales of wool that were going to Perugia, +being consigned to one who had orders to send it to the Pope, who made +<span class="pagenum"><a id="Page_9" name="Page_9"></a>[Pg 9]</span> use of it continually during the siege of Florence, keeping it in his chamber, +and seeing from one day to another, from letters and despatches, where +and how the army was quartered, where skirmishes took place, and, in +short, all the incidents, arguments, and discussions that occurred during +that siege; all greatly to his satisfaction, for it was in truth a rare and +marvellous work.</p> + +<p>The war finished—during the progress of which Tribolo executed +some works in clay for his friends, and for Andrea del Sarto, his dearest +friend, three figures of wax in the round, of which Andrea availed himself +in painting in fresco, on the Piazza, near the Condotta, portraits from +nature of three captains who had fled with the pay-chests, depicted as +hanging by one foot—Benvenuto, summoned by the Pope, went to Rome +to kiss the feet of his Holiness, and was placed by him in charge of the +Belvedere, with an honourable salary. In that office, having often conversations +with the Pope, Benvenuto, when the occasion arose, did not +fail to extol Tribolo as an excellent sculptor and to recommend him +warmly; insomuch that, the siege finished, Clement made use of him. +For, designing to give completion to the Chapel of Our Lady at Loreto, +which had been begun by Leo and then abandoned on account of the +death of Andrea Contucci of Monte Sansovino, he ordained that Antonio +da San Gallo, who had the charge of executing that fabric, should summon +Tribolo and set him to complete some of those scenes that Maestro Andrea +had left unfinished. Tribolo, then, thus summoned by San Gallo by +order of Clement, went with all his family to Loreto, whither there likewise +went Simone, called Mosca, a very rare carver of marble, Raffaello da +Montelupo, Francesco da San Gallo the younger, Girolamo Ferrarese the +sculptor, a disciple of Maestro Andrea, Simone Cioli, Ranieri da Pietrasanta, +and Francesco del Tadda, all invited in order to finish that work. +And to Tribolo, in the distribution of the labours, there fell, as the work of +the greatest importance, a scene in which Maestro Andrea had represented +the Marriage of Our Lady.</p> + +<p>Thereupon Tribolo made an addition to that scene, and had the +notion of placing among the many figures that are standing watching +the Marriage of the Virgin, one who in great fury is breaking his rod, +<span class="pagenum"><a id="Page_10" name="Page_10"></a>[Pg 10]</span> because it had not blossomed; and in this he succeeded so well, that the +suitor could not display with greater animation the rage that he feels at +not having had the good fortune that he desired. Which work finished, +and also that of the others, with great perfection, Tribolo had already +made many models of wax with a view to executing some of those Prophets +that were to go in the niches of that chapel, which was now built and +completely finished, when Pope Clement, after seeing those works and +praising them much, and particularly that of Tribolo, determined that +they should all return without loss of time to Florence, in order to finish +under the discipline of Michelagnolo Buonarroti all those figures that were +wanting in the sacristy and library of S. Lorenzo, and the rest of the work, +after the models of Michelagnolo and with his assistance, with the greatest +possible speed, to the end that, having finished the sacristy, they might +all together be able, thanks to the proficience made under the discipline +of so great a man, also to finish the façade of S. Lorenzo. And in order +that there might be no manner of delay in doing this, the Pope sent +Michelagnolo back to Florence, and with him Fra Giovanni Angelo de' +Servi, who had executed some works in the Belvedere, to the end that +he might assist him in carving the marbles and might make some statues, +according as he should receive orders from Michelagnolo, who caused +him to make a S. Cosimo, which was to stand on one side of the Madonna, +with a S. Damiano, allotted to Montelupo, on the other.</p> + +<p>These commissions given, Michelagnolo desired that Tribolo should +make two nude statues, which were to be one on either side of that of +Duke Giuliano, which he himself had already made; one was to be a +figure of Earth crowned with cypress, weeping with bowed head and with +the arms outstretched, and lamenting the death of Duke Giuliano, and +the other a figure of Heaven with the arms uplifted, all smiling and joyful, +and showing her gladness at the adornment and splendour that the soul +and spirit of that lord conferred upon her. But Tribolo's evil fortune +crossed him at the very moment when he was about to begin to work on +the statue of Earth; for, whether it was the change of air, or his feeble +constitution, or because he had been irregular in his way of living, he +fell ill of a grievous sickness, which, ending in a quartan fever, hung +<span class="pagenum"><a id="Page_11" name="Page_11"></a>[Pg 11]</span> about him many months, to his infinite vexation, since he was tormented +no less by his grief at having had to abandon the work, and at seeing +that the friar and Raffaello had taken possession of the field, than by the +illness itself. However, wishing to conquer that illness, in order not to +be left behind by his rivals, whose name he heard celebrated more and +more every day, feeble as he was, he made a large model of clay for the +statue of Earth, and, when he had finished it, began to execute the work +in marble, with such diligence and assiduity, that the statue could be +seen already all cut out in front, when Fortune, who is always ready +to oppose herself to any fair beginning, by the death of Clement at a +moment when nothing seemed less likely, cut short the aspirations of all +those excellent masters who were hoping to acquire under Michelagnolo, +besides boundless profits, immortal renown and everlasting fame.</p> + +<p>Stupefied by this misfortune and robbed of all his spirit, and being +also ill, Tribolo was living in utter despair, seeming not to be able either +in Florence or abroad to hit upon anything that might be to his advantage; +but Giorgio Vasari, who was always his friend and loved him from +his heart, and helped him all that he could, consoled him, saying that he +should not lose heart, because he would so contrive that Duke Alessandro +would give him something to do, by means of the favour of the Magnificent +Ottaviano de' Medici, into whose service Giorgio had introduced him on +terms of no little intimacy. Wherefore Tribolo, having regained a little +courage, occupied himself, while measures were being taken to assist him, +with copying in clay all the figures of marble in the Sacristy of S. Lorenzo +which Michelagnolo had executed—namely, Dawn, Twilight, Day, and +Night. And he succeeded in doing them so well, that M. Giovan Battista +Figiovanni, the Prior of S. Lorenzo, to whom he presented the Night in +return for having the sacristy opened for him, judging it to be a rare +work, presented it to Duke Alessandro, who afterwards gave it to Giorgio +Vasari, who was living with his Excellency, knowing that Giorgio gave +his attention to such studies; which figure is now in his house at Arezzo, +with other works of art. Having afterwards copied, likewise in clay, the +Madonna made by Michelagnolo for the same sacristy, Tribolo presented +it to the above-named M. Ottaviano de' Medici, who had a most beautiful +<span class="pagenum"><a id="Page_12" name="Page_12"></a>[Pg 12]</span> ornament in squared work made for it by Battista del Cinque, with +columns, cornices, brackets, and other carvings very well executed.</p> + +<p>Meanwhile, by the favour of him who was Treasurer to his Excellency, +and at the commission of Bertoldo Corsini, the proveditor for the +fortress which was being built at that time, out of three escutcheons +that were to be made by order of the Duke for placing on the bastions, +one on each, one four braccia in height was given to Tribolo to execute, +with two nude figures representing Victories; which escutcheon, finished +by him with great diligence and promptitude, with the addition of three +great masks that support the escutcheon and the figures, so pleased the +Duke, that he conceived a very great love for Tribolo. Now shortly +afterwards the Duke went to Naples to defend himself before the Emperor +Charles V, who had just returned from Tunis, against many calumnies +that had been laid upon him by some of his citizens; and, having not +only defended himself, but also obtained from his Majesty his daughter +Signora Margherita of Austria for wife, he wrote to Florence that four +men should be appointed who might cause vast and splendid decorations +to be prepared throughout the city, in order to receive the Emperor, who +was coming to Florence, with proper magnificence. And I, having to +distribute the various works at the commission of his Excellency—who +ordained that I should act in company with the said four men, who were +Giovanni Corsi, Luigi Guicciardini, Palla Rucellai, and Alessandro +Corsini—gave the greatest and most difficult labours for that festival to +Tribolo to execute, which were four large statues. The first was a +Hercules that has just killed the Hydra, six braccia in height, in the round +and overlaid with silver, which was placed at that corner of the Piazza +di S. Felice that is at the end of the Via Maggio, with the following inscription +in letters of silver on the base: <span class="smcap">UT HERCULES LABORE ET ÆRUMNIS +MONSTRA EDOMUIT, ITA CÆSAR VIRTUTE ET CLEMENTIA, HOSTIBUS VICTIS +SEU PLACATIS, PACEM ORBI TERRARUM ET QUIETEM RESTITUIT</span>. Two +others were colossal figures eight braccia high, one representing the River +Bagrada, which was resting upon the skin of the serpent that was brought +to Rome, and the other representing the Ebro, with the horn of Amaltheia +in one hand and in the other the helm of a ship; both coloured in imitation +<span class="pagenum"><a id="Page_13" name="Page_13"></a>[Pg 13]</span> of bronze, with inscriptions on the bases; below the Ebro, <span class="smcap">HIBERUS EX +HISPANIA</span>, and below the other, <span class="smcap">BAGRADAS EX AFRICA</span>. The fourth was +a statue five braccia in height, on the Canto de' Medici, representing +Peace, who had in one hand an olive branch and in the other a lighted +torch, with which she was setting fire to a pile of arms heaped up on the +base on which she was placed; with the following words: <span class="smcap">FIAT PAX IN +VIRTUTE TUA</span>. He did not finish, as he had hoped to do, the horse seven +braccia in length that was set up on the Piazza di S. Trinita, upon which +was to be placed the statue of the Emperor in armour, because Tasso +the wood-carver, who was much his friend, did not show any promptitude +in executing the base and the other things in the way of wood-carving +that were to be included in the work, being a man who let time slip through +his fingers in arguing and jesting; and there was only just time to cover +the horse alone with tin-foil laid upon the still fresh clay. On the base +were to be read the following words:</p> + +<p class="quote10 smcap">IMPERATORI CAROLO AUGUSTO VICTORIOSISSIMO, POST DEVICTOS +HOSTES, ITALIÆ PACE RESTITUTA ET SALUTATO FERDIN. FRATRE, +EXPULSIS ITERUM TURCIS AFRICAQUE PERDOMITA, ALEXANDER MED. +DUX FLORENTIÆ, D.D.</p> + +<p>His Majesty having departed from Florence, a beginning was made +with the preparations for the nuptials, in expectation of his daughter, +and to the end that she and the Vice-Queen of Naples, who was in her +company, might be commodiously lodged according to the orders of his +Excellency in the house of M. Ottaviano de' Medici, an addition was made +to his old house in four weeks, to the astonishment of everyone; and +Tribolo, the painter Andrea di Cosimo, and I, in ten days, with the help +of about ninety sculptors and painters of the city, what with masters +and assistants, completed the preparations for the wedding in so far as +appertained to the house and its decorations, painting the loggie, courtyards, +and other spaces in a manner suitable for nuptials of such importance. +Among these decorations, Tribolo made, besides other things, +two Victories in half-relief that were one on either side of the principal +door, supported by two large terminal figures, which also upheld the +escutcheon of the Emperor, pendent from the neck of a very beautiful +<span class="pagenum"><a id="Page_14" name="Page_14"></a>[Pg 14]</span> eagle in the round. The same master also made certain boys, likewise in +the round, and large in size, which were placed on either side of some +heads over the pediments of various doors; and these were much extolled.</p> + +<p>Meanwhile, as the nuptials were in progress, Tribolo received letters +from Bologna, in which Messer Pietro del Magno, his devoted friend, +besought him that he should consent to go to Bologna, in order to make +for the Madonna di Galliera, where a most beautiful ornament of marble +was already prepared, a scene likewise of marble three braccia and a half +in extent. Whereupon Tribolo, happening to have nothing else to do +at that time, went thither, and after making a model of a Madonna +ascending into Heaven, with the Apostles below in various attitudes, +which, being very beautiful, gave great satisfaction, he set his hand to +executing it; but with little pleasure for himself, since the marble that he +was carving was that Milanese marble, saline, full of emery, and bad in +quality; and it seemed to him that he was wasting his time, without +feeling a particle of that delight that men find in working those marbles +which are a pleasure to carve, and which in the end, when brought to completion, +show a surface that has the appearance of the living flesh itself. +However, he did so much that it was already almost finished, when I, +having persuaded Duke Alessandro to recall Michelagnolo from Rome, +and also the other masters, in order to finish the work of the sacristy begun +by Clement, was arranging to give him something to do in Florence; and +I would have succeeded, but in the meantime, by reason of the death of +Alessandro, who was murdered by Lorenzo di Pier Francesco de' Medici, +not only was this design frustrated, but the greatness and prosperity of +art were thrown into utter ruin.</p> + +<p>Having heard of the Duke's death, Tribolo condoled with me in his +letters, beseeching me, after he had exhorted me to bear with resignation +the death of that great Prince, my gracious master, that if I went to Rome, +as he had heard that I, being wholly determined to abandon Courts and +to pursue my studies, was intending to do, I should obtain some commission +for him, for the reason that, if assisted by my friends, he would +do whatever I told him. But it so chanced that it became in no way +necessary for him to seek commissions in Rome. For Signor Cosimo de' +<span class="pagenum"><a id="Page_15" name="Page_15"></a>[Pg 15]</span> Medici, having been created Duke of Florence, as soon as he had freed +himself from the troubles that he had in the first year of his rule by +routing his enemies at Monte Murlo, began to take some diversion, and +in particular to frequent not a little the villa of Castello, which is little +more than two miles distant from Florence. There he began to do some +building, in order that he might be able to live there comfortably with +his Court, and little by little—being encouraged in this by Maestro Pietro +da San Casciano, who was held to be a passing good master in those days, +and was much in the service of Signora Maria, the mother of the Duke, +and had also always been the master-builder and the former servant of +Signor Giovanni—he resolved to conduct to that place certain waters +that he had desired long before to bring thither. Whereupon a beginning +was made with building an aqueduct that was to receive all the waters +from the hill of Castellina, which was at a distance of a quarter of a mile +or more from Castello; and the work was pursued vigorously with a good +number of men. But the Duke recognizing that Maestro Pietro had +neither invention nor power of design enough to make in that place a +beginning that might afterwards in time receive that ornamentation +which the site and the waters required, one day that his Excellency was +on the spot, speaking of this with such men as Messer Ottaviano de' +Medici and Cristofano Rinieri, the friend of Tribolo and the old servant +of Signora Maria and of the Duke, they extolled Tribolo in such a manner, +as a man endowed with all those parts that were requisite in the head of +such a fabric, that the Duke gave Cristofano a commission to make +him come from Bologna. Which having been straightway done by +Rinieri, Tribolo, who could not have received any better news than that +he was to serve Duke Cosimo, set out immediately for Florence, and, +arriving there, was taken to Castello, where his most illustrious Excellency, +having heard from him what he thought should be done in the way of +decorative fountains, gave him a commission to make the models. +Whereupon he set his hand to these, and was engaged upon them, while +Maestro Pietro da San Casciano was executing the aqueduct and bringing +the waters to the place, when the Duke, who meanwhile had begun, for +the security of the city, to surround with a very strong wall the bastions +<span class="pagenum"><a id="Page_16" name="Page_16"></a>[Pg 16]</span> erected on the hill of San Miniato at the time of the siege after the designs +of Michelagnolo, ordained that Tribolo should make an escutcheon of +hard stone, with two Victories, for an angle of the summit of a bastion +that faces Florence. But Tribolo had scarcely finished the escutcheon, +which was very large, and one of those Victories, a figure four braccia +high, which was held to be a very beautiful thing, when he was obliged +to leave that work incomplete, for the reason that, Maestro Pietro having +carried well on the making of the aqueduct and the bringing of the waters, +to the full satisfaction of the Duke, his Excellency wished that Tribolo +should begin to put into execution, for the adornment of that place, the +designs and models that he had already shown to him, ordaining him for +the time being a salary of eight crowns a month, the same that was paid +to San Casciano.</p> + +<p>Now, in order that I may not become confused in describing the +intricacies of the aqueducts and of the ornaments of the fountains, it +may be well to say briefly some few words about the site and position of +Castello. The villa of Castello stands at the roots of Monte Morello, +below the Villa della Topaia, which is halfway up the slope; it has before +it a plain that descends little by little, for the space of a mile and a half, +down to the River Arno, and exactly where the ascent of the mountain +begins stands the palace, which was built in past times by Pier Francesco +de' Medici, after a very good design. The principal front faces straight +towards the south, overlooking a vast lawn with two very large fish-ponds +full of running water, which comes from an ancient aqueduct made +by the Romans in order to conduct water from Valdimarina to Florence, +and provided with a vaulted cistern under the ground; and so it has a +very beautiful and very pleasing view. The fish-ponds in front are divided +in the middle by a bridge twelve braccia wide, which leads to an avenue +of the same width, bounded at the sides and covered above by an unbroken +vault of mulberry-trees, ten braccia in height, thus making a +covered avenue three hundred braccia in length, delightful for its shade, +which opens on to the high road to Prato by a gate placed between two +fountains that serve to give water to travellers and animals. On the +eastern side the same palace has a very beautiful pile of stable-buildings, +<span class="pagenum"><a id="Page_17" name="Page_17"></a>[Pg 17]</span> and on the western side a private garden into which one goes from the +courtyard of the stables, passing straight through the ground-floor of the +palace by way of the loggie, halls, and chambers on the level of the +ground; from which private garden one can enter by a door on the west +side into another garden, very large and all filled with fruit-trees, and +bounded by a forest of fir-trees that conceals the houses of the labourers +and others who live there, engaged in the service of the palace and of the +gardens. Next, that part of the palace which faces north, towards the +mountain, has in front of it a lawn as long as the palace, the stables, and +the private garden altogether, and from this lawn one climbs by steps to +the principal garden, a place enclosed by ordinary walls, which, rising +in a gentle slope, stretches so well clear of the palace as it rises, that the +mid-day sun searches it out and bathes it all with its rays, as if there +were no palace in front; and at the upper end it stands so high that it +commands a view not only of the whole palace, but also of the plain that +is in front and around it, and likewise about the city. In the middle of +this garden is a forest of very tall and thickly-planted cypresses, laurels, +and myrtles, which, laid out in a circular shape, have the form of a labyrinth, +all surrounded by box-hedges two braccia and a half in height, so +even and grown with such beautiful order that they have the appearance +of a painting done with the brush; in the centre of which labyrinth, at +the desire of the Duke, Tribolo, as will be described below, made a very +beautiful fountain of marble. At the principal entrance, where there is +the first-mentioned lawn with the two fish-ponds and the avenue covered +with mulberry-trees, Tribolo wished that the avenue should be so extended +that it might stretch for a distance of more than a mile, covered +and shaped in like manner, and might reach as far as the River Arno, +and that the waters which ran away from all the fountains, flowing +gently in pleasant channels at the sides of the avenue, and filled with +various kinds of fishes and crayfish, might accompany it down to that +river.</p> + +<p>As for the palace—to describe what has still to be done as well as +that which has been finished—he wished to make a loggia in front of it, +which, passing by an open courtyard, was to have on the side where the +<span class="pagenum"><a id="Page_18" name="Page_18"></a>[Pg 18]</span> stables are another palace as large as the old one, with the same proportion +of apartments, loggie, private garden, and the rest; which addition +would have made it a vast palace, with a most beautiful façade. +After passing the court from which one enters into the large garden of +the labyrinth, at the main entrance, where there is a vast lawn, after +climbing the steps that lead to that labyrinth, there came a level space +thirty braccia square, on which there was to be—and has since been +made—a very large fountain of white marble, which was to spout upwards +above ornaments fourteen braccia in height, while from the mouth +of a statue at the highest point was to issue a jet of water rising to the +height of six braccia. At either end of the lawn was to be a loggia, one +opposite to the other, each thirty braccia in length and fifteen in breadth; +and in the middle of each loggia was to be placed a marble table twelve +braccia in length, and on the outside a basin of eight braccia, which was +to receive the water from a vase held by two figures. In the middle of +the above-mentioned labyrinth Tribolo had thought to achieve the most +decorative effect with water by means of jets and a very beautiful seat +round the fountain, the marble basin of which was to be, even as it was +afterwards made, much smaller than that of the large principal fountain; +and at the summit it was to have a figure of bronze spouting water. At +the end of this garden, in the centre, there was to be a gate with some +children of marble on both sides spouting water, with a fountain on +either side, and in the corners double niches in which statues were to +be placed, as in the others that are in the walls at the sides, at the opposite +ends of the avenues that cross the garden, which are all covered with +greenery distributed in various ways.</p> + +<p>Through the above-mentioned gate, which is at the upper end of +this garden, above some steps, one enters into another garden, as wide +as the first, but of no great depth in the direct line, in comparison with +the mountain beyond. In this garden were to be two other loggie, one +on either side, and in the wall opposite to the gate, which supports the +soil of the mountain, there was to be in the centre a grotto with three +basins, with water playing into them in imitation of rain. The grotto +was to be between two fountains placed in the same wall, and opposite +<span class="pagenum"><a id="Page_19" name="Page_19"></a>[Pg 19]</span> to these, in the lower wall of the garden, were to be two others, one on +either side of the gate; so that the fountains of this garden would have +been equal in number to those of the other, which is below it, and receives +its water from the first, which is higher. And this garden was to be all +full of orange-trees, which would have had—and will have, whenever +that may be—a most favourable situation, being defended by the walls +and by the mountain from the north wind and other harmful winds.</p> + +<p>From this garden one climbs by two staircases of flint, one on either +side, to a forest of cypresses, fir-trees, holm-oaks, laurels, and other evergreen +trees, distributed with beautiful order, in the middle of which, +according to Tribolo's design, there was to be a most lovely fish-pond, +which has since been made. And because this part, gradually narrowing, +forms an angle, that angle, to the end that it might be made flat, was to +be blunted by the breadth of a loggia, from which, after climbing some +steps, might be seen in front the palace, the gardens, the fountains, and +all the plain below and about them, as far as the Ducal Villa of Poggio +a Caiano, Florence, Prato, Siena, and all that is around for many miles.</p> + +<p>Now the above-named Maestro Pietro da San Casciano, having +carried his work of the aqueduct as far as Castello, and having turned +into it all the waters of Castellina, was overtaken by a violent fever, and +died in a few days. Whereupon Tribolo, undertaking the charge of +directing all the building by himself, perceived that, although the waters +brought to Castello were in great abundance, nevertheless they were not +sufficient for all that he had made up his mind to do; not to mention that, +coming from Castellina, they did not rise to the height that he required +for his purposes. Having therefore obtained from the Lord Duke a +commission to conduct thither the waters of Petraia, a place more than +one hundred and fifty braccia above Castello, which are good and very +abundant, he caused a conduit to be made, similar to the other, and so +high that one can enter into it, to the end that thus those waters of +Petraia might come to the fish-pond through another aqueduct with +enough fall for the fish-pond and the great fountain.</p> + +<p>This done, Tribolo began to build the above-mentioned grotto, proposing +to make it with three niches, in a beautiful architectural design, +<span class="pagenum"><a id="Page_20" name="Page_20"></a>[Pg 20]</span> and likewise the two fountains that were one on either side of it. In +one of these there was to be a large statue of stone, representing Monte +Asinaio, which, pressing its beard, was to pour water from its mouth +into a basin that was to be in front of it; from which basin the water, +issuing by a hidden channel, and passing under the wall, was to flow to +the fountain that there is at the present day behind the wall, at the end +of the slope of the garden of the labyrinth, pouring into the vase on the +shoulder of the figure of the River Mugnone, which is in a large niche of +grey-stone decorated with most beautiful ornaments, and all covered +with sponge-stone. This work, if it had been finished in all its perfection, +even as it is in part, would have had great similarity to the reality, +since the Mugnone rises from Monte Asinaio.</p> + +<p>For the Mugnone, then, to describe that which has been done, +Tribolo made a figure of grey-stone, four braccia in length, and reclining +in a very beautiful attitude, which has upon one shoulder a vase that +pours water into a basin, and rests the other on the ground, leaning +upon it, with the left leg crossed over the right. And behind this river +is a woman representing Fiesole, wholly naked, issuing from among the +sponge-stones and rocks in the middle of the niche, and holding in the +hand a moon which is the ancient emblem of the people of Fiesole. +Below this niche is a very large basin supported by two great Capricorns, +which are one of the devices of the Duke; from which Capricorns hang +some festoons and masks of great beauty, and from their lips issues the +water from that basin, which is convex in the middle, and has outlets at +the sides; and all the water that overflows pours away from the sides +through the mouths of the Capricorns, and then, after falling into the +hollow base of the vase, flows through the herb-beds that are round the +walls of the garden of the labyrinth, where there are fountains between the +niches, and between the fountains espaliers of oranges and pomegranates.</p> + +<p>In the second garden described above, where Tribolo had intended +that there should be made the Monte Asinaio that was to supply water +to the Mugnone, there was to be on the other side, beyond the gate, a +similar figure of the Monte della Falterona; and even as this mountain +is the source of the River Arno, so the statue representing that river in +<span class="pagenum"><a id="Page_21" name="Page_21"></a>[Pg 21]</span> the garden of the labyrinth, opposite to the Mugnone, was to receive +the water from the Falterona. But since neither the figure of that +mountain nor its fountain has ever been finished, let us speak of the +fountain and figure of the River Arno, which were completed by Tribolo +to perfection. This river, then, holds its vase upon one thigh, lying +down and leaning with one arm on a lion, which holds a lily in its paw, +and the vase receives its water through the perforated wall, behind +which there was to be the Falterona, exactly in the manner in which, as +has been described, the statue of the River Mugnone also receives its +water; and since the long basin is in every way similar to that of the +Mugnone, I shall say no more about it, save this, that it is a pity that +the art and excellence of these works, which are truly most beautiful, +are not embodied in marble.</p> + +<p>Then, continuing the work of the conduit, Tribolo caused the water +from the grotto to pass under the orange-garden and then under the +next garden, and thus brought it into the labyrinth, where, forming a +circle round all the middle of the labyrinth, in a good circumference +round the centre, he laid down the central pipe, through which the fountain +was to spout water. After which, taking the waters from the Arno +and the Mugnone, and bringing them together under the level of the +labyrinth by means of certain bronze pipes that were distributed in +beautiful order throughout that space, he filled that whole pavement +with very fine jets, in such a manner that it was possible by turning a +key to drench all those who came near to see the fountain. Nor is one +able to escape either quickly or with ease, because Tribolo made round +the fountain and the pavement, in which are the jets, a seat of grey-stone +supported by lion's paws, between which are sea monsters in low-relief; +which was a difficult thing to do, because he chose, since the place +was sloping and the square lay on the slant, to make it level, and the +same with the seat.</p> + +<p>Having then set his hand to the fountain of the labyrinth, he +made on the shaft, in marble, an interwoven design of sea monsters cut +out in full relief, with tails intertwined so well, that nothing better of +that kind could be done. And this finished, he executed the tazza with +<span class="pagenum"><a id="Page_22" name="Page_22"></a>[Pg 22]</span> a piece of marble brought long before to Castello, together with a large +table, also of marble, from the Villa dell'Antella, which M. Ottaviano de' +Medici formerly bought from Giuliano Salviati. By reason of this opportunity, +then, Tribolo made that tazza sooner than he might otherwise +have done, fashioning round it a dance of little children attached to the +moulding which is beside the lip of the tazza; which children are holding +festoons of products of the sea, cut out of the marble with beautiful art. +And so also the shaft which he made over the tazza, he executed with +much grace, with some very beautiful children and masks to spout water. +Upon that shaft it was the intention of Tribolo to place a bronze statue +three braccia high, representing Florence, in order to signify that from +the above-named Mounts Asinaio and Falterona the waters of the Arno +and Mugnone come to Florence; of which figure he had made a most +beautiful model which, pressing the hair with the hands, caused water +to pour forth. Then, having brought the water as far as the space thirty +braccia square, below the labyrinth, he made a beginning with the great +fountain, which, made with eight sides, was to receive all the above-mentioned +waters into its lowest basin—namely, those from the waterworks +of the labyrinth, and likewise those of the great conduit. Each of +these eight sides, then, rises above a step one-fifth of a braccio in height, +and each angle of the eight sides has a projection, as have also the steps, +which, thus projecting, rise at each angle in a great step of two-fifths of +a braccio, in such a way that the central face of the steps withdraws into +the projections, and their straight line is thus broken, which produces a +bizarre effect, and makes the ascent very easy. The edges of the fountain +have the shape of a vase, and the body of the fountain—that is, the +inner part where the water is—curves in the form of a circle. The shaft +begins with eight sides, and continues with eight seats almost up to the +base of the tazza, upon which are seated eight children of the size of life, +all in the round and in various attitudes, who, linked together with the +legs and arms, make a rich adornment and a most beautiful effect. And +since the tazza, which is round, projects to the extent of six braccia, the +water of the whole fountain, pouring equally over the edge on every side, +sends a very beautiful rain, like the drippings from a roof, into the +<span class="pagenum"><a id="Page_23" name="Page_23"></a>[Pg 23]</span> octagonal basin mentioned above, and those children that are on the +shaft of the tazza are not wetted, and they appear to be there in order +not to be wetted by the rain, almost like real children, full of delight +and playing as they shelter under the lip of the tazza, which could not +be equalled in its simplicity and beauty. Opposite to the four paths +that intersect the garden are four children of bronze lying at play in +various attitudes, which are after the designs of Tribolo, although they +were executed afterwards by others. Above this tazza begins another +shaft, which has at the foot, on some projections, four children of marble +in the round, who are pressing the necks of some geese that spout water +from their mouths; and this water is that of the principal conduit coming +from the labyrinth, and rises exactly to this height. Above these children +is the rest of the shaft of this pedestal, which is made with certain cartouches +which spurt forth water in a most bizarre manner; and then, +regaining a quadrangular form, it rises over some masks that are very +well made. Above this, then, is a smaller tazza, on the lip of which, on +all four sides, are fixed by the horns four heads of Capricorns, making a +square, which spout water through their mouths into the large tazza, +together with the children, in order to make the rain which falls, as has +been told, into the first basin, which has eight sides. Still higher there +follows another shaft, adorned with other ornaments and with some +children in half-relief, who, projecting outwards, form at the top a round +space that serves as base to the figure of a Hercules who is crushing +Antæus, which was designed by Tribolo and executed afterwards by +others, as will be related in the proper place. From the mouth of this +Antæus he intended that, instead of his spirit, there should gush out +through a pipe water in great abundance, as indeed it does; which water +is that of the great conduit of Petraia, which comes with much force, +and rises sixteen braccia above the level where the steps are, and makes +a marvellous effect in falling back into the greater tazza. In that same +aqueduct, then, come not only those waters from Petraia, but also those +that go to the fish-pond and the grotto, and these, uniting with those +from Castellina, go to the fountains of the Falterona and Monte Asinaio, +and thence to the fountains of the Arno and Mugnone, as has been related; +<span class="pagenum"><a id="Page_24" name="Page_24"></a>[Pg 24]</span> after which, being reunited at the fountain of the labyrinth, they go to +the centre of the great fountain, where are the children with the geese. +From there, according to the design of Tribolo, they were to flow through +two distinct and separate conduits into the basins of the loggie, where +the tables are, and then each into a separate private garden. The first of +these gardens—that towards the west—is all filled with rare and medicinal +plants; wherefore at the highest level of that water, in that garden of +simples, in the niche of the fountain, and behind a basin of marble, there +was to be a statue of Æsculapius.</p> + +<p>The principal fountain described above, then, was completely finished +in marble by Tribolo, and carried to the finest and greatest perfection +that could be desired in a work of this kind. Wherefore I believe that +it may be said with truth that it is the most beautiful fountain, the +richest, the best proportioned, and the most pleasing that has ever been +made, for the reason that in the figures, in the vases, in the tazze, and, +in short, throughout the whole work, are proofs of extraordinary diligence +and industry. After this, having made the model of the above-mentioned +statue of Æsculapius, Tribolo began to execute it in marble, but, being +hindered by other things, he did not finish that figure, which was completed +afterwards by the sculptor Antonio di Gino, his disciple.</p> + +<div class="figcenter"> +<a name="img002" id="img002"></a> +<img src="images/img002-tb.jpg" width="400" height="510" alt="The Hercules Fountain." title=""> +<p class="caption">THE HERCULES FOUNTAIN<br> +(<i>After</i> Niccolò [Tribolo]. <i>Florence: Villa Reale di Castello</i>)<br> +<span class="link"><a href="images/img002.jpg">View larger image</a></span></p> +</div> + +<p>On the side towards the east, in a little lawn without the garden, +Tribolo arranged an oak in a most ingenious manner, for, besides the +circumstance that it is so thickly covered both above and all around +with ivy intertwined among the branches, that it has the appearance of +a very dense grove, one can climb up it by a convenient staircase of +wood similarly covered with ivy, at the top of which, in the middle of +the oak, there is a square chamber surrounded by seats, the backs of +which are all of living verdure, and in the centre is a little table of marble +with a vase of variegated marble in the middle, from which, through a +pipe, there flows and spurts into the air a strong jet of water, which, +after falling, runs away through another pipe. These pipes mount +upwards from the foot of the oak so well hidden by the ivy, that nothing +is seen of them, and the water can be turned on or off at pleasure by +means of certain keys; nor is it possible to describe in full in how many +<span class="pagenum"><a id="Page_25" name="Page_25"></a>[Pg 25]</span> ways that water of the oak can be turned on, in order to drench anyone at +pleasure with various instruments of copper, not to mention that with +the same instruments one can cause the water to produce various sounds +and whistlings.</p> + +<p>Finally, all these waters, after having served so many different +purposes, and supplied so many fountains, are collected together, and +flow into the two fish-ponds that are without the palace, at the beginning +of the avenue, and thence to other uses of the villa.</p> + +<p>Nor will I omit to tell what was the intention of Tribolo with regard +to the statues that were to be as ornaments in the great garden of the +labyrinth, in the niches that may be seen regularly distributed there in +various spaces. He proposed, then—acting in this on the judicious +advice of M. Benedetto Varchi, who has been in our times most excellent +as poet, orator, and philosopher—that at the upper and lower ends there +should be placed the four Seasons of the year—Spring, Summer, Autumn, +and Winter—and that each should be set up in that part where its particular +season is most felt. At the entrance, on the right hand, beside +the Winter, and in that part of the wall which stretches upwards, were +to go six figures that were to demonstrate the greatness and goodness +of the house of Medici, and to denote that all the virtues are to be found +in Duke Cosimo; and these were Justice, Compassion, Valour, Nobility, +Wisdom, and Liberality, which have always dwelt in the house of Medici, +and are all united together at the present day in the most excellent Lord +Duke, in that he is just, compassionate, valorous, noble, wise, and liberal. +And because these qualities have made the city of Florence, as they still +do, strong in laws, peace, arms, science, wisdom, tongues, and arts, and +also because the said Lord Duke is just in the laws, compassionate in +peace, valorous in arms, noble through the sciences, wise in his encouragement +of tongues and other culture, and liberal to the arts, Tribolo wished +that on the other side from the Justice, Compassion, Valour, Nobility, +Wisdom, and Liberality, on the left hand, as will be seen below, there +should be these other figures: Laws, Peace, Arms, Sciences, Tongues, and +Arts. And it was most appropriately arranged that in this manner these +statues and images should be placed, as they would have been, above +<span class="pagenum"><a id="Page_26" name="Page_26"></a>[Pg 26]</span> the Arno and Mugnone, in order to signify that they do honour to Florence. +It was also proposed that in the pediments there should be placed portrait-busts +of men of the house of Medici, one in each—over Justice, for +example, the portrait of his Excellency, that being his particular virtue, +over Compassion that of the Magnificent Giuliano, over Valour Signor +Giovanni, over Nobility the elder Lorenzo, over Wisdom the elder Cosimo +or Clement VII, and over Liberality Pope Leo. And in the pediments +on the other side it was suggested that there might be placed other heads +from the house of Medici, or of persons of the city connected with that +house. But since these names make the matter somewhat confused, +they have been placed here in the following order:</p> + +<table style="margin-left: 10%" class="smcap" border="0" cellpadding="1" summary="Placement of statues."> +<colgroup> + <col width="6em"> + <col width="3em"> + <col width="8em"> + <col width="5em"> + <col width="6em"> + <col width="3em"> + <col width="7em"> +</colgroup> +<tr> +<td>Summer.</td> +<td> </td> +<td class="center">The Mugnone.</td> +<td class="center">Gate.</td> +<td class="center">The Arno.</td> +<td> </td> +<td class="center">Spring.</td> +</tr> +<tr> +<td colspan="7"> </td></tr> +<tr> +<td>Arts.</td> +<td rowspan="6" title="Loggia" class="center">L<br>o<br>g<br>g<br>i<br>a.</td> +<td colspan="3"> </td> +<td rowspan="6" title="Loggia" class="center">L<br>o<br>g<br>g<br>i<br>a.</td> +<td>Liberality.</td> +</tr> +<tr> +<td>Tongues.</td> +<td colspan="3"> </td> +<td>Wisdom.</td> +</tr> +<tr> +<td>Sciences.</td> +<td colspan="3"> </td> +<td>Nobility.</td> +</tr> +<tr> +<td>Arms.</td> +<td colspan="3"> </td> +<td>Valour.</td> +</tr> +<tr> +<td>Peace.</td> +<td colspan="3"> </td> +<td>Compassion.</td> +</tr> +<tr> +<td>Laws.</td> +<td colspan="3"> </td> +<td>Justice.</td> +</tr> +<tr> +<td colspan="7"> </td></tr> +<tr> +<td> </td> +<td class="center">Autumn.</td> +<td class="center">Gate.</td> +<td class="center">Loggia.</td> +<td class="center">Gate.</td> +<td class="center">Winter.</td> +<td> </td> +</tr> +</table> + +<p>All these ornaments would have made this in truth the richest, the +most magnificent, and the most ornate garden in Europe; but these +works were not carried to completion, for the reason that Tribolo was +not able to take measures to have them finished while the Duke was in +the mind to continue them, as he might have done in a short time, having +men in abundance and the Duke ready to spend money, and not suffering +from those hindrances that afterwards stopped him. The Duke, indeed, +not being contented at that time with the great quantity of water that +is to be seen there, was thinking of trying to obtain the water of Valcenni, +which is very abundant, in order to join it with the rest, and then to +conduct it from Castello by an aqueduct similar to the one which he had +made to the Piazza in front of his Palace in Florence. And of a truth, +if this work had been pressed forward by a man with greater energy and +more desire of glory, it would have been carried at least well on; but +since Tribolo, besides that he was much occupied with various affairs of +<span class="pagenum"><a id="Page_27" name="Page_27"></a>[Pg 27]</span> the Duke's, had not much energy, nothing more was done. And in all +the time that he worked at Castello, he did not execute with his own +hand anything save the two fountains, with the two rivers, the Arno and +the Mugnone, and the statue of Fiesole; this arising from no other cause, +so far as one can see, but his being too much occupied, as has been related, +with the many affairs of the Duke.</p> + +<p>Among other things, the Duke caused him to make a bridge over +the River Mugnone on the high road that goes to Bologna, without the +Porta a S. Gallo. This bridge, since the river crosses the road obliquely, +Tribolo caused to be built with an arch likewise oblique, in accordance +with its oblique line across the river, which was a new thing, and much +extolled, above all because he had the arch put together of stones cut +on the slant on every side in such a manner that it proved to be very +strong and very graceful; in short, this bridge was a very beautiful work.</p> + +<p>Not long before, the Duke had been seized with a desire to make a +tomb for Signor Giovanni de' Medici, his father, and Tribolo, being eager +to have the commission, made a very beautiful model for it, in competition +with one that had been executed by Raffaello da Montelupo, who +had the favour of Francesco di Sandro, the master of arms to his Excellency. +And then, the Duke having resolved that the one to be put +into execution should be Tribolo's, he went off to have the marble quarried +at Carrara, where he also caused to be quarried the two basins for the +loggie at Castello, a table, and many other blocks of marble. Meanwhile, +Messer Giovan Battista da Ricasoli, now Bishop of Pistoia, being in Rome +on business of the Lord Duke's, he was sought out by Baccio Bandinelli, +who had just finished the tombs of Pope Leo X and Clement VII in the +Minerva; and he was asked by Baccio to recommend him to his Excellency. +Whereupon Messer Giovan Battista wrote to the Duke that +Bandinelli desired to serve him, and his Excellency wrote in reply that +on his return he should bring him in his company. And Bandinelli, +having therefore arrived in Florence, so haunted the Duke in his audacity, +making promises and showing him designs and models, that the tomb +of the above-named Signor Giovanni, which was to have been made by +Tribolo, was allotted to him; and so, taking some pieces of marble of +<span class="pagenum"><a id="Page_28" name="Page_28"></a>[Pg 28]</span> Michelagnolo's, which were in the Via Mozza in Florence, he hacked +them about without scruple and began the work. Wherefore Tribolo, +on returning from Carrara, found that in consequence of his being too +leisurely and good-natured, the commission had been taken away +from him.</p> + +<p>In the year when bonds of kinship were formed between the Lord +Duke Cosimo and the Lord Don Pedro di Toledo, Marquis of Villafranca, +at that time Viceroy of Naples, the Lord Duke taking Don Pedro's +daughter, Signora Leonora, to wife, preparations were made in Florence +for the nuptials, and Tribolo was given the charge of constructing a +triumphal arch at the Porta al Prato, through which the bride, coming +from Poggio, was to enter; which arch he made a thing of beauty, very +ornate with columns, pilasters, architraves, great cornices, and pediments. +That arch was to be all covered with figures and scenes, in addition to +the statues by the hand of Tribolo; and all those paintings were executed +by Battista Franco of Venice, Ridolfo Ghirlandajo, and Michele, his disciple. +Now the principal figure that Tribolo made for this work, which +was placed at the highest point in the centre of the pediment, on a dado +wrought in relief, was a woman five braccia high, representing Fecundity, +with five little boys, three clinging to her legs, one on her lap, and another +in her arms; and beside her, where the pediment sloped away, were two +figures of the same size, one on either side. Of these figures, which were +lying down, one was Security, leaning on a column with a light wand in +her hand, and the other was Eternity, with a globe in her arms, and below +her feet a white-haired old man representing Time, and holding in his +arms the Sun and Moon. I shall say nothing as to the works of painting +that were on that arch, because everyone may read about them for himself +in the description of the festive preparations for those nuptials. +And since Tribolo had particular charge of all decorations for the Palace +of the Medici, he caused many devices to be executed in the lunettes of +the vaulting of the court, with mottoes appropriate to the nuptials, and +all those of the most illustrious members of the house of Medici. Besides +this, he had a most sumptuous decoration made in the great open court, +all full of stories; on one side of the Greeks and Romans, and on the +<span class="pagenum"><a id="Page_29" name="Page_29"></a>[Pg 29]</span> other sides of deeds done by illustrious men of that house of Medici, +which were all executed under the direction of Tribolo by the most +excellent young painters that there were in Florence at that time—Bronzino, +Pier Francesco di Sandro, Francesco Il Bacchiacca, Domenico +Conti, Antonio di Domenico, and Battista Franco of Venice.</p> + +<p>On the Piazza di S. Marco, also, upon a vast pedestal ten braccia in +height (in which Bronzino had painted two very beautiful scenes of the +colour of bronze on the socle that was above the cornices), Tribolo erected +a horse of twelve braccia, with the fore-legs in the air, and upon it an +armed figure, large in proportion; and this figure, which had below it +men dead and wounded, represented the most valorous Signor Giovanni +de' Medici, the father of his Excellency. This work was executed by +Tribolo with so much art and judgment, that it was admired by all who +saw it, and what caused even greater marvel was the speed with which +he finished it; among his assistants being the sculptor Santi Buglioni, +who was crippled for ever in one leg by a fall, and came very near dying.</p> + +<p>Under the direction of Tribolo, likewise, for the comedy that was +performed, Aristotile da San Gallo executed marvellous scenery, being +truly most excellent in such things, as will be told in his Life; and for +the costumes in the interludes, which were the work of Giovan Battista +Strozzi, who had charge of the whole comedy, Tribolo himself made the +most pleasing and beautiful inventions that it is possible to imagine in +the way of vestments, buskins, head-dresses, and other wearing apparel. +These things were the reason that the Duke afterwards availed himself +of Tribolo's ingenuity in many fantastic masquerades, as in that of the +bears, in a race of buffaloes, in the masquerade of the ravens, and in +others.</p> + +<p>In like manner, in the year when there was born to the said Lord +Duke his eldest son, the Lord Don Francesco, there was to be made in +the Temple of S. Giovanni in Florence a very magnificent decoration +which was to be marvellous in its grandeur, and capable of accommodating +one hundred most noble young maidens, who were to accompany +the Prince from the Palace as far as the said temple, where he was to +receive baptism. The charge of this was given to Tribolo, who, in company +<span class="pagenum"><a id="Page_30" name="Page_30"></a>[Pg 30]</span> with Tasso, adapting himself to the place, brought it about that +the temple, which in itself is ancient and very beautiful, had the appearance +of a new temple designed very well in the modern manner, with +seats all round it richly adorned with pictures and gilding. In the centre, +beneath the lantern, he made a great vase of carved woodwork with +eight sides, the base of which rested on four steps, and at the corners of +the eight sides were some large caulicoles, which, springing from the +ground, where there were some lions' paws, had at the top of them certain +children of large size in various attitudes, who were holding with their +hands the lip of the vase, and supporting with their shoulders some +festoons which hung like a garland right round the space in the middle. +Besides this, Tribolo had made in the middle of the vase a pedestal of +wood with beautiful things of fancy round it, upon which, to crown the +work, he placed the S. John the Baptist of marble, three braccia high, +by the hand of Donatello, which was left by him in the house of Gismondo +Martelli, as has been related in the Life of Donatello himself. +In short, this temple was adorned both within and without as well as +could possibly be imagined, and the only part neglected was the principal +chapel, where there is an old tabernacle with those figures in relief that +Andrea Pisano made long ago; by reason of which it appeared that, +every other part being made new, that old chapel spoilt all the grace +that the other things together displayed. Wherefore the Duke, going +one day to see those decorations, after praising everything like a man of +judgment, and recognizing how well Tribolo had adapted himself to the +situation and to every other feature of the place, censured one thing only, +but that severely—that no thought had been given to the principal chapel. +And then he ordained on the spot, like a person of resolute character and +beautiful judgment, that all that part should be covered with a vast +canvas painted in chiaroscuro, with S. John the Baptist baptizing Christ, +and the people standing all around to see them or to be baptized, some +taking off their clothes, and others putting them on again, in various +attitudes; and above this was to be a God the Father sending down the +Holy Spirit, with two fountains in the guise of river-gods, representing +the Jor and the Dan, which, pouring forth water, were to form the Jordan. +<span class="pagenum"><a id="Page_31" name="Page_31"></a>[Pg 31]</span> Jacopo da Pontormo was requested to execute this work by Messer Pier +Francesco Riccio, at that time major-domo to the Duke, and by Tribolo, +but he would not do it, on the ground that he did not think that the +time given, which was only six days, would be enough for him; and the +same refusal was made by Ridolfo Ghirlandajo, Bronzino, and many +others. Now at this time Giorgio Vasari, having returned from Bologna, +was executing for Messer Bindo Altoviti the altar-piece of his chapel in +S. Apostolo at Florence, but he was not held in much consideration, +although he had friendship with Tribolo and Tasso, because certain +persons had formed a faction under the protection of the above-named +Messer Pier Francesco Riccio, and whoever was not of that faction had +no share in the favours of the Court, although he might be able and +deserving. This was the reason that many who, with the aid of so great +a Prince, would have become excellent, found themselves neglected, none +being employed save those chosen by Tasso, who, being a gay person, +got Riccio so well under his thumb with his jokes, that in certain affairs +he neither proposed nor did anything save what was suggested by Tasso, +who was architect to the Palace and did all the work. These men, then, +having a sort of suspicion of Giorgio, who laughed at their vanities and +follies, and sought to make a position for himself rather by means of the +studies of art than by favour, gave no thought to his claims; but he was +commissioned by the Lord Duke to execute that canvas, with the subject +described above. This work he executed in chiaroscuro, in six days, and +delivered it finished in the manner known to those who saw what grace +and adornment it conferred on the whole decoration, and how much it +enlivened that part of the temple that stood most in need of it, amid the +magnificence of that festival. Tribolo, then (to return to the point whence, +I know not how, I digressed), acquitted himself so well, that he rightly +won the highest praise; and the Duke commanded that a great part of +the ornaments that he placed between the columns should be left there, +where they still are, and deservedly.</p> + +<p>For the Villa of Cristofano Rinieri at Castello, while he was occupied +with the fountains of the Duke, Tribolo made for a niche over a fish-pond +which is at the head of a fowling-place, a river-god of grey-stone, +<span class="pagenum"><a id="Page_32" name="Page_32"></a>[Pg 32]</span> of the size of life, which pours water into a very large basin of the same +stone; which figure is made of pieces, and put together with such diligence +and art, that it appears to be all of one block. Tribolo then set +his hand, at the command of his Excellency, to attempting to finish the +staircase of the library of S. Lorenzo—that, namely, which is in the +vestibule before the door; but after he had placed four steps in position, +not finding either the plan or the measurements of Michelagnolo, by order +of the Duke he went to Rome, not only to hear the opinion of Michelagnolo +with regard to that staircase, but also to make an effort to bring +him to Florence. But he did not succeed either in the one object or in +the other, for Michelagnolo, not wishing to leave Rome, excused himself +in a handsome manner, and as for the staircase he declared that he +remembered neither the measurements nor anything else. Tribolo, therefore, +having returned to Florence, and not being able to continue the +work of that staircase, set himself to make the pavement of the said +library with white and red bricks, after the manner of some pavements +that he had seen in Rome; but he added a filling of red clay to the white +clay mixed with bole, in order to produce various effects of carving in +those bricks; and thus he made in that pavement a copy of the ceiling +and coffered work above—a notion that was highly extolled. He then +began, but did not finish, a work that was to be placed on the main tower +of the defences of the Porta a Faenza, for Don Giovanni di Luna, the +castellan at that time—namely, an escutcheon of grey-stone, and a large +eagle in full relief with two heads, which he made in wax to the end that +it might be cast in bronze, but nothing more was done with it, and of +the escutcheon only the shield was finished.</p> + +<p>Now it was the custom in the city of Florence to have almost every +year on the principal piazza, on the evening of the festival of S. John +the Baptist, towards nightfall, a girandola—that is, a contrivance full of +fire-trumpets, rockets, and other fireworks; which girandola had the form +now of a temple, now of a ship, sometimes of rocks, and at times of a +city or of an inferno, according as it pleased the designer; and one year +the charge of making one was given to Tribolo, who, as will be described +below, made it very beautifully. Of the various manners of these fireworks, +<span class="pagenum"><a id="Page_33" name="Page_33"></a>[Pg 33]</span> and particularly of set pieces, Vannoccio of Siena and others give +an account, and on this subject I shall enlarge no further; but I must +say something as to the nature of these girandole. The whole structure, +then, is of wood, with broad compartments radiating outwards from the +foot, to the end that the rockets, when they have been lighted, may not +set fire to the other fireworks, but may rise in due order from their +separate places, one after another, filling the heavens in proper succession +with the fire that blazes in the girandola both above and below. +They are distributed, I say, at wide intervals, to the end that they may +not burn all at once, and may produce a beautiful effect; and the same +do the mortars, which are bound to the firm parts of the girandola, and +make the most beautiful and joyous noises. The fire-trumpets, likewise, +are fitted in among the ornaments, and are generally contrived so as to +discharge through the mouths of masks and other suchlike things. But +the most important point is to arrange the girandola in such a manner +that the lights that burn in certain vases may last the whole night, and +illuminate the piazza; wherefore the whole work is connected together +by a simple match of tow steeped in a mixture of powder full of sulphur +and aquavitæ, which creeps little by little with its fire to every part +which it has to set alight, one after another, until it has kindled the +whole. Now, as I have said, the things represented are various, but all +must have something to do with fire, and must be subject to its action; +and long before this there had been counterfeited the city of Sodom, +with Lot and his daughters flying from it, at another time Geryon, with +Virgil and Dante on his back, according as Dante himself relates in the +<i>Inferno</i>, and even earlier Orpheus bringing Eurydice with him from +those infernal regions, with many other inventions. And his Excellency +ordained that the work should not be given to any of the puppet-painters, +who for many years past had made a thousand absurdities in the girandole, +but that an excellent master should produce a work that might +have in it something of the good; wherefore the charge of this was given +to Tribolo, who, with the ingenuity and art wherewith he had executed +all his other works, made one in the form of a very beautiful octagonal +temple, rising with its ornaments to the total height of twenty braccia. +<span class="pagenum"><a id="Page_34" name="Page_34"></a>[Pg 34]</span> This temple he represented as the Temple of Peace, placing on the summit +an image of Peace, who was setting fire to a great pile of arms which she +had at her feet; and these arms, the statue of Peace, and all the other +figures that made this structure one of great beauty, were made of pasteboard, +clay, and cloth steeped in glue, put together with extraordinary +art. They were, I say, of these materials, to the end that the whole work +might be the lighter, since it was to be suspended at a great height from +the ground by a double rope that crossed the Piazza high in the air. +It is true, indeed, that the fireworks having been placed in it too thickly, +and the fuses of tow being too near one to another, when they were set +alight, such was the fury of the conflagration, and so great and so violent +the blaze, that everything caught fire all at once, and was burned in a +flash, whereas it should have continued to burn for an hour at least; +and what was worse, the fire seizing on the woodwork and on all that +should have been preserved, the ropes and every other thing were consumed +in a moment, which was no small loss, and gave little pleasure to +the people. But with regard to workmanship, it was more beautiful +than any other girandola that had ever been made up to that time.</p> + +<p>The Duke, then, resolving to erect the Loggia of the Mercato Nuovo +for the convenience of his citizens and merchants, did not wish to lay a +greater burden than he could bear on Tribolo, who, as chief engineer to +the Capitani di Parte and the commissioners of the rivers and the sewers +of the city, was always riding through the Florentine dominions, engaged +in bringing back to their proper beds many rivers that did damage by +breaking away from them, in repairing bridges, and in other suchlike +works; and he gave the charge of this enterprise to Tasso, at the advice +of the above-mentioned Messer Pier Francesco, his major-domo, in order +to change that Tasso from a carpenter into an architect. This was certainly +against the wishes of Tribolo, although he did not show it, and +even acted as the close friend of Tasso; and a proof that this is true is +that Tribolo perceived many errors in Tasso's model, but, so it is believed, +would by no means tell him of them. Such an error, for example, was +that of the capitals of the columns that are beside the pilasters, whereby, +the columns not leaving enough space, when everything had been drawn +<span class="pagenum"><a id="Page_35" name="Page_35"></a>[Pg 35]</span> up, and the capitals had to be set into position, the corona above those +capitals would not go in, so that it was found necessary to cut away so +much that the order of the architecture was ruined; besides many other +errors, of which there is no need to speak. For the above-named Messer +Pier Francesco the same Tasso executed the door of the Church of +S. Romolo, and a window with knee-shaped brackets on the Piazza del +Duca, in an order of his own, substituting capitals for bases, and doing +so many other things without measure or order, that it might have been +said that the German Order had begun to return to life in Tuscany by +means of this man; to say nothing of the works that he did in the Palace +in the way of staircases and apartments, which the Duke has been obliged +to have destroyed, because they had no sort of order, measure, or proportion, +and were, on the contrary, all shapeless, out of square, and +without the least convenience or grace. All these things were not done +without some responsibility falling on Tribolo, who, having considerable +knowledge in such matters, should not, so it seemed, have allowed his +Prince to throw away his money and to do him such an affront to his +face; and, what was even more serious, he should not have permitted +such things to Tasso, who was his friend. Well did men of judgment +recognize the presumption and madness of the one in seeking to exercise +an art of which he knew nothing, and the dissimulation of the other, who +declared that he was pleased with that which he certainly knew to be +bad; and of this a proof may be found in the works that Giorgio Vasari +has had to pull down in the Palace, to the loss of the Duke and the great +shame of those men.</p> + +<p>But the same thing happened to Tribolo as to Tasso, in that, even +as Tasso abandoned wood-carving, a craft in which he had no equal, +but never became a good architect, and thus won little honour by deserting +an art in which he was very able, and applying himself to another +of which he knew not one scrap, so Tribolo, abandoning sculpture, in +which it may be said with truth that he was most excellent and caused +everyone to marvel, and setting himself to attempt to straighten out +rivers, ceased to win honour by pursuing the one, while the other brought +him blame and loss rather than honour and profit. For he did not succeed +<span class="pagenum"><a id="Page_36" name="Page_36"></a>[Pg 36]</span> in his tinkering with rivers, and he made many enemies, particularly +in the district of Prato, on account of the Bisenzio, and in many +places in the Val di Nievole.</p> + +<p>Duke Cosimo having then bought the Palace of the Pitti, of which +there has been an account in another place, and his Excellency desiring +to adorn it with gardens, groves, fountains, fish-ponds, and other suchlike +things, Tribolo executed all the distribution of the hill in the manner +in which it still remains, accommodating everything in its proper place +with beautiful judgment, although various things in many parts of the +garden have since been changed. Of this Pitti Palace, which is the most +beautiful in Europe, mention will be made in another place with a more +suitable occasion.</p> + +<p>After these things, Tribolo was sent by his Excellency to the +island of Elba, not only that he might see the city and port that the +Duke had caused to be built there, but also that he might make arrangements +for the transport of a round piece of granite, twelve braccia in +diameter, from which was to be made a tazza for the great lawn of the +Pitti Palace, which might receive the water of the principal fountain. +Tribolo, therefore, went thither and caused a boat to be made on purpose +for transporting the tazza, and then, after giving the stone-cutters +directions for the transportation, he returned to Florence; where he had +no sooner arrived, than he found the whole country full of murmurings +and maledictions against him, since about that time floods and inundations +had done infinite havoc in the neighbourhood of those rivers that +he had patched up, although it was, perhaps, not altogether through his +fault that this had happened. However that may have been, whether +it was the malignity of some of his assistants, or perchance envy, or that +the accusation was indeed true, the blame for all that damage was laid +on Tribolo, who, being a man of no great spirit, and rather wanting in +resolution than otherwise, and doubting that the malice of some enemy +might make him lose the favour of the Duke, was in a state of great +despondency, when, being of a feeble habit of body, on the 20th of August +in the year 1550, there came upon him a most violent fever. At that +time Giorgio Vasari was in Florence, for the purpose of having sent to +<span class="pagenum"><a id="Page_37" name="Page_37"></a>[Pg 37]</span> Rome the marbles for the tombs that Pope Julius III caused to be +erected in S. Pietro a Montorio; and he, as one who sincerely esteemed +the talents of Tribolo, visited and comforted him, beseeching him that +he should think of nothing save his health, and that, when cured, he +should return to finish the work of Castello, letting the rivers go their +own way, for they were more likely to drown his fame than to bring him +any profit or honour. This, which he promised to attempt to do, he +would, I believe, have done at all costs, if he had not been prevented +by death, which closed his eyes on the 7th of September in the same +year. And so the works of Castello, begun and carried well forward by +him, remained unfinished; for although some work has been done there +since his day, now in one part and now in another, nevertheless they +have never been pursued with the diligence and resolution that were +shown when Tribolo was alive and when the Lord Duke was hot in the +undertaking. Of a truth, he who does not press great works forward +while those who are having them done are spending money willingly and +devoting their best attention to them, brings it about that those works +are put on one side and left unfinished, which zeal and solicitude could +have carried to perfection. And thus, by the negligence of the workers, +the world is left without its adornment, and they without their honour +and fame, for the reason that it rarely happens, as it did to this work +of Castello, that on the death of the first master he who succeeds to his +place is willing to finish it according to his design and model with that +modesty with which Giorgio Vasari, at the commission of the Duke, has +caused the great fish-pond of Castello to be finished after the directions +of Tribolo, even as he will do with the other things according as his +Excellency may desire from time to time to have them done.</p> + +<p>Tribolo lived sixty-five years, and was interred by the Company of +the Scalzo in their place of burial. He left behind him a son called +Raffaello, who has not taken up art, and two daughters, one of whom +is the wife of David, Tribolo's assistant in building all the works at +Castello, who, being a man of judgment and capable in such matters, is +now employed on the aqueducts of Florence, Pisa, and all the other places +in the dominion, according as it may please his Excellency.</p> + + +<hr style="width: 65%;"> +<h2><a name="pierinodavinci" id="pierinodavinci"></a><span class="pagenum"><a id="Page_39" name="Page_39"></a>[Pg 39]</span> PIERINO (PIERO) DA VINCI</h2> + +<hr style="width: 65%;"> +<h2><a name="life_of_pierinodavinci" id="life_of_pierinodavinci"></a><span class="pagenum"><a id="Page_41" name="Page_41"></a>[Pg 41]</span> LIFE OF PIERINO (PIERO) DA VINCI<br> +SCULPTOR</h2> + +<p>Although those men are generally the most celebrated who have executed +some work excellently well, nevertheless, if the works already accomplished +by any man foreshadow those that he did not achieve as likely +to have been numerous and much more rare, if some accident, unforeseen +and out of the common use, had not happened to interrupt him, it +is certain that such a man, wherever there may be one willing to be just +in his appreciation of the talent of another, will be rightly extolled and +celebrated both on the one count and on the other, and as much for +what he would have done as for what he did. The sculptor Vinci, therefore, +should not suffer on account of the short duration of his life, or be +robbed thereby of the praise due to him from the judgment of those +who shall come after us, considering that he was only in the first bloom +both of his life and of his studies at the time when he produced and +gave to the world that which everyone admires, and was like to bring +forth fruits in greater abundance, if a hostile tempest had not destroyed +both the fruits and the tree.</p> + +<p>I remember having said in another place that in the township of +Vinci, in the lower Valdarno, there lived Ser Piero, the father of Leonardo +da Vinci, most famous of painters. To this Ser Piero, after Leonardo, +there was born, as his youngest son, Bartolommeo, who, living at Vinci +and attaining to manhood, took for his wife one of the first maidens of +that township. Bartolommeo was desirous of having a male child, and +spoke very often to his wife of the greatness of the genius with which his +brother Leonardo had been endowed, praying God that He should make +her worthy that from her there might be born in his house another +<span class="pagenum"><a id="Page_42" name="Page_42"></a>[Pg 42]</span> Leonardo, the first being now dead. In a short time, therefore, according +to his desire, there was born to him a gracious boy, to whom he +wished to give the name of Leonardo; but, being advised by his relatives +to revive the memory of his father, he gave him the name of Piero. +Having come to the age of three years, the boy had a most beautiful +countenance, with curly locks, and showed great grace in every movement, +with a quickness of intelligence that was marvellous; insomuch +that Maestro Giuliano del Carmine, an excellent astrologer, and with him +a priest devoted to chiromancy, who were both close friends of Bartolommeo, +having arrived in Vinci and lodged in Bartolommeo's house, +looking at the forehead and hand of the boy, revealed to the father, both +the astrologer and the chiromancer together, the greatness of his genius, +and predicted that in a short time he would make extraordinary proficience +in the mercurial arts, but that his life would also be very short. +And only too true was their prophecy, for both in the one part and in +the other (when one would have sufficed), in his life as well as in his art, +it needs must be fulfilled.</p> + +<p>Then, continuing to grow, Piero had his father as his master in +letters, but of himself, without any master, giving his attention to drawing +and to making various little puppets in clay, he showed that the +divine inclination of his nature recognized by the astrologer and the +chiromancer was already awakening and beginning to work in him. By +reason of which Bartolommeo judged that his prayer had been heard by +God; and, believing that his brother had been restored to him in his son, +he began to think of removing Piero from Vinci and taking him to +Florence. Having then done this without delay, he placed Piero, who +was now twelve years of age, with Bandinelli in Florence, flattering himself +that Baccio, having been once the friend of Leonardo, would take +notice of the boy and teach him with diligence; besides which, it seemed +to him that Piero delighted more in sculpture than in painting. But +afterwards, coming very often to Florence, he recognized that Bandinelli +was not answering with deeds to his expectations, and was not taking +pains with the boy or showing interest in him, although he saw him to +be willing to learn. For which reason Bartolommeo took him away from +<span class="pagenum"><a id="Page_43" name="Page_43"></a>[Pg 43]</span> Bandinelli, and entrusted him to Tribolo, who appeared to him to make +more effort to help those who were seeking to learn, besides giving more +attention to the studies of art and bearing even greater affection to the +memory of Leonardo.</p> + +<p>Tribolo was executing some fountains at Castello, the villa of his +Excellency; and thereupon Piero, beginning once more his customary +drawing, through having there the competition of the other young men +whom Tribolo kept about him, set himself with great ardour of spirit to +study day and night, being spurred by his nature, which was desirous of +excellence and honour, and being even more kindled by the example of +the others like himself whom he saw constantly around him. Wherefore +in a few months he made such progress, that it was a marvel to everyone; +and, having begun to gain some experience with the chisels, he +sought to see whether his hand and his tools would obey in practice the +thoughts within him and the designs formed in his brain. Tribolo, perceiving +his readiness, and having had a water-basin of stone made at +that very time for Cristofano Rinieri, gave to Piero a small piece of +marble, from which he was to make for that water-basin a boy that +should spurt forth water from the private part. Piero, taking the marble +with great gladness, first made a little model of clay, and then executed +the work with so much grace, that Tribolo and the others ventured the +opinion that he would become one of those who are counted as rare in +that art. Tribolo then gave him a Ducal Mazzocchio<a id="FNanchor3" name="FNanchor3"></a><a href="#Footnote3" title="Go to footnote 3" class="fnanchor">[3]</a> to make in stone, +to be placed over an escutcheon with the Medici balls, for Messer Pier +Francesco Riccio, the major-domo of the Duke; and he made it with +two children with their legs intertwined together, who are holding the +Mazzocchio in their hands and placing it upon the escutcheon, which is +fixed over the door of a house that the major-domo then occupied, +opposite to S. Giuliano, near the Priests of S. Antonio. When this work +was seen, all the craftsmen of Florence formed the same judgment that +Tribolo had pronounced before.</p> + +<p>After this, he carved a boy squeezing a fish that is pouring water +from its mouth, for the fountains of Castello. And then, Tribolo having +<span class="pagenum"><a id="Page_44" name="Page_44"></a>[Pg 44]</span> given him a larger piece of marble, Piero made from it two children who +are embracing each other and squeezing fishes, causing water to spout +from their mouths. These children were so graceful in the heads and in +their whole persons, and executed with so beautiful a manner in the legs, +arms, and hair, that already it could be seen that he would have been +able to execute the most difficult work to perfection. Taking heart, +therefore, and buying a piece of grey-stone, two braccia and a half in +length, which he took to his house on the Canto alla Briga, Piero began +to work at it in the evenings, after returning from his labours, at night, +and on feast-days, insomuch that little by little he brought it to completion. +This was a figure of Bacchus, who had a Satyr at his feet, and +with one hand was holding a cup, while in the other he had a bunch of +grapes, and his head was girt with a crown of grapes; all after a model +made by himself in clay. In this and in his other early works Piero +showed a marvellous facility, which never offends the eye, nor is it in +any respect disturbing to him who beholds it. This Bacchus, when +finished, was bought by Bongianni Capponi, and his nephew Lodovico +Capponi now has it in a courtyard in his house.</p> + +<p>The while that Piero was executing these works, few persons as yet +knew that he was the nephew of Leonardo da Vinci; but his labours +making him well known and renowned, by this means his parentage and +his birth were likewise revealed. Wherefore ever afterwards, both from +his connection with his uncle and from his own happy genius, wherein +he resembled that great man, he was called by everyone not Piero, but +Vinci.</p> + +<p>Now Vinci, while occupied in this manner, had often heard various +persons speaking of the things connected with the arts to be seen in +Rome, and extolling them, as is always done by everyone; wherefore a +great desire had been kindled in him to see them, hoping to be able to +derive profit by beholding not only the works of the ancients, but also +those of Michelagnolo, and even the master himself, who was then alive +and residing in Rome. He went thither, therefore, in company with +some friends; but after seeing Rome and all that he wished, he returned +to Florence, having reflected judiciously that the things of Rome were +<span class="pagenum"><a id="Page_45" name="Page_45"></a>[Pg 45]</span> as yet too profound for him, and should be studied and imitated not so +early in his career, but after a greater acquaintance with art.</p> + +<p>At that time Tribolo had finished a model for the shaft of the fountain +in the labyrinth, in which are some Satyrs in low-relief, four masks +in half-relief, and four little boys in the round, who are seated upon +certain caulicoles. Vinci having then returned, Tribolo gave him this +shaft to do, and he executed and finished it, making in it some delicate +designs not employed by any other but himself, which greatly pleased +all who saw them. Then, having had the whole marble tazza of that +fountain finished, Tribolo thought of placing on the edge of it four children +in the round, lying down and playing with their arms and legs in the +water, in various attitudes; and these he intended to cast in bronze. +Vinci, at the commission of Tribolo, made them of clay, and they were +afterwards cast in bronze by Zanobi Lastricati, a sculptor and a man +very experienced in matters of casting; and they were placed not long +since around the fountain, where they make a most beautiful effect.</p> + +<p>There was in daily intercourse with Tribolo one Luca Martini, the +proveditor at that time for the building of the Mercato Nuovo, who, +praising highly the excellence in art and the fine character of Vinci, and +desiring to help him, provided him with a piece of marble two-thirds of +a braccio in height and one and a quarter in length. Vinci, taking the +marble, made with it a Christ being scourged at the Column, in which +the rules of low-relief and of design may be seen to have been well observed; +and in truth it made everyone marvel, considering that he had +not yet reached the age of seventeen, and had made in five years of +study that proficience in art which others do not achieve save after +length of life and great experience of many things.</p> + +<p>At this time Tribolo, having undertaken the office of superintendent +of the drains in the city of Florence, ordained in that capacity that the +drain in the old Piazza di S. Maria Novella should be raised from the +ground, in such a way that, becoming more capacious, it might be better +able to receive all the waters that ran into it from various quarters. +For this work, then, he commissioned Vinci to make the model of a +great mask of three braccia, which with its open mouth might swallow +<span class="pagenum"><a id="Page_46" name="Page_46"></a>[Pg 46]</span> all the rain-water. Afterwards, by order of the Ufficiali della Torre, the +work was allotted to Vinci, who, in order to execute it more quickly, +summoned to his aid the sculptor Lorenzo Marignolli. In company with +this master he finished it, making it from a block of hard-stone; and the +work is such that it adorns the whole Piazza, with no small advantage +to the city.</p> + +<p>It now appeared to Vinci that he had made such proficience in art, +that it would be a great benefit to him to see the principal works in Rome, +and to associate with the most excellent craftsmen living there; wherefore, +an occasion to go there presenting itself, he seized it readily. There +had arrived from Rome an intimate friend of Michelagnolo Buonarroti, +Francesco Bandini, who, having come to know Vinci by means of Luca +Martini, and having praised him highly, caused him to make a model of +wax for a tomb of marble that he wished to erect in his chapel in S. Croce; +and shortly afterwards, on returning to Rome, Vinci having spoken his +mind to Luca Martini, Bandini took him in his company. There Vinci +remained a year, studying all the time, and executed some works worthy +of remembrance. The first was a Christ on the Cross in low-relief, rendering +up His spirit to His Father, which was copied from a design done +by Michelagnolo. For Cardinal Ridolfi he added to an antique head a +breast in bronze, and made a Venus of marble in low-relief, which was +much extolled. For Francesco Bandini he restored an ancient horse, of +which many pieces were wanting, and made it complete. And in order +to give some proof of gratitude, where he could, to Luca Martini, who +was writing to him by every courier, and continually recommending him +to Bandini, it seemed good to Vinci to make a copy in wax, in the round +and two-thirds (of a braccio) in height, of the Moses of Michelagnolo that +is on the tomb of Pope Julius II in S. Pietro in Vincula, than which there +is no more beautiful work to be seen; and so, having made the Moses of +wax, he sent it as a present to Luca Martini.</p> + +<p>At the time when Vinci was living in Rome and executing the works +mentioned above, Luca Martini was made by the Duke of Florence +proveditor of Pisa, and in his office he did not forget his friend, and +therefore wrote to him that he was preparing a room for him and was +<span class="pagenum"><a id="Page_47" name="Page_47"></a>[Pg 47]</span> providing a block of marble of three braccia, so that he might return +from Rome at his pleasure, seeing that while with him he should want +for nothing. Vinci, attracted by this prospect and by the love that he +bore to Luca, resolved to depart from Rome and to take up his abode +for some time in Pisa, where he looked to find opportunities of practising +his hand and making trial of his ability. Having therefore gone to Pisa, +he found that the marble was already in his room, prepared according to +the orders of Luca; but, on proceeding to begin to carve from it an +upright figure, he perceived that the marble had in it a crack that diminished +it by a braccio. Wherefore, having resolved to change it into a +recumbent figure, he made a young River God holding a vase that is +pouring out water, the vase being upheld by three children, who are +assisting the River God to pour the water forth; and beneath his feet +runs a copious stream of water, in which may be seen fishes darting +about and water-fowl flying in various parts. This River God finished, +Vinci made a present of it to Luca, who presented it to the Duchess, to +whom it was very dear; and then, her brother Don Garzia di Toledo being +at that time in Pisa, whither he had gone by galley, she gave it to that +brother, who accepted it with much pleasure for the fountains of his +garden in the Chiaia at Naples.</p> + +<p>In those days Luca Martini was writing some observations on the +Commedia of Dante, and he pointed out to Vinci the cruelty described +by Dante, which the Pisans and Archbishop Ruggieri showed towards +Count Ugolino della Gherardesca, causing him to die of hunger with his +four sons in the tower that is therefore called the Tower of Hunger; +whereby he offered to Vinci the occasion for a new work and the idea of +a new design. Wherefore, while he was still working at the River God +described above, he set his hand to making a scene in wax more than a +braccio in height and three-quarters in breadth, to be cast in bronze, in +which he represented two of the Count's sons already dead, one in the +act of expiring, and the fourth overcome by hunger and near his end, +but not yet reduced to the last breath; with the father in a pitiful and +miserable attitude, blind and heavy with grief, and groping over the +wretched bodies of his sons stretched upon the ground. In this work +<span class="pagenum"><a id="Page_48" name="Page_48"></a>[Pg 48]</span> Vinci displayed the excellence of design no less than did Dante the perfection +of poetry in his verses, for no less compassion is stirred by the +attitudes shaped in wax by the sculptor in him who beholds them, than +is roused in him who listens to the words and accents imprinted on the +living page by the poet. And in order to mark the place where the event +happened, he made at the foot of the scene the River Arno, which occupies +its whole width, for the above-named tower is not far distant from the +river in Pisa; while upon that tower he placed an old woman, naked, +withered, and fearsome, representing Hunger, much after the manner +wherein Ovid describes her. The wax model finished, he cast the scene +in bronze, and it gave consummate satisfaction, being held by the Court +and by everyone to be no ordinary work.</p> + +<p>Duke Cosimo was then intent on enriching and beautifying the city +of Pisa, and he had already caused the Piazza del Mercato to be built +anew, with a great number of shops around it, and had placed in the +centre a column ten braccia high, upon which, according to the design +of Luca, was to stand a statue representing Abundance. Martini, therefore, +having spoken to the Duke and presented Vinci to his notice, easily +obtained for him from his Excellency the commission for that statue, +the Duke being always eager to assist men of talent and to bring fine +intellects forward. Vinci executed a statue of travertine, three braccia +and a half in height, which was much extolled by everyone; for at the +feet of the figure he placed a little child, who assists her to support the +Cornucopia, carved with much softness and facility, although the stone +is rough and difficult to work.</p> + +<div class="figcenter"> +<a name="img003" id="img003"></a> +<img src="images/img003-tb.jpg" width="400" height="558" alt="Ugolino della Gherardesca and his Sons +in the Tower of Famine." title=""> +<p class="caption">UGOLINO DELLA GHERARDESCA AND HIS SONS +IN THE TOWER OF FAMINE<br> +(<i>After the wax relief by</i> Pierino [Piero] da Vinci. <i>Oxford: Ashmolean Museum</i>)<br> +<i>Reproduced by permission of the Visitors of the Ashmolean Museum.</i><br> +<span class="link"><a href="images/img003.jpg">View larger image</a></span></p> +</div> + +<p>Luca afterwards sent to Carrara to have a block of marble quarried +five braccia in height and three in breadth, from which Vinci, who had +once seen some sketches by Michelagnolo of Samson slaying a Philistine +with the jawbone of an ass, proposed to make two figures of five braccia +from his own fancy, after that subject. Whereupon, while the marble +was on its way, he set himself to make several models, all varying one +from another, and then fixed on one of them; and after the block had +arrived he began to carve it, and carried it well on, imitating Michelagnolo +in cutting his conception and design little by little out of the +<span class="pagenum"><a id="Page_49" name="Page_49"></a>[Pg 49]</span> stone, without spoiling it or making any sort of error. He executed all +the perforation in this work, whether undercut or at an easy angle, with +great facility, laborious as it was, and the manner of the whole work +was very delicate. But since the labour was very fatiguing, he sought +to distract himself with other studies and works of less importance; and +thus he executed during the same time a little tablet of marble in low-relief, +in which he represented Our Lady with Christ, S. John, and +S. Elizabeth, which was held, as it still is, to be a rare work. This came +into the hands of the most illustrious Duchess, and it is now among the +choice things in the study of the Duke.</p> + +<p>He then set his hand to a scene of marble, one braccio high and one +and a half wide, partly in half-relief and partly in low-relief, in which he +represented the restoration of Pisa by the Duke, who is in the work +present in person at the restoration of that city, which is being pressed +forward by his presence. Round the Duke are figures of his virtues; in +particular a Minerva representing his wisdom and also the arts revived +by him in that city of Pisa, who is surrounded by many evils and natural +defects of the site, which besiege her on every side, and afflict her in the +manner of enemies; but from all these that city has since been delivered +by the above-mentioned virtues of the Duke. All these virtues round +the Duke, with all the evils round Pisa, were portrayed by Vinci in his +scene with most beautiful gestures and attitudes; but he left it unfinished, +to the great regret of those who saw it, on account of the perfection of +the things in it that were completed.</p> + +<p>The fame of Vinci having grown and spread abroad by reason of +these works, the heirs of Messer Baldassarre Turini da Pescia besought +him that he should make a model of a marble tomb for Messer Baldassarre; +which finished, it pleased them, whereupon they made an agreement +that the tomb should be executed, and Vinci sent Francesco del +Tadda, an able master of marble-carving, to have the marble quarried at +Carrara. And when that master had sent him a block of marble, Vinci +began a statue, and carved out of the stone a figure blocked out in such +a manner that one who knew not the circumstances would have said that +it was certainly blocked out by Michelagnolo.</p> + +<p><span class="pagenum"><a id="Page_50" name="Page_50"></a>[Pg 50]</span> The name of Vinci was now very great, and his genius was admired +by all, being much more perfect than could have been expected in one +so young, and it was likely to grow even more and to become greater, +and to equal that of any other man in his art, as his own works bear +witness, without any other testimony; when the term prescribed for him +by Heaven, being now close at hand, interrupted all his plans, and caused +his rapid progress to cease at one blow, not suffering that he should +climb any higher, and depriving the world of many excellent works of +art with which, had Vinci lived, it would have been adorned. It happened +at this time, while Vinci was intent on the tomb of another, not +knowing that his own was preparing, that the Duke had to send Luca +Martini to Genoa on affairs of importance; and Luca, both because he +loved Vinci and wished to have him in his company, and also in order +to give him some diversion and recreation, and to enable him to see +Genoa, took him with him on his journey. There, while Martini was +transacting his business, at his suggestion Messer Adamo Centurioni commissioned +Vinci to execute a figure of S. John the Baptist, of which he +made the model. But soon he was attacked by fever, and, to increase +his distress, at the same time his friend was also taken away from him; +perchance to provide a way in which fate might be fulfilled in the life +of Vinci. For it became necessary that Luca, in the interests of the +business entrusted to him, should go to Florence to find the Duke; wherefore +he parted from his sick friend, to the great grief of both the one +and the other, leaving him in the house of the Abate Nero, to whom he +straitly recommended him, although Piero was very unwilling to remain +in Genoa. But Vinci, feeling himself growing worse every day, resolved +to have himself removed from Genoa; and, having caused an assistant of +his own, called Tiberio Cavalieri, to come from Pisa, with his help he had +himself carried to Livorno by water, and from Livorno to Pisa in a litter. +Arriving in Pisa at the twenty-second hour in the evening, all exhausted +and broken by the journey, the sea-voyage, and the fever, during the +night he had no repose, and the next morning, at the break of day, he +passed to the other life, not having yet reached the age of twenty-three.</p> + +<p>The death of Vinci was a great grief to all his friends, and to Luca +<span class="pagenum"><a id="Page_51" name="Page_51"></a>[Pg 51]</span> Martini beyond measure; and it grieved all those who had hoped to see +from his hands such works as are not often seen. And Messer Benedetto +Varchi, who was much the friend of his abilities and of those of every +master, afterwards wrote the following sonnet in memory of his fame:</p> + +<p class="poem20"> +Come potrò da me, se tu non presti<br> +<span class="add1em">O forza, o tregua al mio gran duolo interno,</span><br> +<span class="add1em">Soffrirlo in pace mai, Signor superno,</span><br> +<span class="add1em">Che fin quì nuova ognor pena mi desti?</span><br> +Dunque de' miei più cari or quegli, or questi,<br> +<span class="add1em">Verde sen voli all'alto Asilo eterno,</span><br> +<span class="add1em">Ed io canuto in questo basso inferno</span><br> +<span class="add1em">A pianger sempre e lamentarmi resti?</span><br> +Sciolgami almen tua gran bontade quinci,<br> +<span class="add1em">Or che reo fato nostro, o sua ventura,</span><br> +<span class="add1em">Ch' era ben degno d' altra vita, e gente,</span><br> +Per far più ricco il cielo, e la scultura<br> +<span class="add1em">Men bella, e me col buon Martin dolente,</span><br> +<span class="add1em">N' ha privi, o pietà, del secondo Vinci.</span></p> + +<hr style="width: 65%;"> +<h2><a name="bacciobandinelli" id="bacciobandinelli"></a><span class="pagenum"><a id="Page_53" name="Page_53"></a>[Pg 53]</span> BACCIO BANDINELLI</h2> + +<hr style="width: 65%;"> +<h2><a name="life_of_bacciobandinelli" id="life_of_bacciobandinelli"></a><span class="pagenum"><a id="Page_55" name="Page_55"></a>[Pg 55]</span> LIFE OF BACCIO BANDINELLI<br> +SCULPTOR OF FLORENCE</h2> + + +<p>In the days when the arts of design flourished in Florence by the favour +and assistance of the elder Lorenzo de' Medici the Magnificent, there +lived in the city a goldsmith called Michelagnolo di Viviano of Gaiuole, +who worked excellently well at chasing and incavo for enamels and niello, +and was very skilful in every sort of work in gold and silver plate. This +Michelagnolo had a great knowledge of jewels, and set them very well; +and on account of his talents and his versatility all the foreign masters +of his art used to have recourse to him, and he gave them hospitality, as +well as to the young men of the city, insomuch that his workshop was +held to be, as it was, the first in Florence. Of him the Magnificent +Lorenzo and all the house of Medici availed themselves; and for the +tourney that Giuliano, the brother of that Magnificent Lorenzo, held on +the Piazza di S. Croce, he executed with subtle craftsmanship all the +ornaments of helmets, crests, and devices. Wherefore he acquired a +great name and much intimacy with the sons of the Magnificent Lorenzo, +to whom his work was ever afterwards very dear, and no less useful to +him their acquaintance and friendship, by reason of which, and also by +the many works that he executed throughout the whole city and dominion, +he became a man of substance as well as one of much repute in his art. +To this Michelagnolo the Medici, on their departure from Florence in the +year 1494, entrusted much plate in silver and gold, which was all kept in +safe hiding by him and faithfully preserved until their return, when he +was much extolled by them for his fidelity, and afterwards recompensed +with rewards.</p> + +<p><span class="pagenum"><a id="Page_56" name="Page_56"></a>[Pg 56]</span> In the year 1487 there was born to Michelagnolo a son, whom he +called Bartolommeo, but afterwards, according to the Florentine custom, +he was called by everyone Baccio. Michelagnolo, desiring to leave his +son heir to his art and connection, took him into his own workshop in +company with other young men who were learning to draw; for that +was the custom in those times, and no one was held to be a good goldsmith +who was not a good draughtsman and able to work well in relief. +Baccio, then, in his first years, gave his attention to design according to +the teaching of his father, being assisted no less to make proficience by +the competition of the other lads, among whom he chose as his particular +companion one called Piloto, who afterwards became an able goldsmith; +and with him he often went about the churches drawing the works of +the good painters, but also mingling work in relief with his drawing, +and counterfeiting in wax certain sculptures of Donato and Verrocchio, +besides executing some works in clay, in the round.</p> + +<p>While still a boy in age, Baccio frequented at times the workshop of +Girolamo del Buda, a commonplace painter, on the Piazza di S. Pulinari. +There, at one time during the winter, a great quantity of snow had fallen, +which had been thrown afterwards by the people into a heap in that +piazza; and Girolamo, turning to Baccio, said to him jestingly: "Baccio, +if this snow were marble, could we not carve a fine giant out of it, such as +a Marforio lying down?" "We could so," answered Baccio, "and I +suggest that we should act as if it were marble." And immediately, +throwing off his cloak, he set his hands to the snow, and, assisted by other +boys, taking away the snow where there was too much, and adding some +in other places, he made a rough figure of Marforio lying down, eight +braccia in length. Whereupon the painter and all the others stood marvelling, +not so much at what he had done as at the spirit with which he +had set his hand to a work so vast, and he so young and so small.</p> + +<p>Baccio, indeed, having more love for sculpture than for goldsmith's +work, gave many proofs of this; and when he went to Pinzirimonte, a +villa bought by his father, he would often plant himself before the naked +labourers and draw them with great eagerness, and he did the same +with the cattle on the farm. At this time he continued for many days +<span class="pagenum"><a id="Page_57" name="Page_57"></a>[Pg 57]</span> to go in the morning to Prato, which was near the villa, where he stayed +the whole day drawing in the Chapel of the Pieve from the work of Fra +Filippo Lippi, and he did not cease until he had drawn it all, imitating +the draperies of that master, who did them very well. And already he +handled with great skill the style and the pen, and also chalk both red +and black, which last is a soft stone that comes from the mountains of +France, and with it, when cut to a point, drawings can be executed with +great delicacy.</p> + +<p>These things making clear to Michelagnolo the mind and inclination +of his son, he also changed his intention, like the boy himself, and, being +likewise advised by his friends, placed him under the care of Giovan +Francesco Rustici, one of the best sculptors in the city, whose workshop +was still constantly frequented by Leonardo da Vinci. Leonardo, seeing +the drawings of Baccio and being pleased with them, exhorted him to +persevere and to take to working in relief; and he recommended strongly +to him the works of Donato, saying also that he should execute something +in marble, such as a head or a low-relief. Baccio, encouraged by +the comforting advice of Leonardo, set himself to copy in marble an +antique head of a woman, of which he had shaped a model from one +that is in the house of the Medici. This, for his first work, he executed +passing well, and it was held very dear by Andrea Carnesecchi, who +received it as a present from Baccio's father and placed it in his house +in the Via Larga, over that door in the centre of the court which leads +into the garden. Now, Baccio continuing to make other models of +figures in clay in the round, his father, wishing not to fail in his duty +towards the praiseworthy zeal of his son, sent for some blocks of marble +from Carrara, and caused to be built for him, at the end of his house at +Pinti, a room with lights arranged for working, which looked out upon +the Via Fiesolana. Whereupon he set himself to block out various +figures in those marbles, and one, among others, he carried well on from +a piece of marble of two braccia and a half, which was a Hercules that is +holding the dead Cacus beneath him, between his legs. These sketches +were left in the same place in memory of him.</p> + +<p>At this time was thrown open to view the cartoon of Michelagnolo +<span class="pagenum"><a id="Page_58" name="Page_58"></a>[Pg 58]</span> Buonarroti, full of nude figures, which Michelagnolo had executed at the +commission of Piero Soderini for the Great Council Chamber, and, as +has been related in another place, all the craftsmen flocked together to +draw it on account of its excellence. Among these came Baccio, and no +long time passed before he outstripped them all, for the reason that he +understood nudes, and outlined, shaded, and finished them, better than +any of the other draughtsmen, among whom were Jacopo Sansovino, +Andrea del Sarto, Il Rosso, who was then very young, and Alfonso +Berughetta the Spaniard, together with many other famous craftsmen. +Baccio frequented the place more than any of the others, and had a +counterfeit key; and it happened that, Piero Soderini having been deposed +from the government about this time, in the year 1512, and the +house of Medici having been restored to power, during the confusion +caused in the Palace by the change of government, Baccio entered in +secret, all by himself, and tore the cartoon into many pieces. Of which +not knowing the reason, some said that Baccio had torn it up in order +to have some pieces of the cartoon in his possession for his own convenience, +some declared that he wished to deprive the other young men +of that advantage, so that they might not be able to profit by it and +make themselves a name in art, others said that he was moved to do this +by his affection for Leonardo da Vinci, from whom Michelagnolo's cartoon +had taken much of his reputation, and others, again, perhaps interpreting +his action better, attributed it to the hatred which he felt against Michelagnolo +and afterwards demonstrated as long as he lived. The loss of the +cartoon was no light one for the city, and very heavy the blame that was +rightly laid upon Baccio by everyone, as an envious and malicious person.</p> + +<p>Baccio then executed some pieces of cartoon with lead-white and +charcoal, among which was a very beautiful one of a nude Cleopatra, +which he presented to the goldsmith Piloto. Having already acquired a +name as a great draughtsman, he was desirous of learning to paint in +colours, having a firm belief that he would not only equal Buonarroti, +but even greatly surpass him in both fields of art. Now he had executed +a cartoon of a Leda, in which Castor and Pollux were issuing from the +egg of the swan embraced by her, and he wished to colour it in oils, in +<span class="pagenum"><a id="Page_59" name="Page_59"></a>[Pg 59]</span> such a way as to make it appear that the methods of handling the colours +and mixing them together in order to make the various tints, with the +lights and shades, had not been taught to him by others, but that he had +found them by himself, and, after pondering how he could do this, he +thought of the following expedient. He besought Andrea del Sarto, +who was much his friend, that he should paint a portrait of him in oils, +flattering himself that he would thereby gain two advantages in accordance +with his purpose; one was that he would see the method of mixing +the colours, and the other was that the painted picture would remain in +his hands, which, having seen it executed and understanding it, would +assist him and serve him as a pattern. But Andrea perceived Baccio's +intention as he made his request, and was angry at his want of confidence +and astuteness, for he would have been willing to show him what he +desired, if Baccio had asked him as a friend; wherefore, without making +any sign that he had found him out, and refraining from mixing the +colours into tints, he placed every sort of colour on his palette and mingled +them together with the brush, and, taking some now from one and now +from another with great dexterity of hand, counterfeited in this way +the vivid colouring of Baccio's face. The latter, both through the artfulness +of Andrea and because he had to sit still where he was if he wished +to be painted, was never able to see or learn anything that he wished: +and it was a fine notion of Andrea's, thus at the same time to punish the +deceitfulness of his friend and to display with this method of painting, +like a well-practised master, even greater ability and experience in art.</p> + +<p>For all this, however, Baccio did not abandon his determination, in +which he was assisted by the painter Rosso, whom he afterwards asked +more openly for the help that he desired. Having thus learned the +methods of colouring, he painted a picture in oils of the Holy Fathers +delivered from the Limbo of Hell by the Saviour, and also a larger picture +of Noah drunk with wine and revealing his nakedness in the presence of +his sons. He tried his hand at painting on the wall, on fresh plaster, and +executed on the walls of his house heads, arms, legs, and torsi, coloured +in various ways; but, perceiving that this involved him in greater difficulties +than he had expected, through the drying of the plaster, he returned +<span class="pagenum"><a id="Page_60" name="Page_60"></a>[Pg 60]</span> to his former study of working in relief. He made a figure of +marble, three braccia in height, of a young Mercury with a flute in his +hand, with which he took great pains, and it was extolled and held to be +a rare work; and afterwards, in the year 1530, it was bought by Giovan +Battista della Palla and sent to France to King Francis, who held it in +great estimation.</p> + +<p>Baccio devoted himself with great study and solicitude to examining +and reproducing the most minute details of anatomy, persevering in +this for many months and even years. And certainly one can praise +highly in this man his desire for honour and excellence in art, and for +working well therein; spurred by which desire, and by the most fiery +ardour, with which, rather than with aptitude or dexterity in art, he had +been endowed by nature from his earliest years, Baccio spared himself +no fatigue, never relaxed his efforts for a moment, was always intent +either on preparing for work or on working, always occupied, and never +to be found idle, thinking that by continual work he would surpass all +others who had ever practised his art, and promising this result to himself +as the reward of his incessant study and endless labour. Continuing, +therefore, his zealous study, he not only produced a great number of +sheets drawn in various ways with his own hand, but also contrived to +get Agostino Viniziano, the engraver of prints, to engrave for him a nude +Cleopatra and a larger plate filled with various anatomical studies, in +order to see whether this would be successful; and the latter plate brought +him great praise.</p> + +<p>He then set himself to make in wax, in full-relief, a figure one braccio +and a half in height of S. Jerome in Penitence, lean beyond belief, which +showed on the bones the muscles all withered, a great part of the nerves, +and the skin dry and wrinkled; and with such diligence was this work +executed by him, that all the craftsmen, and particularly Leonardo da +Vinci, pronounced the opinion that there had never been seen a better +thing of its kind, nor one wrought with greater art. This figure Baccio +carried to Cardinal Giovanni de' Medici and to his brother the Magnificent +Giuliano, and by its means he made himself known to them as the son +of the goldsmith Michelagnolo; and they, besides praising the work, +<span class="pagenum"><a id="Page_61" name="Page_61"></a>[Pg 61]</span> showed him many other favours. This was in the year 1512, when they +had returned to their house and their government. At this same time +there were being executed in the Office of Works of S. Maria del Fiore +certain Apostles of marble, which were to be set up within the marble +tabernacles in those very places in that church where there are the +Apostles painted by the painter Lorenzo di Bicci. At the instance of +the Magnificent Giuliano there was allotted to Baccio a S. Peter, four +braccia and a half in height, which after a long time he brought to completion; +and, although it has not the highest perfection of sculpture, +nevertheless good design may be seen in it. This Apostle remained in +the Office of Works from the year 1513 down to 1565, in which year +Duke Cosimo, in honour of the marriage of Queen Joanna of Austria, his +daughter-in-law, was pleased to have the interior of S. Maria del Fiore +whitewashed, which church had never been touched from the time of its +erection down to that day, and to have four Apostles set up in their +places, among which was the S. Peter mentioned above.</p> + +<p>Now in the year 1515, Pope Leo X passing through Florence on +his way to Bologna, the city, in order to do him honour, ordained, among +many other ornaments and festive preparations, that there should be +made a colossal figure of nine braccia and a half, which was to be placed +under an arch of the Loggia in the Piazza near the Palace; and this was +given to Baccio. This colossal figure was a Hercules, and from the +premature words of Baccio men expected that it would surpass the David +of Buonarroti, which stood there near it; but the act did not correspond +to the word, nor the work to the boast, and it robbed Baccio of much +of the estimation in which he had previously been held by the craftsmen +and by the whole city.</p> + +<p>Pope Leo had allotted the work of the ornamentation in marble +that surrounds the Chamber of Our Lady at Loreto, with the statues and +scenes, to Maestro Andrea Contucci of Monte Sansovino, who had already +executed some of these with great credit to himself, and was then engaged +on others. Now at this time Baccio took to Rome, for the Pope, a very +beautiful model of a nude David who was holding Goliath under him and +was cutting off his head; which model he intended to execute in bronze +<span class="pagenum"><a id="Page_62" name="Page_62"></a>[Pg 62]</span> or in marble for that very spot in the court of the house of the Medici +in Florence where there once stood the David of Donato, which, at the +spoiling of the Medici Palace, was taken to the Palace that then belonged +to the Signori. The Pope, having praised Baccio, but not thinking that the +time had come to execute the David, sent him to Loreto to Maestro Andrea, +to the end that Andrea might give him one of those scenes to do. Having +arrived in Loreto, he was received lovingly by Maestro Andrea and shown +much kindness, both on account of his fame and because the Pope had +recommended him, and a piece of marble was assigned to him from which +he should carve the Nativity of Our Lady. Baccio, after making the +model, began the work; but, being a person who was not able to endure +a colleague or an equal, and had little praise for the works of others, he +also began to speak hardly before the other sculptors who were there of +the works of Maestro Andrea, saying that he had no design, and he said +the same of the others, insomuch that in a short time he made himself +disliked by them all. Whereupon, all that Baccio had said of Maestro +Andrea having come to his ears, he, like a wise man, answered him +lovingly, saying that works are done with the hands and not with the +tongue, that good design is to be looked for not in drawings but in the +perfection of the work finished in stone, and, finally, that in future +Baccio should speak of him in a different tone. But Baccio answering +him arrogantly with many abusive words, Maestro Andrea could endure +no more, and rushed upon him in order to kill him; but Bandinelli was +torn away from him by some who intervened between them. Being +therefore forced to depart from Loreto, Baccio had his scene carried to +Ancona; but he grew weary of it, although it was near completion, and +he went away leaving it unfinished. This work was finished afterwards +by Raffaello da Montelupo, and placed together with the others of +Maestro Andrea; but it is by no means equal to them in excellence, +although even so it is worthy of praise.</p> + +<p>Baccio, having returned to Rome, obtained a promise from the +Pope, through the favour of Cardinal Giulio de' Medici, always ready to +assist the arts and their followers, that he should be commissioned to +execute some statue for the court of the Medici Palace in Florence. +<span class="pagenum"><a id="Page_63" name="Page_63"></a>[Pg 63]</span> Having therefore come to Florence, he made an Orpheus of marble, +who with his playing and his singing is charming Cerberus, and moving +Hell itself to compassion. He imitated in this work the Apollo of the +Belvedere at Rome, and it was very highly praised, and rightly, because, +although the Orpheus of Baccio is not in the attitude of the Apollo +Belvedere, nevertheless it reproduces very successfully the manner of +the torso and of all the members. The statue, when finished, was carried +by order of Cardinal Giulio, while he was governing Florence, into the +above-mentioned court, and placed on a carved base executed by the +sculptor Benedetto da Rovezzano. But since Baccio never paid any +attention to the art of architecture, he took no heed of the genius of +Donatello, who had made for the David that was there before a simple +column on which rested a cleft base in open-work, to the end that one +entering from without might see from the street-door the inner door, +that of the other court, opposite to him; and, not having such foresight, +he caused his statue to be placed on a broad and wholly solid base, of +such a kind that it blocks the view of him who enters and covers the opening +of the inner door, so that in passing through the first door one does +not see whether the palace extends farther inwards or finishes in the first +court.</p> + +<p>Cardinal Giulio had caused a most beautiful villa to be erected below +Monte Mario at Rome, and wished to set up two giants in this villa; +and he had them executed in stucco by Baccio, who was always delighted +to make giants. These figures, eight braccia in height, stand one on +either side of the gate that leads into the wood, and they were held to +be reasonably beautiful. While Baccio was engaged on these works, +never abandoning his practice of drawing, he caused Marco da Ravenna +and Agostino Viniziano, the engravers of prints, to engrave a scene +drawn by him on a very large sheet, in which was the Slaughter of the +Innocents, so cruelly done to death by Herod. This scene, which was +filled by him with a quantity of nudes, both male and female, children +living and dead, and women and soldiers in various attitudes, made known +the fine draughtsmanship that he showed in figures and his knowledge +of muscles and of all the members, and it won him great fame over all +<span class="pagenum"><a id="Page_64" name="Page_64"></a>[Pg 64]</span> Europe. He also made a most beautiful model of wood, with the figures +in wax, of a tomb for the King of England, which in the end was not +carried out by Baccio, but was given to the sculptor Benedetto da +Rovezzano, who executed it in metal.</p> + +<div class="figcenter"> +<a name="img004" id="img004"></a> +<img src="images/img004-tb.jpg" width="500" height="365" alt="The Martyrdom of S. Lorenzo." title=""> +<p class="caption">THE MARTYRDOM OF S. LORENZO<br> +(<i>After the painting by</i> Baccio Bandinelli. <i>Hereford: W. J. Davies' Collection</i>)<br> +<i>M.S.</i><br> +<span class="link"><a href="images/img004.jpg">View larger image</a></span></p> +</div> + +<p>There had recently returned from France Cardinal Bernardo Divizio +of Bibbiena, who, perceiving that King Francis possessed not a single +work in marble, whether ancient or modern, although he much delighted +in such things, had promised his Majesty that he would prevail on the +Pope to send him some beautiful work. After this Cardinal there came +to the Pope two Ambassadors from King Francis, and they, having +seen the statues of the Belvedere, lavished all the praise at their command +on the Laocoon. Cardinals de' Medici and Bibbiena, who were with +them, asked them whether the King would be glad to have a work of +that kind; and they answered that it would be too great a gift. Then +the Cardinal said to them: "There shall be sent to his Majesty either +this one or one so like it that there shall be no difference." And, having +resolved to have another made in imitation of it, he remembered Baccio, +whom he sent for and asked whether he had the courage to make a +Laocoon equal to the original. Baccio answered that he was confident +that he could make one not merely equal to it, but even surpassing it +in perfection. The Cardinal then resolved that the work should be begun, +and Baccio, while waiting for the marble to come, made one in wax, +which was much extolled, and also executed a cartoon in lead-white +and charcoal of the same size as the one in marble. After the marble +had come and Baccio had caused an enclosure with a roof for working +in to be erected for himself in the Belvedere, he made a beginning with +one of the boys of the Laocoon, the larger one, and executed this in such +a manner that the Pope and all those who were good judges were satisfied, +because between his work and the ancient there was scarcely any difference +to be seen. But after setting his hand to the other boy and to +the statue of the father, which is in the middle, he had not gone far +when the Pope died. Adrian VI being then elected, he returned with +the Cardinal to Florence, where he occupied himself with his studies +in design. After the death of Adrian and the election of Clement VII, +<span class="pagenum"><a id="Page_65" name="Page_65"></a>[Pg 65]</span> Baccio went post-haste to Rome in order to be in time for his coronation, +for which he made statues and scenes in half-relief by order of his Holiness. +Then, having been provided by the Pope with rooms and an +allowance, he returned to his Laocoon, a work which was executed by +him in the space of two years with the greatest excellence that he ever +achieved. He also restored the right arm of the ancient Laocoon, which +had been broken off and never found, and Baccio made one of the full +size in wax, which so resembled the ancient work in the muscles, in force, +and in manner, and harmonized with it so well, that it showed how +Baccio understood his art; and this model served him as a pattern for +making the whole arm of his own Laocoon. This work seemed to his +Holiness to be so good, that he changed his mind and resolved to send +other ancient statues to the King, and this one to Florence; and to +Cardinal Silvio Passerino of Cortona, his Legate in Florence, who was +then governing the city, he sent orders that he should place the Laocoon +at the head of the second court in the Palace of the Medici. This was +in the year 1525.</p> + +<p>This work brought great fame to Baccio, who, after finishing the +Laocoon, set himself to draw a scene on a sheet of royal folio laid open, +in order to carry out a design of the Pope, who wished to have the Martyrdom +of S. Cosimo and S. Damiano painted on one wall of the principal +chapel of S. Lorenzo in Florence, and on the other that of S. Laurence, +when he was put to death by Decius on the gridiron. Baccio then drew +with great subtlety the story of S. Laurence, in which he counterfeited +with much judgment and art figures both clothed and nude, different +attitudes and gestures in the bodies and limbs, and various movements +in those who are standing about S. Laurence, engaged in their dreadful +office, and in particular the cruel Decius, who with threatening brow is +urging on the fiery death of the innocent Martyr, who, raising one arm +to Heaven, recommends his spirit to God. With this scene Baccio so +satisfied the Pope, that he took steps to have it engraved on copper by +Marc'Antonio Bolognese, which was done by Marc'Antonio with great +diligence; and his Holiness created Baccio, in order to do honour to his +talents, a Chevalier of S. Pietro.</p> + +<p><span class="pagenum"><a id="Page_66" name="Page_66"></a>[Pg 66]</span> After these things Baccio returned to Florence, where he found +that Giovan Francesco Rustici, his first master, was painting a scene of +the Conversion of S. Paul; for which reason he undertook to make in +a cartoon, in competition with his master, a nude figure of a young +S. John in the desert, who is holding a lamb with the left arm and raising +the right to Heaven. Then, having caused a panel to be prepared, he +set himself to colour it, and when it was finished he exposed it to view +in the workshop of his father Michelagnolo, opposite to the descent +that leads from Orsanmichele to the Mercato Nuovo. The design was +praised by the craftsmen, but not so much the colouring, because it was +somewhat crude and painted in no beautiful manner. But Baccio sent +it as a present to Pope Clement, who had it placed in his guardaroba, +where it may still be found.</p> + +<p>As far back as the time of Leo X there had been quarried at Carrara, +together with the marbles for the façade of S. Lorenzo in Florence, +another block of marble nine braccia and a half high and five braccia +wide at the foot. With this block of marble Michelagnolo Buonarroti +had thought of making a giant in the person of Hercules slaying Cacus, +intending to place it in the Piazza beside the colossal figure of David +formerly made by him, since both the one and the other, David and +Hercules, were emblems of the Palace. He had made several designs and +various models for it, and had sought to gain the favour of Pope Leo +and of Cardinal Giulio de' Medici, saying that the David had many +defects caused by the sculptor Maestro Andrea, who had first blocked it +out and spoiled it. But by reason of the death of Leo the façade of +S. Lorenzo was for a time abandoned, and also this block of marble. +Now afterwards, Pope Clement having conceived a desire to avail himself +of Michelagnolo for the tombs of the heroes of the house of Medici, which +he wished to have constructed in the Sacristy of S. Lorenzo, it became +once more necessary to quarry marbles; and the head of these works, +keeping the accounts of the expenses, was Domenico Buoninsegni. +This man tried to tempt Michelagnolo to make a secret partnership with +him in the matter of the stone-work for the façade of S. Lorenzo; but +Michelagnolo refused, not consenting that his genius should be employed +<span class="pagenum"><a id="Page_67" name="Page_67"></a>[Pg 67]</span> in defrauding the Pope, and Domenico conceived such hatred against +him that he went about ever afterwards opposing his undertakings, in +order to annoy and humiliate him, but this he did covertly. He thus +contrived to have the façade discontinued and the sacristy pushed forward, +which two works, he said, were enough to keep Michelagnolo occupied +for many years. And as for the marble for the making of the giant, +he urged the Pope that it should be given to Baccio, who at that time +had nothing to do; saying that through the emulation of two men so +eminent his Holiness would be served better and with more diligence +and promptitude, rivalry stimulating both the one and the other in his +work. The counsel of Domenico pleased the Pope, and he acted in +accordance with it. Baccio, having obtained the marble, made a great +model in wax, which was a Hercules who, having fixed the head of +Cacus between two stones with one knee, was constraining him with +great force with the left arm, holding him crouching under his legs in a +distorted attitude, wherein Cacus revealed his suffering and the strain +of the weight of Hercules upon him, which was rending asunder every +least muscle in his whole body. Hercules, likewise, with his head bent +down close against his enemy, grinding and gnashing his teeth, was +raising the right arm and with great vehemence giving him another blow +with his club, in order to dash his head to pieces.</p> + +<p>Michelagnolo, as soon as he had heard that the marble had been +given to Baccio, was very much displeased; but, for all the efforts that +he made in this matter, he was never able to turn the Pope from his +purpose, so completely had he been satisfied by Baccio's model; to which +reason were added his promises and boasts, for he boasted that he would +surpass the David of Michelagnolo, and he was also assisted by Buoninsegni, +who said that Michelagnolo desired everything for himself. +Thus was the city deprived of a rare ornament, such as that marble +would undoubtedly have been when shaped by the hand of Buonarroti. +The above-mentioned model of Baccio is now to be found in the guardaroba +of Duke Cosimo, by whom it is held very dear, and by the craftsmen +as a rare work.</p> + +<p>Baccio was sent to Carrara to see this marble, and the Overseers of +<span class="pagenum"><a id="Page_68" name="Page_68"></a>[Pg 68]</span> the Works of S. Maria del Fiore were commissioned to transport it by +water, along the River Arno, as far as Signa. The marble having been +conveyed there, within a distance of eight miles from Florence, when +they set about removing it from the river in order to transport it by land, +the river being too low from Signa to Florence, it fell into the water, +and on account of its great size sank so deep into the sand, that the +Overseers, with all the contrivances that they used, were not able to +drag it out. For which reason, the Pope wishing that the marble should +be recovered at all costs, by order of the Wardens of Works Pietro +Rosselli, an old builder of great ingenuity, went to work in such a manner +that, having diverted the course of the water into another channel and +cut away the bank of the river, with levers and windlasses he moved it, +dragged it out of the Arno, and brought it to solid ground, for which he +was greatly extolled. Tempted by this accident to the marble, certain +persons wrote verses, both Tuscan and Latin, ingeniously ridiculing Baccio, +who was detested for his loquacity and his evil-speaking against Michelagnolo +and all the other craftsmen. One among them took for his verses +the following subject, saying that the marble, after having been approved +by the genius of Michelagnolo, learning that it was to be mangled by the +hands of Baccio, had thrown itself into the river out of despair at such +an evil fate.</p> + +<p>While the marble was being drawn out of the water, a difficult +process which took time, Baccio found, on measuring it, that it was neither +high enough nor wide enough to enable him to carve the figures of his +first model. Whereupon he went to Rome, taking the measurements +with him, and made known to the Pope how he was constrained by +necessity to abandon his first design and make another. He then made +several models, and out of their number the Pope was most pleased with +one in which Hercules had Cacus between his legs, and, grasping his +hair, was holding him down after the manner of a prisoner; and this one +they resolved to adopt and to carry into execution. On returning to +Florence, Baccio found that the marble had been conveyed into the Office +of Works of S. Maria del Fiore by Pietro Rosselli, who had first placed on +the ground some planks of walnut-wood planed square, and laid lengthways, +<span class="pagenum"><a id="Page_69" name="Page_69"></a>[Pg 69]</span> which he kept changing according as the marble moved forward, +under which and upon those planks he placed some round rollers well +shod with iron, so that by pulling the marble with three windlasses, to +which he had attached it, little by little he brought it with ease into the +Office of Works. The block having been set up there, Baccio began +a model in clay as large as the marble and shaped according to the last +one which he had made previously in Rome; and he finished it, working +with great diligence, in a few months. But with all this it appeared to +many craftsmen that there was not in this model that spirited vivacity +that the action required, nor that which he had given to his first model. +Afterwards, beginning to work at the marble, Baccio cut it away all +round as far as the navel, laying bare the limbs in front, and taking care +all the time to carve the figures in such a way that they might be +exactly like those of the large model in clay.</p> + +<p>At this same time Baccio had undertaken to execute in painting +an altar-piece of considerable size for the Church of Cestello, and for this +he had made a very beautiful cartoon containing a Dead Christ surrounded +by the Maries, with Nicodemus and other figures; but, for +a reason that we shall give below, he did not paint the altar-piece. He +also made at this time, in order to paint a picture, a cartoon in which +was Christ taken down from the Cross and held in the arms of Nicodemus, +with His Mother, who was standing, weeping for Him, and an Angel +who was holding in his hands the Nails and the Crown of Thorns. Setting +himself straightway to colour it, he finished it quickly and placed it on +exhibition in the workshop of his friend Giovanni di Goro, the goldsmith, +in the Mercato Nuovo, in order to hear the opinions of men and +particularly what Michelagnolo said of it. Michelagnolo was taken by +the goldsmith Piloto to see it, and, after he had examined every part, +he said that he marvelled that so good a draughtsman as Baccio should +allow a picture so crude and wanting in grace to leave his hands, that he +had seen the most feeble painters executing their works in a better manner, +and that this was no art for Baccio. Piloto reported Michelagnolo's +judgment to Baccio, who, for all the hatred that he felt against him, +recognized that he spoke the truth. Certainly Baccio's drawings were +<span class="pagenum"><a id="Page_70" name="Page_70"></a>[Pg 70]</span> very beautiful, but in colours he executed them badly and without grace, +and he therefore resolved to paint no more with his own hand; but he +took into his service one who handled colours passing well, a young +man called Agnolo, the brother of the excellent painter Franciabigio, +who had died a few years before. To this Agnolo he desired to entrust +the execution of the altar-piece for Cestello, but it remained unfinished, +the reason of which was the change of government in Florence, which +took place in the year 1527, when the Medici left Florence after the sack +of Rome. For Baccio did not think himself safe, having a private feud +with a neighbour at his villa of Pinzirimonte, who was of the popular +party; and after he had buried at that villa some cameos and little antique +figures of bronze, which belonged to the Medici, he went off to live in +Lucca. There he remained until the time when the Emperor Charles V +came to receive his crown at Bologna; whereupon he presented himself +before the Pope and then went with him to Rome, where he was given +rooms in the Belvedere, as before.</p> + +<p>While Baccio was living there, his Holiness resolved to fulfil a vow +that he had made when he was shut up in the Castello di S. Angelo; +which vow was that he would place on the summit of the great round tower +of marble, which is in front of the Ponte di Castello, seven large figures +of bronze, each six braccia in length, and all lying down in different +attitudes, as it were vanquished by an Angel that he wished to have set +up on the centre of the tower, upon a column of variegated marble, the +Angel being of bronze with a sword in the hand. By this figure of the +Angel he wished to represent the Angel Michael, the guardian and protector +of the Castle, whose favour and assistance had delivered him and +brought him out of that prison; and the seven recumbent figures were to +personify the seven Mortal Sins, demonstrating that with the help of the +victorious Angel he had conquered and thrown to the ground his enemies, +evil and impious men, who were represented by those seven figures of the +seven Mortal Sins. For this work his Holiness caused a model to be +made; which having pleased him, he ordained that Baccio should begin +to make the figures in clay of the size that they were to be, in order to +have them cast afterwards in bronze. Baccio began the work, and +<span class="pagenum"><a id="Page_71" name="Page_71"></a>[Pg 71]</span> finished in one of the apartments in the Belvedere one of those figures +in clay, which was much extolled. At the same time, also, in order to +divert himself, and wishing to see how he would succeed in casting, he +made many little figures in the round, two-thirds of a braccio in height, +as of Hercules, Venus, Apollo, Leda, and other fantasies of his own, +which he caused to be cast in bronze by Maestro Jacopo della Barba of +Florence; and they succeeded excellently well. He presented them +afterwards to his Holiness and to many lords; and some of them are now +in the study of Duke Cosimo, among a collection of more than a hundred +antique figures, all very choice, and others that are modern.</p> + +<p>At this same time Baccio had made a scene of the Deposition from +the Cross with little figures in low-relief and half-relief, which was a rare +work; and he had it cast with great diligence in bronze. When finished, +he presented it in Genoa to Charles V, who held it very dear; and a sign +of this was that his Majesty gave Baccio a Commandery of S. Jago, +and made him a Chevalier. From Prince Doria, also, he received many +courtesies; and from the Republic of Genoa he had the commission for +a statue of marble six braccia high, which was to be a Neptune in the +likeness of Prince Doria, to be set up on the Piazza in memory of the +virtues of that Prince and of the extraordinary benefits that his native +country of Genoa had received from him. This statue was allotted to +Baccio at the price of a thousand florins, of which he received five hundred +at that time; and he went straightway to Carrara to block it out at the +quarry of Polvaccio.</p> + +<p>While the popular government was ruling Florence, after the departure +of the Medici, Michelagnolo Buonarroti was employed on the fortifications +of the city; and there was shown to him the marble that Baccio +had blocked out, together with the model of the Hercules and Cacus, the +intention being that if the marble had not been cut away too much +Michelagnolo should take it and carve from it two figures after his own +design. Michelagnolo, having examined the block, thought of a different +subject; and, abandoning the Hercules and Cacus, he chose the subject +of Samson holding beneath him two Philistines whom he had cast down, +one being already dead, and the other still alive, against whom he was +<span class="pagenum"><a id="Page_72" name="Page_72"></a>[Pg 72]</span> aiming a blow with the jawbone of an ass, seeking to kill him. But +even as it often happens that the minds of men promise themselves at +times certain things the opposite of which is determined by the wisdom +of God, so it came to pass then, for, war having arisen against the city +of Florence, Michelagnolo had other things to think about than polishing +marble, and was obliged from fear of the citizens to withdraw from the +city. Afterwards, the war being finished and peace made, Pope Clement +caused Michelagnolo to return to Florence in order to finish the Sacristy +of S. Lorenzo, and sent Baccio to see to the completion of the giant. +Baccio, while engaged in this, took up his abode in the Palace of the +Medici; and, writing almost every week to his Holiness in order to make +a show of devotion, he entered, besides dealing with matters of art, into +particulars relating to the citizens and those who were administering +the government, with an odious officiousness likely to bring upon him +even more ill-will than he had awakened before. Whereupon, when +Duke Alessandro returned from the Court of his Majesty to Florence, +the citizens made known to him the sinister policy that Baccio was +pursuing against them; from which it followed that his work of the +giant was hindered and retarded by the citizens by every means in +their power.</p> + +<div class="figcenter"> +<a name="img005" id="img005"></a> +<img src="images/img005-tb.jpg" width="400" height="521" alt="Hercules and Cacus." title=""> +<p class="caption">HERCULES AND CACUS<br> +(<i>After the marble by</i> Baccio Bandinelli. <i>Florence: Piazza della Signoria</i>)<br> +<i>Alinari</i><br> +<span class="link"><a href="images/img005.jpg">View larger image</a></span></p> +</div> + +<p>At this time, after the war of Hungary, Pope Clement and the +Emperor Charles held a conference at Bologna, whither there went Cardinal +Ippolito de' Medici and Duke Alessandro; and it occurred to Baccio +to go and kiss the feet of his Holiness. He took with him a panel, one +braccio high and one and a half wide, of Christ being scourged at the +Column by two nude figures, which was in half-relief and very well +executed; and he gave this panel to the Pope, together with a portrait-medal +of his Holiness, which he had caused to be made by Francesco +dal Prato, his familiar friend, the reverse of the medal being the Flagellation +of Christ. This gift was very acceptable to his Holiness, to whom +Baccio described the annoyances and impediments that he had experienced +in the execution of his Hercules, praying him that he should prevail +upon the Duke to give him the means to carry it to completion. He +added that he was envied and hated in that city; and, being a very +<span class="pagenum"><a id="Page_73" name="Page_73"></a>[Pg 73]</span> devil with his wit and his tongue, he persuaded the Pope to induce the +Duke to see that his work should be brought to completion and set up +in its place in the Piazza.</p> + +<p>Death had now snatched away the goldsmith Michelagnolo, the +father of Baccio, who during his lifetime had undertaken to make for +the Wardens of Works of S. Maria del Fiore, by order of the Pope, a very +large cross of silver, all covered with scenes in low-relief of the Passion +of Christ. This cross, for which Baccio had made the figures and scenes +in wax, to be afterwards cast in silver, Michelagnolo had left unfinished +at his death; and Baccio, having the work in his hands, together with +many libbre of silver, sought to persuade his Holiness to have it finished +by Francesco dal Prato, who had gone with him to Bologna. But the +Pope, perceiving that Baccio wished not only to withdraw from his +father's engagements, but also to make something out of the labours of +Francesco, gave Baccio orders that the silver and the scenes, those +merely begun as well as those finished, should be given to the Wardens +of Works, that the account should be settled, and that the Wardens +should melt all the silver of that cross, in order to make use of it for the +necessities of the church, which had been stripped of its ornaments at the +time of the siege; and to Baccio he caused one hundred florins of gold +and letters of recommendation to be given, to the end that he might +return to Florence and finish the work of the giant.</p> + +<p>While Baccio was at Bologna, Cardinal Doria, having heard that he +was about to depart, went to the pains of seeking him out, and threatened +him with many reproaches and abusive words, for the reason that he had +broken his pledge and failed in his duty by neglecting to finish the statue +of Prince Doria and leaving it only blocked out at Carrara, after taking +five hundred crowns in payment; on which account, said the Cardinal, +if Andrea could get Baccio into his hands, he would make him pay for +it at the galleys. Baccio defended himself humbly and with soft words, +saying that he had been delayed by a sufficient hindrance, but that he +had in Florence a block of marble of the same height, from which he had +intended to carve that figure, and that when he had carved and finished +it he would send it to Genoa. And so well did he contrive to speak and +<span class="pagenum"><a id="Page_74" name="Page_74"></a>[Pg 74]</span> to excuse himself that he succeeded in escaping from the presence of the +Cardinal. After this he returned to Florence, and caused the base for +the giant to be taken in hand; and, himself working continuously at the +figure, in the year 1534 he finished it completely. But Duke Alessandro, +on account of the hostile reports of the citizens, did not take steps to +have it set up in the Piazza.</p> + +<p>The Pope had returned to Rome many months before this, and +desired to erect two tombs of marble in the Minerva, one for Pope Leo +and one for himself; and Baccio, seizing this occasion, went to Rome. +Thereupon the Pope resolved that Baccio should make those tombs after +he had succeeded in setting up the giant on the Piazza; and his Holiness +wrote to the Duke that he should give Baccio every convenience for +placing his Hercules in position there. Whereupon, after an enclosure of +planks had been made all round, the base was built of marble, and at the +foot of it they placed a stone with letters in memory of Pope Clement VII, +and a good number of medals with the heads of his Holiness and of Duke +Alessandro. The giant was then taken from the Office of Works, where +it had been executed; and in order to convey it with greater ease, without +damaging it, they made round it a scaffolding of wood, with ropes passing +under the legs and cords supporting it under the arms and at every other +part; and thus, suspended in the air between the beams in such a way +that it did not touch the wood, little by little, by means of compound +pulleys and windlasses and ten pairs of oxen, it was drawn as far as the +Piazza. Great assistance was rendered by two thick, semi-cylindrical +beams, which were fixed lengthways along the foot of the scaffolding, in +the manner of a base, and rested on other similar beams smeared with +soap, which were withdrawn and replaced by workmen in succession, +according as the structure moved forward; and with these ingenious +contrivances the giant was conveyed safely and without much labour to +the Piazza. The charge of all this was given to Baccio d'Agnolo and the +elder Antonio da San Gallo, the architects to the Office of Works, who +afterwards with other beams and a double system of compound pulleys +set the statue securely on its base.</p> + +<p>It would not be easy to describe the concourse and multitude that +<span class="pagenum"><a id="Page_75" name="Page_75"></a>[Pg 75]</span> for two days occupied the whole Piazza, flocking to see the giant as +soon as it was uncovered; and various judgments and opinions were +heard from all kinds of men, every one censuring the work and the +master. There were also attached round the base many verses, both +Latin and Tuscan, in which it was pleasing to see the wit, the ingenious +conceits, and the sharp sayings of the writers; but they overstepped all +decent limits with their evil-speaking and their biting and satirical compositions, +and Duke Alessandro, considering that, the work being a public +one, the indignity was his, was forced to put in prison some who went so +far as to attach sonnets openly and without scruple to the statue; which +proceeding soon stopped the mouths of the critics.</p> + +<p>When Baccio examined his work in position, it seemed to him that +the open air was little favourable to it, making the muscles appear too +delicate. Having therefore caused a new enclosure of planks to be made +around it, he attacked it again with his chisels, and, strengthening the +muscles in many places, gave the figures stronger relief than they had +before. Finally, the work was uncovered for good; and by everyone +able to judge it has always been held to be not only a triumph over difficulties, +but also very well studied, with every part carefully considered, +and the figure of Cacus excellently adapted to its position. It is true +that the David of Michelagnolo, which is beside Baccio's Hercules, takes +away not a little of its glory, being the most beautiful colossal figure that +has ever been made; for in it is all grace and excellence, whereas the +manner of Baccio is entirely different. But in truth, considering Baccio's +Hercules by itself, one cannot but praise it highly, and all the more +because it is known that many sculptors have since tried to make colossal +statues, and not one has attained to the standard of Baccio, who, if he +had received as much grace and facility from nature as he took pains +and trouble by himself, would have been absolutely perfect in the art of +sculpture.</p> + +<p>Desiring to know what was being said of his work, he sent to the +Piazza a pedagogue whom he kept in his house, telling him that he +should not fail to report to him the truth of what he might hear said. +The pedagogue, hearing nothing but censure, returned sadly to the +<span class="pagenum"><a id="Page_76" name="Page_76"></a>[Pg 76]</span> house, and, when questioned by Baccio, answered that all with one voice +were abusing the giants, and that they pleased no one. "And you," +asked Baccio, "what do you say of them?" "I speak well of them," +he replied, "and say, may it please you, that they please me." "I will +not have them please you," said Baccio, "and you, also, must speak ill +of them, for, as you may remember, I never speak well of anyone; and +so we are quits." Thus Baccio concealed his vexation, and it was always +his custom to act thus, pretending not to care for the censure that any +man laid on his works. Nevertheless, it is likely enough that his resentment +was considerable, because when a man labours for honour, and +then obtains nothing but censure, one cannot but believe, although that +censure may be unjust and undeserved, that it afflicts him secretly in his +heart and torments him continually. He was consoled in his displeasure +by an estate, which was given to him in addition to his payment, by +order of Pope Clement. This gift was doubly dear to him, first because +it was useful for its revenue and was near his villa of Pinzirimonte, and +then because it had previously belonged to Rignadori, his mortal enemy, +who had just been declared an outlaw, and with whom he had always +been at strife on account of the boundary of this property.</p> + +<p>At this time a letter was written to Duke Alessandro by Prince +Doria, asking that he should prevail upon Baccio to finish his statue, +now that the giant was completely finished, and saying that he was +ready to revenge himself on Baccio if he did not do his duty; at which +Baccio was so frightened that he would not trust himself to go to Carrara. +However, having been reassured by Cardinal Cibo and Duke Alessandro, +he went there, and, working with some assistants, proceeded to carry the +statue forward. The Prince had himself informed every day as to how +much Baccio was doing; wherefore, receiving a report that the statue +was not of that excellence which had been promised, he gave Baccio to +understand that, if he did not serve him well, he would make him smart +for it. Baccio, hearing this, spoke very ill of the Prince; which having +come to the Prince's ears, he determined to get him into his hands at all +costs, and to take vengeance upon him by putting him in wholesome +fear of the galleys. Whereupon Baccio, seeing certain persons spying +<span class="pagenum"><a id="Page_77" name="Page_77"></a>[Pg 77]</span> and keeping a watch upon him, became suspicious, and, being a shrewd +and resolute man, left the work as it was and returned to Florence.</p> + +<p>About this time a son was born to Baccio from a woman whom he +kept in his house, and to this son, Pope Clement having died in those +days, he gave the name of Clemente, in memory of that Pontiff, who had +always loved and favoured him. After the death of Pope Clement, he +heard that Cardinal Ippolito de' Medici, Cardinal Innocenzio Cibo, Cardinal +Giovanni Salviati, and Cardinal Niccolò Ridolfi, together with +Messer Baldassarre Turini da Pescia, being the executors of the Pope's +will, had commissions to give for the two marble tombs of Leo and +Clement, which were to be placed in the Minerva. For these tombs +Baccio in the past had already made the models; but the work had been +promised recently to the Ferrarese sculptor Alfonso Lombardi through +the favour of Cardinal de' Medici, whose servant he was. This Alfonso, +by the advice of Michelagnolo, had changed the design of the tombs, and +he had already made the models for them, but without any contract for +the commission, relying wholly on promises, and expecting every day to +have to go to Carrara to quarry the marble. While the time was slipping +away in this manner, it happened that Cardinal Ippolito died of poison +on his way to meet Charles V. Baccio, hearing this, went without +wasting any time to Rome, where he was first received by the sister of +Pope Leo, Madonna Lucrezia Salviati de' Medici, to whom he strove to +prove that no one could do greater honour to the remains of those great +Pontiffs than himself, with his ability in art, adding that Alfonso was a +sculptor without power of design and without skill and judgment in the +handling of marble, and that he was not able to execute so honourable +an undertaking save only with the help of others. He also used many +other devices, and so went to work in various ways and by various means +that he succeeded in changing the purpose of those lords, who finally +entrusted to Cardinal Salviati the charge of making an agreement with +Baccio.</p> + +<p>At this time the Emperor Charles V had arrived in Naples, and in +Rome Filippo Strozzi, Anton Francesco degli Albizzi, and the other +exiles were seeking to arrange with Cardinal Salviati to go and set his +<span class="pagenum"><a id="Page_78" name="Page_78"></a>[Pg 78]</span> Majesty against Duke Alessandro; and they were with the Cardinal at +all hours. Baccio was also all day long in Salviati's halls and apartments, +waiting to have the contract made for the tombs, but not able +to bring matters to a head, because of the Cardinal's preoccupation with +the affairs of the exiles; and they, seeing Baccio in those rooms morning +and evening, grew suspicious of this, and, fearing lest he might be there +to spy upon their movements and give information to the Duke, some +of the young men among them agreed to follow him secretly one evening +and put him out of the way. But Fortune, coming to his aid in time, +brought it about that the two other Cardinals, with Messer Baldassarre +da Pescia, undertook to finish Baccio's business. Knowing that Baccio +was worth little as an architect, they had caused a design to be made by +Antonio da San Gallo, which pleased them, and had ordained that all the +mason's work to be done in marble should be executed under the direction +of the sculptor Lorenzetto, and that the marble statues and scenes should +be allotted to Baccio. Having arranged the matter in this way, they +finally made the contract with Baccio, who therefore appeared no more +about the house of Cardinal Salviati, withdrawing himself just in time; +and the exiles, the occasion having passed by, thought nothing more +about him.</p> + +<p>After these things Baccio made two models of wood, with the statues +and scenes in wax. These models had the bases solid, without projections, +and on each base were four fluted Ionic columns, which divided +the space into three compartments, a large one in the middle, where in +each there was a Pope in full pontificals seated upon a pedestal, who was +giving the benediction, and smaller spaces, each with a niche containing +a figure in the round and standing upright, four braccia high; which +figures, representing Saints, stood on either side of those Popes. The +order of the composition had the form of a triumphal arch, and above +the columns that supported the cornice was a marble tablet three braccia +in height and four braccia and a half in width, in which was a scene in +half-relief. In the scene above the statue of Pope Leo, which statue +had on either side of it in the niches S. Peter and S. Paul, was his Conference +with King Francis at Bologna, and this story of Leo in the middle, +<span class="pagenum"><a id="Page_79" name="Page_79"></a>[Pg 79]</span> above the columns, was accompanied by two smaller scenes, in one of +which, that above S. Peter, was the Saint restoring a dead man to life, +and in the other, that above S. Paul, that Saint preaching to the people. +In the scene above Pope Clement, which corresponded to that mentioned +above, was that Pontiff crowning the Emperor Charles at Bologna, and +on either side of it are two smaller scenes, in one of which is S. John the +Baptist preaching to the people, and in the other S. John the Evangelist +raising Drusiana from the dead; and these have below them in the niches +the same Saints, four braccia high, standing on either side of the statue +of Pope Clement, as with that of Leo.</p> + +<p>In this structure Baccio showed either too little religion or too much +adulation, or both together, in that he thought fit that the first founders—after +Christ—of our religion, men deified and most dear to God, should +give way to our Popes, and placed them in positions unworthy of them +and inferior to those of Leo and Clement. Certain it is that this design +of his, even as it was displeasing to God and to the Saints, so likewise +gave no pleasure to the Popes or to any other man, for the reason, it +appears to me, that religion—and I mean our own, the true religion—should +be placed by mankind before all other interests and considerations. +And, on the other hand, he who wishes to exalt and honour any +other person, should, I think, be temperate and restrained, and confine +himself within certain limits, so that his praise and honour may not +become another thing—I mean senseless adulation, which first disgraces +the praiser, and also gives no pleasure to the person praised, if he has +any proper feeling, but does quite the contrary. Baccio, in doing what +I have described, made known to everyone that he had much goodwill +and affection indeed towards the Popes, but little judgment in exalting +and honouring them in their sepulchres.</p> + +<p>The models described above were taken by Baccio to the garden of +Cardinal Ridolfi at S. Agata on Monte Cavallo, where his lordship was +entertaining Cibo, Salviati, and Messer Baldassarre da Pescia to dinner, +they having assembled together there in order to settle all that was necessary +in the matter of the tombs. While they were at table, then, there +arrived the sculptor Solosmeo, an amusing and outspoken person, who +<span class="pagenum"><a id="Page_80" name="Page_80"></a>[Pg 80]</span> was always ready to speak ill of anyone, and little the friend of Baccio. +When the message was brought to those lords that Solosmeo was seeking +admittance, Ridolfi ordered that he should be ushered in, and then, turning +to Baccio, said to him: "I wish that we should hear what Solosmeo +says of our bestowal of these tombs. Raise that door-curtain, Baccio, +and stand behind it." Baccio immediately obeyed, and, when Solosmeo +had entered and had been invited to drink, they then turned to the +subject of the tombs allotted to Baccio; whereupon Solosmeo reproached +the Cardinals for having made a bad choice, and went on to speak all +manner of evil against Baccio, taxing him with ignorance of art, avarice, +and arrogance, and going into many particulars in his criticisms. Baccio, +who stood hidden behind the door-curtain, was not able to contain himself +until Solosmeo should have finished, and, bursting out scowling and +full of rage, said to Solosmeo: "What have I done to you, that you +should speak of me with such scant respect?" Dumbfounded at the +appearance of Baccio, Solosmeo turned to Ridolfi and said: "What tricks +are these, my lord? I want nothing more to do with priests!" and took +himself off. The Cardinals had a hearty laugh both at the one and at +the other; and Salviati said to Baccio: "You hear the opinion of your +brothers in art. Go and give them the lie with your work."</p> + +<div class="figcenter"> +<a name="img006" id="img006"></a> +<img src="images/img006-tb.jpg" width="400" height="492" alt="Statue of Giovanni delle Bande Nere." title=""> +<p class="caption">STATUE OF GIOVANNI DELLE BANDE NERE<br> +(<i>After the marble by</i> Baccio Bandinelli. <i>Florence: Piazza di S. Lorenzo</i>)<br> +<i>Brogi</i><br> +<span class="link"><a href="images/img006.jpg">View larger image</a></span></p> +</div> + +<p>Baccio then began the work of the statues and scenes, but his performances +by no means corresponded to his promises and his duty towards +those Pontiffs, for he used little diligence in the figures and scenes, and +left them badly finished and full of defects, being more solicitous +about drawing his money than about working at the marble. Now his +patrons became aware of Baccio's procedure, and repented of what they +had done; but the two largest pieces of marble remained, those for the +two statues that were still to be executed, one of Leo seated and the +other of Clement, and these they ordered him to finish, beseeching him +that he should do better in them. But Baccio, having already drawn +all the money, entered into negotiations with Messer Giovan Battista da +Ricasoli, Bishop of Cortona, who was in Rome on business of Duke +Cosimo's, to depart from Rome and go to Florence in order to serve +Cosimo in the matter of the fountains of his villa of Castello and the tomb +<span class="pagenum"><a id="Page_81" name="Page_81"></a>[Pg 81]</span> of his father, Signor Giovanni. The Duke having answered that Baccio +should come, he set off for Florence without a word, leaving the work +of the tombs unfinished and the statues in the hands of two assistants. +The Cardinals, hearing of this, allotted those two statues of the Popes, +which still remained to be finished, to two sculptors, one of whom was +Raffaello da Montelupo, who received the statue of Pope Leo, and the +other Giovanni di Baccio, to whom was given the statue of Clement. +They then gave orders that the masonry and all that was prepared +should be put together, and the work was erected; but the statues and +scenes were in many parts neither pumiced nor polished, so that they +brought Baccio more discredit than fame.</p> + +<p>Arriving in Florence, Baccio found that the Duke had sent the +sculptor Tribolo to Carrara to quarry the marble for the fountains of +Castello and the tomb of Signor Giovanni; and he so wrought upon the +Duke that he wrested the tomb of Signor Giovanni from the hands of +Tribolo, demonstrating to his Excellency that the marbles for such a +work were already in great measure in Florence. Thus, little by little, +he penetrated into the confidence of the Duke, insomuch that both for +this reason and for his arrogance everyone was afraid of him. He then +proposed to the Duke that the tomb of Signor Giovanni should be erected +in the Chapel of the Neroni, a narrow, confined, and mean place, in +S. Lorenzo, being too ignorant or not wishing to suggest that for so great +a Prince it was proper that a new chapel should be built on purpose. +He also prevailed on the Duke to demand from Michelagnolo, on Baccio's +behalf, many pieces of marble that he had in Florence; and when the +Duke had obtained them from Michelagnolo, and Baccio from the Duke, +among those marbles being some blocked out figures and a statue carried +well on towards completion by Michelagnolo, Bandinelli, taking them all +over, hacked and broke to pieces everything that he could find, thinking +that by so doing he was avenging himself on Michelagnolo and causing +him displeasure. He found, moreover, in the same room in S. Lorenzo +wherein Michelagnolo worked, two statues in one block of marble, representing +Hercules crushing Antæus, which the Duke was having executed +by the sculptor Fra Giovanni Agnolo. These were well advanced; but +<span class="pagenum"><a id="Page_82" name="Page_82"></a>[Pg 82]</span> Baccio, saying to the Duke that the friar had spoilt that marble, broke +it into many pieces.</p> + +<p>In the end, he constructed all the base of the tomb, which is an +isolated pedestal about four braccia on every side, and has at the foot +a socle with a moulding in the manner of a base, which goes right round, +and with a fillet at the top, such as is generally made for pedestals; and +above this a cyma three-quarters of a braccio in height, which goes +inwards in a concave curve, inverted, after the manner of a frieze, on +which are carved some horse's skulls bound one to another with draperies; +and above the whole was to be a smaller pedestal, with a seated statue +of four braccia and a half, armed in the ancient fashion, and holding +in the hand the baton of a condottiere captain of armies, which was to +represent the person of the invincible Signor Giovanni de' Medici. This +statue was begun by him from a block of marble, and carried well on, +but never finished or placed on the base built for it. It is true that on +the front of that base he finished entirely a scene of marble in half-relief, +with figures about two braccia high, in which he represented Signor +Giovanni seated, to whom are being brought many prisoners, soldiers, +women with dishevelled hair, and nude figures, but all without invention +and without revealing any feeling. At the end of the scene, indeed, +there is a figure with a pig on the shoulder, which is said to have been +made by Baccio to represent Messer Baldassarre da Pescia, in derision; +for Baccio looked upon him as his enemy, since about this time Messer +Baldassarre, as has been related above, had allotted the two statues of +Leo and Clement to other sculptors, and, moreover, had so gone to +work in Rome that Baccio had perforce to restore at great inconvenience +the money that he had received beyond his due for those statues and +figures.</p> + +<p>During this time Baccio had given his attention to nothing else but +demonstrating to Duke Cosimo how much the glory of the ancients had +lived through their statues and buildings, saying that his Excellency +should seek to obtain in the same way immortality for himself and his +actions in the ages to come. Then, after he had brought the tomb of +Signor Giovanni near completion, he set about planning to make the +<span class="pagenum"><a id="Page_83" name="Page_83"></a>[Pg 83]</span> Duke begin some great and costly work, which might take a very long +time. Duke Cosimo had ceased to inhabit the Palace of the Medici, and +had returned with his Court to live in the Palace in the Piazza, which +was formerly occupied by the Signoria; and this he was daily rearranging +and adorning. Now he had said to Baccio that he had a desire to make +a public audience-chamber, both for the foreign Ambassadors and for his +citizens and the subjects of the State; and Baccio, with Giuliano di +Baccio d'Agnolo, went about thinking how to suggest to him that he +should erect an ornamental work of Fossato stone and marble, thirty-eight +braccia in width and eighteen in height. This ornamental work, +they proposed, should serve as the audience-chamber, and should be in +the Great Hall of the Palace, at that end which looks towards the north. +The audience-chamber was to have a space of fourteen braccia in depth, +the ascent to which was to be by seven great steps; and it was to be +closed in front by a balustrade, excepting the entrance in the middle. +At the end of the hall were to be three great arches, two of which were to +serve for windows, being divided up by columns, four to each, two of +Fossato stone and two of marble; and above this was to curve a round +arch with a frieze of brackets, which were to form on the outer side the +ornament of the façade of the Palace, and on the inner side to adorn in +the same manner the façade of the hall. The arch in the middle, forming +not a window, but a niche, was to be accompanied by two other +similar niches, which were to be at the ends of the audience-chamber, +one on the east and the other on the west, and adorned with four round +Corinthian columns, which were to be ten braccia high and to form a +projection at the ends. In the central façade were to be four pilasters, +which were to serve as supports between one arch and another to the +architrave, frieze, and cornice running right round both above the arches +and above the columns. These pilasters were to have between one and +another a space of about three braccia, and in each of these spaces was +to be a niche four braccia and a half in height, to contain statues, by +way of accompaniment to the great niche in the middle of the façade +and the two at the sides; in each of which niches Baccio wished to place +three statues.</p> + +<p><span class="pagenum"><a id="Page_84" name="Page_84"></a>[Pg 84]</span> Baccio and Giuliano had in mind, in addition to the ornament of the +inner façade, another larger ornament of extraordinary cost and grandeur +for the outer façade. The hall being awry and out of square, this ornament +was to reduce that outer side to a square form; and there was to +be a projection of six braccia right round the walls of the Palazzo Vecchio, +with a range of columns fourteen braccia high supporting other columns, +between which were to be arches, forming a loggia below, right round the +Palace, where there are the Ringhiera and the Giants. Above this, +again, was to be another range of pilasters, with arches between them in +the same manner, running all the way round the windows of the Palazzo +Vecchio, so as to make a façade right round the Palace; and above these +pilasters was to be yet another range of arches and pilasters, after the +manner of a theatre, with the battlements of that Palace, finally, forming +a cornice to the whole structure.</p> + +<p>Knowing that this was a work of vast expense, Baccio and Giuliano +consulted together that they should not reveal their conception to the +Duke, save only with regard to the ornament of the audience-chamber +within the hall, and that of the façade of Fossato stone on the side towards +the Piazza, stretching to the length of twenty-four braccia, which is the +breadth of the hall. Designs and plans of this work were made by +Giuliano, and with these in his hand Baccio spoke to the Duke, to whom +he pointed out that in the large niches at the sides he wished to place +statues of marble four braccia high, seated on pedestals—namely, Leo X +in the act of restoring peace to Italy, and Clement VII crowning Charles V, +with two statues in smaller niches within the large ones, on either side +of the Popes, which should represent the virtues practised and put into +action by them. For the niches four braccia high between the pilasters, +in the central façade, he wished to make upright statues of Signor +Giovanni, Duke Alessandro, and Duke Cosimo, together with many +decorations of various fantasies in carving, and a pavement all of variegated +marbles of different colours.</p> + +<p>This ornament much pleased the Duke, thinking that with this +opportunity it should be possible in time to bring to completion, as has +since been done, the body of that hall, with the rest of the decorations +<span class="pagenum"><a id="Page_85" name="Page_85"></a>[Pg 85]</span> and the ceiling, in order to make it the most beautiful hall in Italy. +And so great was his Excellency's desire that this work should be done, +that he assigned for its execution such a sum of money as Baccio wished +and demanded every week. A beginning was made with the quarrying +and cutting of the Fossato stone, in order to make the ornamentation in +the form of the base, columns, and cornices; and Baccio required that all +should be done and carried to completion by the stone-cutters of the +Office of Works of S. Maria del Fiore. This work was certainly executed +by those masters with great diligence; and if Baccio and Giuliano had +urged it on, they would have finished and built in all the ornaments of +stone very quickly. But Baccio gave his attention to nothing save to +having the statues blocked out, finishing few of them entirely, and to +drawing his salary, which the Duke gave him every month, besides +paying for his assistants and meeting every sort of expense that he +incurred in the work, and giving him five hundred crowns for one of the +statues finished by him in marble; wherefore the end of this work was +never in sight.</p> + +<p>Even so, if Baccio and Giuliano, being engaged on a work of such +importance, had brought the head of that hall into square, as they could +have done, instead of putting right only half of the eight braccia by which +it was awry, and leaving several parts badly proportioned, such as the +central niche and the two large ones at the sides, which are squat, and +the members of the cornices, which are too slight for so great a body; +if, as they might have done, they had gone higher with the columns, thus +giving greater grandeur, a better manner, and more invention to that +work; and if, also, they had brought the uppermost cornice into touch +with the level of the original old ceiling above, they would have shown +more art and judgment, nor would all that labour have been spent in +vain and wasted so thoughtlessly, as has since been evident to those to +whom, as will be related, it has fallen to put it right and finish it. For, +in spite of all the pains and thought afterwards devoted to it, there are +many defects and errors in the door of entrance and in the relation of the +niches in the side-walls, in which it has since been seen to be necessary to +change the form of many parts, although it has never yet been found +<span class="pagenum"><a id="Page_86" name="Page_86"></a>[Pg 86]</span> possible, without demolishing the whole, to correct the divergence from +the square or to prevent this from being revealed in the pavement and +the ceiling. It is true that in the manner in which they arranged it, +even as it now stands, there is proof of great craftsmanship and pains, +and it deserves no little praise for the many stones worked with the +bevel-square, which slant away obliquely by reason of the hall being +awry; and as for diligence and excellence in the working, laying, and +joining together of the stones, nothing better could be seen or done. +But the whole work would have succeeded much better if Baccio, who +never held architecture in any account, had availed himself of some +judgment more able than that of Giuliano, who, although he was a good +master in wood and had some knowledge of architecture, was yet not +the sort of man to be suitable for such a work as that was, as experience +has proved. For this reason the work was pursued over a period of +many years, without much more than half being built. Baccio finished +and placed in the smaller niches the statue of Signor Giovanni and that +of Duke Alessandro, both in the principal façade, and on a pedestal of +bricks in the great niche the statue of Pope Clement; and he also brought +to completion the statue of Duke Cosimo. In the last he took no little +pains with the head, but for all this the Duke and the gentlemen of the +Court said that it did not resemble him in the least. Wherefore Baccio, +having already made one of marble, which is now in one of the upper +apartments in the same Palace, and which looked very well and was the +best head that he ever made, defended himself and sought to cover up +the defects and worthlessness of the new head with the excellence of the +old. However, hearing that head censured by everyone, one day in a +rage he knocked it off, with the intention of making another and fixing +it in its place; but in the end he never made it at all. It was a custom +of Baccio's to add pieces of marble both small and large to the statues +that he executed, feeling no annoyance in doing this, and making light +of it. He did this with one of the heads of Cerberus in the group of +Orpheus; in the S. Peter that is in S. Maria del Fiore he let in a piece +of drapery; in the case of the Giant of the Piazza, as may be seen, he +joined two pieces—a shoulder and a leg—to the Cacus, and in many other +<span class="pagenum"><a id="Page_87" name="Page_87"></a>[Pg 87]</span> works he did the same, holding to such ways as generally damn a sculptor +completely.</p> + +<p>Having finished these statues, he set his hand to the statue of Pope +Leo for this work, and carried it well forward. Then, perceiving that +the work was proving very long, that he was now never likely to attain +to the completion of his original design for the façades right round the +Palace, that a great sum of money had been spent and much time consumed, +and that for all this the work was not half finished and gained +little approval from the people, he set about thinking of some new fantasy, +and began to attempt to remove from the Duke's mind the thought of +the Palace, believing that his Excellency also was weary of that work. +Thus, then, having made enemies of the proveditors and of all the stone-cutters +in the Office of Works of S. Maria del Fiore, which was under his +authority, while the statues that were destined for the audience-chamber +were, after his fashion, some only blocked out and others finished and +placed in position, and the ornamentation in great part built up, wishing +to conceal the many defects that were in the work and little by little to +abandon it, he suggested to the Duke that the Wardens of Works of +S. Maria del Fiore were throwing away his money and no longer doing +anything of any importance. He said that he had therefore thought +that his Excellency would do well to divert all that useless expenditure +of the Office of Works into making the octagonal choir of the church +and the ornaments of the altar, the steps, the daïses of the Duke and the +magistrates, and the stalls in the choir for the canons, chaplains, and +clerks, according as was proper for so honourable a church. Of this choir +Filippo di Ser Brunellesco had left the model in that simple framework +of wood which previously served as the choir in the church, intending +in time to have it executed in marble, in the same form, but more ornate. +Baccio reflected, besides the considerations mentioned above, that in this +choir he would have occasion to make many statues and scenes in marble +and in bronze for the high-altar and all around the choir, and also for +two pulpits of marble that were to be in the choir, and that the base of +the outer side of the eight faces might be adorned with many scenes in +bronze let into the marble ornamentation. Above this he thought to +<span class="pagenum"><a id="Page_88" name="Page_88"></a>[Pg 88]</span> place a range of columns and pilasters to support the cornice right round, +and four arches distributed according to the cross of the church; of +which arches one was to form the principal entrance, opposite to another +rising above the high-altar, and the two others were to be at the sides, +one on the right hand and another on the left, and below these last two +were to be placed the pulpits. Over the cornice was to be a range of +balusters, curving right round above the eight sides, and over the balusters +a garland of candelabra, in order, as it were, to crown the choir with +lights according to the seasons, as had always been the custom while the +wooden model of Brunelleschi was there.</p> + +<div class="figcenter"> +<a name="img007" id="img007"></a> +<img src="images/img007-tb.jpg" width="400" height="514" alt="Reliefs from the Choir Screen." title=""> +<p class="caption">RELIEFS FROM THE CHOIR SCREEN<br> +(<i>After</i> Baccio Bandinelli. <i>Florence: Duomo</i>)<br> +<i>Alinari</i><br> +<span class="link"><a href="images/img007.jpg">View larger image</a></span></p> +</div> + +<p>Pointing out all this to the Duke, Baccio said that his Excellency, +with the revenues of the Office of Works—namely, of S. Maria del Fiore +and of its Wardens—and with that which his liberality might add, in a +short time could adorn that temple and give great grandeur and magnificence +to the same, and consequently to the whole city, of which it +was the principal temple, and would leave an everlasting and honourable +memorial of himself in such a structure; and besides all this, he said, his +Excellency would be giving him an opportunity of exerting his powers +and of making many good and beautiful works, and also, by displaying +his ability, of acquiring for himself name and fame with posterity, which +should be pleasing to his Excellency, since he was his servant and had +been brought up by the house of the Medici. With these designs and +these words Baccio so moved the Duke, that, consenting that such a +structure should be erected, his Excellency commissioned him to make +a model of the whole choir. Departing from the Duke, then, Baccio +went to his architect, Giuliano di Baccio d'Agnolo, and discussed the +whole matter with him; and, after they had gone to the place and examined +everything with diligence, they resolved not to depart from the +form of Filippo's model, but to follow it, adding only other ornaments +in the shape of columns and projections, and enriching it as much as +they could while preserving the original design and form. But it is not +the number of parts and ornaments that renders a fabric rich and beautiful, +but their excellence, however few they may be, provided also that +they are set in their proper places and arranged together with due proportion; +<span class="pagenum"><a id="Page_89" name="Page_89"></a>[Pg 89]</span> it is these that give pleasure and are admired, and, having been +executed with judgment by the craftsman, afterwards receive praise from +all others. This Giuliano and Baccio do not seem to have considered or +observed, for they chose a subject involving much labour and endless +pains, but wanting in grace, as experience has proved.</p> + +<p>The design of Giuliano, as may be seen, was to place at the corners +of all the eight sides pilasters bent round the angles, the whole work +being composed in the Ionic Order; and these pilasters, since in the +ground-plan they were made, with all the rest of the work, to diminish +towards the centre of the choir and were not even, necessarily had to +be broad on the outer side and narrow on the inner, which is a breach +of proportionate measurement. And since each pilaster was bent according +to the inner angles of the eight sides, the extension-lines towards the +centre so diminished it that the two columns that were one on either side +of the pilaster at the corner caused it to appear too slender, and produced +an ungraceful effect both in it and in the whole work, both on the +outer side and likewise on the inner, although the measurements there +are correct. Giuliano also made the model of the whole altar, which +stood at a distance of one braccio and a half from the ornament of the +choir. For the upper part of this Baccio afterwards made in wax a Christ +lying dead, with two Angels, one of whom was holding His right arm +and supporting His head on one knee, and the other was holding the +Mysteries of the Passion; which statue of Christ occupied almost the +whole altar, so that there would scarcely have been room to celebrate +Mass, and Baccio proposed to make this statue about four braccia and +a half in length. He made, also, a projection in the form of a pedestal +behind the altar, attached to it in the centre, with a seat upon which he +afterwards placed a seated figure of God the Father, six braccia high +and giving the benediction, and accompanied by two other Angels, each +four braccia high, kneeling at the extreme corners of the predella of the +altar, on the level on which rested the feet of God the Father. This +predella was more than a braccio in height, and on it were many stories +of the Passion of Jesus Christ, which were all to be in bronze, and on the +corners of the predella were the Angels mentioned above, both kneeling +<span class="pagenum"><a id="Page_90" name="Page_90"></a>[Pg 90]</span> and each holding in the hands a candelabrum; which candelabra of the +Angels served to accompany eight large candelabra placed between the +Angels, and three braccia and a half in height, which adorned that altar; +and God the Father was in the midst of them all. Behind God the +Father was left a space of half a braccio, in order that there might be +room to ascend to kindle the lights.</p> + +<p>Under the arch that stood opposite to the principal entrance of the +choir, on the base that ran right round, on the outer side, Baccio had +placed, directly under the centre of that arch, the Tree of the Fall, round +the trunk of which was wound the Ancient Serpent with a human face, +and two nude figures were about the Tree, one being Adam and the +other Eve. On the outer side of the choir, to which those figures had +their faces turned, there ran lengthways along the base a space about +three braccia long, which was to contain the story of their Creation, +either in marble or in bronze; and this was to be pursued along the faces +of the base of the whole work, to the number of twenty-one stories, all +from the Old Testament. And for the further enrichment of this base +he had made for each of the socles upon which stood the columns and +pilasters, a figure of some Prophet, either draped or nude, to be afterwards +executed in marble—a great work, truly, and a marvellous opportunity, +likely to reveal all the art and genius of a perfect master, whose +memory should never be extinguished by any lapse of time. This model +was shown to the Duke, and also a double series of designs made by +Baccio, which, both from their variety and their number, and likewise +from their beauty—for the reason that Baccio worked boldly in wax and +drew very well—pleased his Excellency, and he ordained that the masonry-work +should be straightway taken in hand, devoting to it all the expenditure +administered by the Office of Works, and giving orders that a great +quantity of marble should be brought from Carrara.</p> + +<p>Baccio, on his part, also set to work to make a beginning with the +statues; and among the first was an Adam who was raising one arm, and +was about four braccia in height. This figure was finished by Baccio, +but, since it proved to be narrow in the flanks and somewhat defective in +other parts, he changed it into a Bacchus, and afterwards gave it to the +<span class="pagenum"><a id="Page_91" name="Page_91"></a>[Pg 91]</span> Duke, who kept it in his Palace many years, in his chamber; and not long +ago it was placed in a niche in the ground-floor apartments which his +Excellency occupies in summer. He had also made a seated figure of +Eve of the same size, which he had half finished: but it was abandoned +on account of the Adam, which it was to have accompanied. For, having +made a beginning with another Adam, in a different form and attitude, +it became necessary for him to change also the Eve, and the original +seated figure was converted by him into a Ceres, which he gave to the +most illustrious Duchess Leonora, together with an Apollo, which was +another nude that he had executed; and her Excellency had them placed +in the ornament in front of the fish-pond, the design and architecture +of which are by Giorgio Vasari, in the gardens of the Pitti Palace. +Baccio worked at these two figures with very great zeal, thinking to satisfy +the craftsmen and all the world as well as he had satisfied himself; and +he finished and polished them with all the diligence and lovingness that +were in him. He then set up these figures of Adam and Eve in their place, +but, when uncovered, they experienced the same fate as his other works, +and were torn to pieces with savage bitterness in sonnets and Latin +verses, one going to the length of suggesting that even as Adam and Eve, +having defiled Paradise by their disobedience, deserved to be driven out, +so these figures, defiling the earth, deserved to be expelled from the +church. Nevertheless the statues are well-proportioned, and beautiful +in many parts; and although there is not in them that grace which has +been spoken of in other places, and which he was not able to give to his +works, yet they display so much art and design, that they deserve no +little praise. A lady who had set herself to examine these statues, being +asked by some gentlemen what she thought of these naked bodies, +answered, "About the man I can give no judgment;" and, being pressed +to give her opinion of the woman, she replied that in the Eve there were +two good points, worthy of considerable praise, in that she was white and +firm; whereby she contrived ingeniously, while seeming to praise, covertly +to deal a shrewd blow to the craftsman and his art, giving to the +statue the praise proper to the female body, which it is also necessary +to apply to the marble, the material, and which is true of it, but not of the +<span class="pagenum"><a id="Page_92" name="Page_92"></a>[Pg 92]</span> work or of the craftsmanship, for by such praise the craftsmanship is not +praised. Thus, then, that shrewd lady hinted that in her opinion nothing +could be praised in that statue save the marble.</p> + +<p>Baccio afterwards set his hand to the statue of the Dead Christ, which +likewise not succeeding as he had expected, he abandoned it when it was +already well advanced, and, taking another block of marble, began another +Christ in an attitude different from the first, and together with that the +Angel who supports the head of Christ on one leg and with one hand His +arm; and he did not rest until he had finished entirely both the one figure +and the other. When arrangements were made to set it up on the altar, it +proved to be so large that it occupied too much space, and there was no +room left for the ministrations of the priest; and although this statue was +passing good, and even one of Baccio's best, nevertheless the people—the +ordinary citizens no less than the priests—could never have their fill of +speaking ill of it and picking it to pieces. Recognizing that to uncover +unfinished works injures the reputation of a craftsman in the eyes of all +those who are not of the profession, or have no knowledge of art, or have +not seen the models, Baccio resolved, in order to accompany the statue +of Christ and to complete the altar, to make the statue of God the Father, +for which a very beautiful block of marble had come from Carrara. +And he had already carried it well forward, making it half nude after the +manner of a Jove, when, since it did not please the Duke and appeared +to Baccio himself to have certain defects, he left it as it was, and even so +it is still to be found in the Office of Works.</p> + +<p>Baccio cared nothing for the words of others, but gave his attention +to making himself rich and buying property. He bought a most beautiful +farm, called Lo Spinello, on the heights of Fiesole, and another with a +very beautiful house called Il Cantone, in the plain above San Salvi, on +the River Affrico, and a great house in the Via de' Ginori, which he was +enabled to acquire by the moneys and favours of the Duke. Having thus +secured his own position, Baccio thenceforward cared little to work or +to exert himself; and although the tomb of Signor Giovanni was unfinished, +the audience-chamber of the Great Hall only begun, and the +choir and altar behindhand, he paid little attention to the words of others +<span class="pagenum"><a id="Page_93" name="Page_93"></a>[Pg 93]</span> or to the censure that was laid upon him on that account. However, +having erected the altar and set into position the marble base upon which +was to stand the statue of God the Father, he made a model for this and +finally began it, and, employing stone-cutters, proceeded to carry it +slowly forward.</p> + +<p>There came from France in those days Benvenuto Cellini, who had +served King Francis in the matter of goldsmith's work, of which he was +the most famous master of his day; and he had also executed some +castings in bronze for that King. Benvenuto was introduced to Duke +Cosimo, who, desiring to adorn the city, showed also to him much favour +and affection, and commissioned him to make a statue of bronze about +five braccia high, of a nude Perseus standing over a nude woman representing +Medusa, whose head he had cut off; which work was to be placed +under one of the arches of the Loggia in the Piazza. While he was +executing the Perseus, Benvenuto also did other things for the Duke. +Now, even as it happens that the potter is always the jealous enemy of +the potter, and the sculptor of the sculptor, Baccio was not able to endure +the various favours shown to Benvenuto. It appeared to him a strange +thing, also, that Benvenuto should have thus changed in a moment +from a goldsmith into a sculptor, nor was he able to grasp in his mind how +a man who was used to making medals and little things, could now execute +colossal figures and giants. Baccio could not conceal his thoughts, but +expressed them freely, and he found a man able to answer him; for, +Baccio saying many of his biting words to Benvenuto in the presence +of the Duke, Benvenuto, who was no less proud than himself, took pains +to be even with him. And thus, arguing often on the matters of art +and their own works, and pointing out each other's defects, they would +utter the most slanderous words of one another in the presence of the +Duke, who, because he took pleasure in this and recognized true genius +and acuteness in their biting phrases, had given them full liberty and +licence to say whatever they pleased about one another before him, +provided that they did not remember their quarrel elsewhere.</p> + +<p>This rivalry, or rather, enmity, was the reason that Baccio pressed +forward his statue of God the Father; but he was no longer receiving +<span class="pagenum"><a id="Page_94" name="Page_94"></a>[Pg 94]</span> from the Duke those favours to which he had been accustomed, and he +consoled himself for this by paying court and doing service to the Duchess. +One day, among others, that they were railing at one another as usual +and laying bare many of each others' actions, Benvenuto, glaring at +Baccio and threatening him, said: "Prepare yourself for another world, +Baccio, for I mean to send you out of this one." And Baccio answered: +"Let me know a day beforehand, so that I may confess and make my +will, and may not die like the sort of beast that you are." By reason +of which the Duke, who for many months had found amusement in their +quarrels, bade them be silent, fearing some evil ending, and caused them +to make a portrait-bust of himself from the girdle upwards, both to be +cast in bronze, to the end that he who should succeed best should carry +off the honours.</p> + +<p>Amid this rivalry and contention Baccio finished his figure of God +the Father, which he arranged to have placed in the church on the base +beside the altar. This figure was clothed and six braccia high, and he +erected and completely finished it. But, in order not to leave it unaccompanied, +he summoned from Rome the sculptor Vincenzio de' Rossi, +his pupil, wishing to execute in clay for the altar all that remained to be +done in marble; and he caused Vincenzio to assist him in finishing the +two Angels who are holding the candelabra at the corners, and the greater +part of the scenes on the predella and the base. Having then set everything +upon the altar, in order to see how his work, when finished, was to +stand, he strove to prevail on the Duke to come and see it, before he should +uncover it. But the Duke would never go, and, although entreated by +the Duchess, who favoured Baccio in this matter, he would never let +himself be shaken, and did not go to see it, being angered because among +so many works Baccio had never finished one, even after his Excellency +had made him rich and had won odium among the citizens by honouring +him highly and doing him many favours. For all this his Excellency +was disposed to assist Clemente, the natural son of Baccio—a young +man of ability, who had made considerable proficience in design—because +it was likely to fall to him in time to finish his father's works.</p> + +<p>At this same time, which was in the year 1554, there came from +<span class="pagenum"><a id="Page_95" name="Page_95"></a>[Pg 95]</span> Rome, where he had been working for Pope Julius III, Giorgio Vasari +of Arezzo, in order to serve his Excellency in many works that he was +intending to execute, and in particular to decorate the Palace on the +Piazza, and to renovate it with new constructions, and to finish the Great +Hall, as he was afterwards seen to do. In the following year Giorgio +Vasari summoned from Rome and engaged in the Duke's service the +sculptor Bartolommeo Ammanati, to the end that he might execute the +other façade in the above-named Hall, opposite to the audience-chamber +begun by Baccio, and a fountain in the centre of that façade; and a +beginning was straightway made with executing a part of the statues +that were to go into that work. Baccio, perceiving that the Duke was +employing others, recognized that he did not wish to use his services +any longer; at which, feeling great displeasure and vexation, he had +become so strange and so irritable that no one could have any dealings +with him either in his house or out of it, and to his son Clemente he +behaved very strangely, keeping him in want of everything. For this +reason Clemente, who had made a large head of his Excellency in clay, +in order to execute it in marble for the statue of the audience-chamber, +sought leave of the Duke to depart and go to Rome, on account of his +father's strangeness; and the Duke said that he would not fail him. +Baccio, at the departure of Clemente, who had asked leave of him, would +not give him anything, although the young man had been a great help +to him in Florence, and, indeed, Baccio's right hand in every matter; +nevertheless, he thought nothing of getting rid of him. The young man, +having arrived in Rome at an unfavourable season, died in the same year +both from over-study and from wild living, leaving in Florence an example +of his handiwork in an almost finished head of Duke Cosimo in marble, +which is very beautiful, and was afterwards placed by Baccio over the +principal door of his house in the Via de' Ginori. Clemente also left well +advanced a Dead Christ who is supported by Nicodemus, which Nicodemus +is a portrait from life of Baccio; and these statues, which are passing +good, Baccio set up in the Church of the Servites, as we shall relate in the +proper place. The death of Clemente was a very great loss to Baccio +and to art, and Bandinelli recognized this after he was dead.</p> + +<p><span class="pagenum"><a id="Page_96" name="Page_96"></a>[Pg 96]</span> Baccio uncovered the altar of S. Maria del Fiore, and the statue +of God the Father was criticized. The altar has remained as was described +above, nor has anything more been done to it since; but the work of +the choir has been continued.</p> + +<p>Many years before, there had been quarried at Carrara a great +block of marble ten braccia and a half in height and five braccia in width, +of which having received notice, Baccio rode to Carrara and made a +contract for it with him to whom it belonged, giving him fifty crowns +as earnest-money. He then returned to Florence and so pestered the +Duke, that, by the favour of the Duchess, he obtained the commission +to make from it a giant, which was to be placed in the Piazza, at the +corner where the Lion was; on which spot was to be made a great fountain +to spout water, in the middle of which was to be a Neptune in his chariot, +drawn by sea-horses, and this figure was to be carved out of the above-mentioned +block of marble. For this figure Baccio made more than +one model, and showed them to his Excellency; but the matter stood thus, +without anything more being done, until the year 1559, at which time +the owner of the marble, having come from Carrara, asked to be paid +the rest of the money, saying that otherwise he would give back the fifty +crowns and break it into several pieces, in order to sell it, since he had +received many offers. Orders were given by the Duke to Giorgio Vasari +that he should have the marble paid for; which having been heard +throughout the world of art, and also that the Duke had not yet made +a free gift of the marble to Baccio, Benvenuto, and likewise Ammanati, +bestirring themselves, each besought the Duke that he should be allowed +to make a model in competition with Baccio, and that his Excellency +should deign to give the marble to him who had shown the greatest +ability in his model. The Duke did not deny to either of them the right +to make a model, or deprive them of the hope that he who should acquit +himself the best might be chosen to execute the statue. His Excellency +knew that in ability, judgment, and design Baccio was still better than +any of the sculptors who were in his service, if only he would consent to +take pains, and he welcomed this competition, in order to incite Baccio +to acquit himself better and to do the most that he could. Bandinelli, +<span class="pagenum"><a id="Page_97" name="Page_97"></a>[Pg 97]</span> having seen this competition on his shoulders, was greatly troubled by it, +fearing the loss of the Duke's favour more than any other thing, and once +more he set himself to making models. He was most assiduous in waiting +on the Duchess, and so wrought upon her, that he obtained leave to go +to Carrara in order to make arrangements for having the marble brought +to Florence. Having arrived in Carrara, he had the marble so reduced +in size—as he had planned to do—that he made it a sorry thing, and +robbed both himself and the others of a noble opportunity and of the hope +of ever making from it a beautiful and magnificent work. On returning +to Florence, there was a long contention between Benvenuto and him, +Benvenuto saying to the Duke that Baccio had spoilt the marble before +it had been assigned to him. Finally the Duchess so went to work that +the marble became Baccio's; and orders were given that it should be +taken from Carrara to the sea-shore, and a boat was made ready with the +proper appliances, which was to convey it up the Arno as far as Signa. +Baccio also caused a room to be built up in the Loggia of the Piazza, +wherein to work at the marble.</p> + +<p>In the meantime he had set his hand to executing cartoons, in order +to have some pictures painted which were to adorn the apartments of +the Pitti Palace. These pictures were painted by a young man called +Andrea del Minga, who handled colour passing well. The stories painted +in the pictures were the Creation of Adam and Eve, and their Expulsion +from Paradise by the Angel, a Noah, and a Moses with the Tables; which +finished, he then presented them to the Duchess, seeking to obtain her +favour in his difficulties and contentions. And, in truth, if it had not +been for that lady, who loved him for his abilities and held him on his feet, +Baccio would have fallen headlong down and would have lost completely +the favour of the Duke. The Duchess also made much use of Baccio +in the Pitti garden, where she had caused to be constructed a grotto +full of tufa and sponge-stone formed by the action of water, and containing +a fountain; and for this Baccio had caused his pupil, Giovanni +Fancelli, to execute in marble a large basin and some goats of the size +of life, which spout forth water, and likewise, for a fish-pond, after a model +made by himself, a countryman who is emptying a barrel full of water. +<span class="pagenum"><a id="Page_98" name="Page_98"></a>[Pg 98]</span> For these reasons the Duchess was constantly helping and favouring Baccio +with the Duke, who finally gave him leave to begin the great model +of the Neptune; on which account he once more sent to Rome for +Vincenzio de' Rossi, who had previously departed from Florence, with +the intention of making him help to execute it.</p> + +<p>While these preparations were in progress, Baccio was seized with +a desire to finish the statue of the Dead Christ supported by Nicodemus, +which his son Clemente had carried well forward; for he had heard that +Buonarroti was finishing one in Rome that he had begun to carve from +a large block of marble, containing five figures, which was to be placed +on his tomb in S. Maria Maggiore. Out of emulation with him Baccio +set to work on his group with the greatest assiduity, with assistants, +until he had finished it. And meanwhile he was going about among the +principal churches of Florence, seeking for a place where he might set +up that work and also make a tomb for himself; but for long he found +no place for the tomb that could content him, until he resolved on a +chapel in the Church of the Servites which belongs to the family of the +Pazzi. The owners of this chapel, at the request of the Duchess, granted +the place to Baccio, without divesting themselves of the rights of ownership +and of the devices of their house that were there; and they granted +him only this, that he should erect an altar of marble and place upon it +the statues mentioned above, and make his tomb at the foot of it. Afterwards, +also, he came to an agreement with the friars of that convent with +regard to the other matters appertaining to the celebration of Mass. +During this time, then, Baccio was causing the altar and the marble +base to be built, in order to place upon it the above-named statues; and, +when he had finished it, he proposed to lay in that tomb, in which he +wished to be laid himself together with his wife, the bones of his father +Michelagnolo, which, at his death, he had caused to be placed in a vault +in the same church. These bones of his father he chose to lay piously +in that tomb with his own hands; whereupon it happened that either +because he felt sorrow and a shock to his mind in handling his father's +bones, or because he exerted himself too much in transferring those bones +with his own hands and in rearranging the marbles, or from both reasons +<span class="pagenum"><a id="Page_99" name="Page_99"></a>[Pg 99]</span> together, he was so overcome that he felt ill and had to go home, and, +his malady growing daily worse, in eight days he died, at the age of +seventy-two, having been up to that time robust and vigorous, and +without having ever suffered much illness during the whole of his life. +He was buried with honourable obsequies, and laid beside his father's +bones in the above-mentioned tomb constructed by himself, on which +is this epitaph:—</p> + +<p class="center smcap"> + D. O. M.<br> +BACCIUS BANDINELL. DIVI JACOBI EQUES<br> + SUB HAC SERVATORIS IMAGINE,<br> +A SE EXPRESSA, CUM JACOBA DONIA<br> + UXORE QUIESCIT, AN. S. MDLIX.</p> + +<p>He left behind him both sons and daughters, who were the heirs +to his many possessions in lands, houses, and money, which he bequeathed +to them; and to the world he left the works in sculpture described by +us, and designs in great numbers, which are in the possession of his family, +and in our book there are some executed with the pen and with chalk, +than which it is certain that nothing better could be done.</p> + +<p>The marble for the giant was left more in dispute than ever, because +Benvenuto was always about the Duke, and wished, in virtue of a little +model that he had made, that the Duke should give it to him. On the +other hand, Ammanati, being a sculptor of marbles and more experienced +in such works than Benvenuto, considered for many reasons that this +work belonged to him. Now it happened that Giorgio Vasari had to +go to Rome with the Cardinal, the son of the Duke, when he went to +receive his hat, and Ammanati gave to Vasari a little model of wax +showing the shape in which he desired to carve that figure from the +marble, and a piece of wood reproducing the exact proportions—the +length, breadth, thickness, and inclination from the straight—of the +marble, to the end that Giorgio might show them in Rome to Michelagnolo +Buonarroti and persuade him to declare his opinion in the matter, and so +move the Duke to give him the marble. All this Giorgio did most +willingly, and it was the reason that the Duke gave orders that an arch +should be partitioned off in the Loggia of the Piazza, and that Ammanati +should make a great model as large as the giant was to be. Having +<span class="pagenum"><a id="Page_100" name="Page_100"></a>[Pg 100]</span> heard this. Benvenuto rode in a great fury to Pisa, where the Duke was, +and said to him that he could not suffer that his genius should be trampled +underfoot by one who was inferior to himself, and that he desired to +make a great model in competition with Ammanati, in the same place; +and the Duke, wishing to pacify him, granted him leave to have another +arch of the Loggia partitioned off, and caused to be given to him materials +for making, as he desired, a large model in competition with Ammanati.</p> + +<p>While these masters were engaged in making their models, after +having made fast their enclosures in such a manner that neither the one +nor the other could see what his rival was doing, although these enclosures +were attached to each other, there rose up the Flemish sculptor Maestro +Giovan Bologna, a young man not inferior in ability or in spirit to either +of the others. This master, being in the service of the Lord Don Francesco, +Prince of Florence, asked his Excellency to enable him to make a giant +which might serve as a model, of the same size as the marble; and the +Prince granted him this favour. Maestro Giovan Bologna had as yet +no thought of having the giant to execute in marble, but he wished at +least to display his ability and to make himself known for what he was +worth; and, having received permission from the Prince, he, also, began +a model in the Convent of S. Croce. Nor was Vincenzio Danti, the +sculptor of Perugia, a younger man than any of the others, willing to +fail to compete with these three masters, not in the hope of obtaining +the marble, but in order to demonstrate his spirit and genius. And so, +having set to work on his own account in the house of Messer Alessandro, +the son of M. Ottaviano de' Medici, he executed a model good in many +parts and as large as the others.</p> + +<p>The models finished, the Duke went to see those of Ammanati and +of Benvenuto; and, being more pleased with that of Ammanati than +with that of Benvenuto, he resolved that Ammanati should have the +marble and make the giant, because he was younger than Benvenuto +and more practised in marble. The disposition of the Duke was strengthened +by Giorgio Vasari, who did many good offices with his Excellency +for Ammanati, having perceived that, in addition to his knowledge, +he was ready to endure any labour, and hoping that from his hands +<span class="pagenum"><a id="Page_101" name="Page_101"></a>[Pg 101]</span> there would issue an excellent work finished in a short time. The Duke +would not at that time see the model of Maestro Giovan Bologna, because, +not having seen any work by him in marble, it did not seem to him that +he could entrust to that master, as his first work, so great an undertaking, +although he heard from many craftsmen and other men of judgment +that Giovan Bologna's model was in many parts better than the others. +But if Baccio had been alive, there would not have been all that contention +among those masters, because without a doubt it would have fallen +to him to make the model of clay and the giant of marble. This work, +then, was snatched from Baccio by death, but the same circumstance +brought him no little glory, in that it revealed by means of those four +models—the reason of the making of which was that Baccio was not alive—how +much better were the design, judgment and ability of him who +placed on the Piazza the Hercules and Cacus, as it were living in the +marble; the excellence of which work has been made evident and brought +to light even more by the works that have been executed since Baccio's +death by those others, who, although they have acquitted themselves +in a manner worthy of praise, have yet not been able to attain to the +beauty and excellence that he placed in his work.</p> + +<p>Afterwards Duke Cosimo, for the marriage of Queen Joanna of +Austria, his daughter-in-law, seven years after the death of Baccio, caused +the audience-chamber in the Great Hall, begun by Baccio, of which we +have spoken above, to be finished; and he chose that the head of this +work of completion should be Giorgio Vasari, who has sought with all +diligence to put right the many defects that would have been in it if it +had been continued and finished after the original design followed in the +beginning by Baccio. Thus that imperfect work has now been carried +with the help of God to completion, and is enriched on its side faces by +the addition of niches and pilasters, and statues set in their places. +Moreover, since it was laid out awry and out of square, we have taken +pains to make it even in so far as has been possible, and have raised it +considerably with a corridor of Tuscan columns at the top; and as for +the statue of Leo begun by Baccio, his pupil Vincenzio de' Rossi has +finished it. Besides this, that work has been adorned with friezes full +<span class="pagenum"><a id="Page_102" name="Page_102"></a>[Pg 102]</span> of stucco-work, with many figures large and small, and with devices and +other ornaments of various kinds, and under the niches and in the +partitions of the vaulting have been made many and various designs in +stucco and many beautiful inventions in carving; all which things have +enriched the work in such a manner, that it has changed its form and has +gained not a little in beauty and grace. For whereas, according to the +first design, the ceiling of the Hall being twenty-one braccia above the +floor, the audience-chamber did not rise higher than eighteen braccia, +so that between it and the old ceiling there was a space of only three +braccia; now, after our design, the ceiling of the Hall has been raised so +much that it has risen twelve braccia above the old ceiling and fifteen +above the audience-chamber of Baccio and Giuliano, so that the ceiling +is now thirty-three braccia above the floor of the Hall. And it certainly +showed great spirit in his Excellency, that he should resolve to cause +to be finished in the space of five months for the above-named nuptials +the whole of a work of which more than a third still remained to do, +although it had taken more than fifteen years to arrive at the condition +in which it was at that time; so eager was he to carry it to completion. +But it was not only Baccio's work that his Excellency caused to be +completely finished, but also all the rest of what Giorgio Vasari had +designed; beginning again from the base that runs over the whole of that +work, with a border of balusters in the open spaces, which forms a corridor +that passes above the work in the Hall, and commands a view on the outer +side of the Piazza and on the inner side of the whole Hall. Thus the +Princes and other lords will be able to see, without being seen, all the +festivals that may be held there, with much pleasure and convenience +for themselves, and then to retire to their apartments, passing by the +private and public staircases through all the rooms in the Palace. Nevertheless, +to many it has caused dissatisfaction that in a work of such +beauty and grandeur that structure was not made square, and many +would have liked to have it pulled down and then rebuilt true to square. +But it has been judged to be better to continue the work in that way, +in order not to appear presumptuous and malign towards Baccio, and also +because otherwise we would have seemed not to have the power to correct +the errors and defects found by us but committed by others.</p> + +<p><span class="pagenum"><a id="Page_103" name="Page_103"></a>[Pg 103]</span> But, returning to Baccio, we must say that his abilities were always +recognized during his lifetime, yet will be recognized and regretted much +more now that he is dead. And even more would he have been acknowledged +for what he was, when alive, and beloved, if he had been so favoured +by nature as to be more amiable and more courteous, because his being +the contrary, and very rough with his tongue, robbed him of the goodwill +of other persons, obscured his talents, and brought it about that his +works were regarded with ill will and a prejudiced eye, and therefore +could never please anyone. And although he served one nobleman after +another, and was enabled by his talent to serve them well, nevertheless +he rendered his services with such bad grace, that there was no one who +felt grateful to him for them. Moreover, his always decrying and +maligning the works of others brought it about that no one could endure +him, and, whenever another was able to pay him back in his own coin, +it was returned to him with interest; and before the magistrates he spoke +all manner of evil without scruple about the other citizens, and received +from them as good as he gave. He brought suits and went to law about +everything with the greatest readiness, living in one long succession of +law-suits, and appearing to triumph in them. But since his drawing, +to which it is evident that he gave his attention more than to any other +thing, was of such a kind and of such excellence that it atones for his +every natural defect and makes him known as a rare master of our art, +we therefore not only count him among the greatest craftsmen, but also +have always paid respect to his works, and have sought not to destroy +but to finish them and do them honour, for the reason that it appears +to us that Baccio was in truth one of those who deserve honourable praise +and everlasting fame.</p> + +<p>We have deferred to the end the mention of his family name, because +it was not always the same, but varied, Baccio having himself called +now De' Brandini, and now De' Bandinelli. In his early prints the name +De' Brandini may be seen engraved after that of Baccio; but afterwards +he preferred the name De' Bandinelli, which he retained to the end and +still retains, and he used to say that his ancestors were of the Bandinelli +of Siena, who once removed to Gaiuole, and from Gaiuole to Florence.</p> + +<hr style="width: 65%;"> +<h2><a name="bugiardini" id="bugiardini"></a><span class="pagenum"><a id="Page_105" name="Page_105"></a>[Pg 105]</span> GIULIANO BUGIARDINI</h2> + +<div class="figcenter"> +<a name="img008" id="img008"></a> +<img src="images/img008-tb.jpg" width="400" height="548" alt="Giuliano Bugiardini: Portrait of a Lady." title=""> +<p class="caption">GIULIANO BUGIARDINI: PORTRAIT OF A LADY<br> +(<i>Florence: Pitti, 140. Panel</i>)<br> +<span class="link"><a href="images/img008.jpg">View larger image</a></span></p> +</div> + +<hr style="width: 65%;"> +<h2><a name="life_of_bugiardini" id="life_of_bugiardini"></a><span class="pagenum"><a id="Page_107" name="Page_107"></a>[Pg 107]</span> LIFE OF GIULIANO BUGIARDINI<br> +PAINTER OF FLORENCE</h2> + + +<p>Before the siege of Florence the population had multiplied in such great +numbers that the widespread suburbs which lay without every gate, +together with the churches, monasteries, and hospitals, formed as it were +another city, inhabited by many honourable persons and by good craftsmen +of every kind, although for the most part they were less wealthy +than those of the city, and lived there with less expense in the way of +customs-dues and the like. In one of these suburbs, then, without the +Porta a Faenza, was born Giuliano Bugiardini, who lived there, even as +his ancestors had done, until the year 1529, when all the suburbs were +pulled down. But before that, when still a mere lad, he began his studies +in the garden of the Medici on the Piazza di S. Marco, in which, attending +to the study of art under the sculptor Bertoldo, he formed such strait +friendship and intimacy with Michelagnolo Buonarroti, that he was much +beloved by Buonarroti ever afterwards; which Michelagnolo did not so +much because of any depth that he saw in Giuliano's manner of drawing, +as on account of the extraordinary diligence and love that he showed +towards art. There was in Giuliano, besides this, a certain natural +goodness and a sort of simplicity in his mode of living, free from all envy +and malice, which vastly pleased Buonarroti; nor was there any notable +defect in him save this, that he loved too well the works of his own hand. +For, although all men are wont to err in this respect, Giuliano in truth +passed all due bounds, whatever may have been the reason—either the +great pains and diligence that he put into executing them, or some other +cause. Wherefore Michelagnolo used to call him blessed, since he +<span class="pagenum"><a id="Page_108" name="Page_108"></a>[Pg 108]</span> appeared to be content with what he knew, and himself unhappy, in that +no work of his ever fully satisfied him.</p> + +<p>After Giuliano had studied design for some time in the above-named +garden, he worked, together with Buonarroti and Granacci, under +Domenico Ghirlandajo, at the time when he was painting the chapel in +S. Maria Novella. Then, having made his growth and become a passing +good master, he betook himself to work in company with Mariotto +Albertinelli in Gualfonda; in which place he finished a panel-picture that +is now at the door of entrance of S. Maria Maggiore in Florence, containing +S. Alberto, a Carmelite friar, who has under his feet the Devil in the form +of a woman, a work that was much extolled.</p> + +<p>It was the custom in Florence before the siege of 1530, at the burial +of dead persons of good family and noble blood, to carry in front of +the bier a string of pennons fixed round a panel that a porter bore +on his head; which pennons were afterwards left in the church in memory +of the deceased and of his family. Now, when the elder Cosimo Rucellai +died, Bernardo and Palla, his sons, in order to have something new, +thought of having not pennons, but in place of them a quadrangular +banner four braccia wide and five braccia high, with some pennons at the +foot containing the arms of the Rucellai. These men therefore giving +this work to Giuliano to execute, he painted on the body of the said +banner four great figures, executed very well—namely, S. Cosimo, +S. Damiano, S. Peter, and S. Paul, which were truly most beautiful +paintings, and done with more diligence than had ever been shown in +any other work on cloth.</p> + +<p>These and other works of Giuliano's having been seen by Mariotto +Albertinelli, he recognized how careful Giuliano was in following the +designs that were put before him, without departing from them by a +hair's breadth, and, since he was preparing in those days to abandon art, +he gave him to finish a panel-picture that Fra Bartolommeo di San Marco, +his friend and companion, had formerly left only designed and shaded +with water-colours on the gesso of the panel, as was his custom. Giuliano, +then, setting his hand to this work, executed it with supreme diligence +and labour, and it was placed at that time in the Church of S. Gallo, +<span class="pagenum"><a id="Page_109" name="Page_109"></a>[Pg 109]</span> without the gate of that name. The church and convent were afterwards +pulled down on account of the siege, and the picture was carried into the +city and placed in the Priests' Hospital in the Via di S. Gallo, and then +from there into the Convent of S. Marco, and finally into S. Jacopo tra +Fossi on the Canto degli Alberti, where it stands at the present day on +the high-altar. In this picture is the Dead Christ, with the Magdalene, +who is embracing His feet, and S. John the Evangelist, who is holding +His head and supporting it on one knee. There, likewise, are S. Peter, +who is weeping, and S. Paul, who, stretching out his arms, is contemplating +his Dead Master; and, to tell the truth, Giuliano executed this +picture with so much lovingness and so much consideration and judgment, +that he will be always very highly extolled for it, even as he was +at that time, and that rightly. And after this he finished for Cristofano +Rinieri a picture with the Rape of Dina that had been likewise left incomplete +by the same Fra Bartolommeo; and he painted another picture like +it, which was sent to France.</p> + +<p>Not long afterwards, having been drawn to Bologna by certain +friends, he executed some portraits from life, and, for a chapel in the +new choir of S. Francesco, an altar-piece in oils containing Our Lady +and two Saints, which was held at that time in Bologna, from there not +being many masters there, to be a good work and worthy of praise. +Then, having returned to Florence, he painted for I know not what person +five pictures of the life of Our Lady, which are now in the house of Maestro +Andrea Pasquali, physician to his Excellency and a man of great distinction.</p> + +<p>Messer Palla Rucellai having commissioned him to execute an altar-piece +that was to be placed on his altar in S. Maria Novella, Giuliano +began to paint in it the Martyrdom of S. Catharine the Virgin. Mountains +in labour! He had it in hand for twelve years, but never carried it +to completion after all that time, because he had no invention and knew +not how to paint the many various things that had a part in that martyrdom; +and, although he was always racking his brain as to how those +wheels should be made, and how he should paint the lightning and the +fire that consumed them, constantly changing one day what he had done +<span class="pagenum"><a id="Page_110" name="Page_110"></a>[Pg 110]</span> the day before, in all that time he was never able to finish it. It is true +that in the meantime he executed many works, and among others, for +Messer Francesco Guicciardini—who had returned from Bologna and +was then living in his villa at Montici, writing his history—a portrait +of him, which was a passing good likeness and pleased him much. He +took the portrait, likewise, of Signora Angela de' Rossi, the sister of the +Count of Sansecondo, for Signor Alessandro Vitelli, her husband, who +was then on garrison-duty in Florence. For Messer Ottaviano de' Medici +he painted in a large picture, copied from one by Fra Sebastiano del +Piombo, two full-length portraits, Pope Clement seated and Fra Niccolò +della Magna standing; and in another picture, likewise, with incredible +pains and patience, he portrayed Pope Clement seated, and before him +Bartolommeo Valori, who is kneeling and speaking to him.</p> + +<div class="figcenter"> +<a name="img009" id="img009"></a> +<img src="images/img009-tb.jpg" width="400" height="607" alt="The Martyrdom of S. Catharine." title=""> +<p class="caption">THE MARTYRDOM OF S. CATHARINE<br> +(<i>After the painting by</i> Giuliano Bugiardini. +<i>Florence: S. Maria Novella, Rucellai Chapel</i>)<br> +<i>Alinari</i><br> +<span class="link"><a href="images/img009.jpg">View larger image</a></span></p> +</div> + +<p>Next, the above-named Messer Ottaviano de' Medici having besought +Giuliano privately that he should take for him the portrait of Michelagnolo +Buonarroti, he set his hand to it; and, after he had kept Michelagnolo, +who used to take pleasure in his conversation, sitting for two hours, +Giuliano said to him: "Michelagnolo, if you wish to see yourself, get up +and look, for I have now fixed the expression of the face." Michelagnolo, +having risen and looked at the portrait, said to Giuliano, laughing: +"What the devil have you been doing? You have painted me with one +of my eyes up in the temple. Give a little thought to what you are +doing." Hearing this, Giuliano, after standing pensive for a while and +looking many times from the portrait to the living model, answered in +serious earnest: "To me it does not seem so, but sit you down again, and +I shall see a little better from the life whether it be true." Buonarroti, +who knew whence the defect arose and how small was the judgment of +Bugiardini, straightway resumed his seat, grinning. And Giuliano looked +many times now at Michelagnolo and now at the picture, and then +finally, rising to his feet, declared: "To me it seems that the thing is just +as I have drawn it, and that the life is in no way different." "Well, +then," answered Buonarroti, "it is a natural deformity. Go on, and +spare neither brush nor art." And so Giuliano finished the picture and +gave it to Messer Ottaviano, together with the portrait of Pope Clement +<span class="pagenum"><a id="Page_111" name="Page_111"></a>[Pg 111]</span> by the hand of Fra Sebastiano, as Buonarroti desired, who had sent to +Rome for it.</p> + +<p>Giuliano afterwards made for Cardinal Innocenzio Cibo a copy of +the picture in which Raffaello da Urbino had formerly painted portraits +of Pope Leo, Cardinal Giulio de' Medici, and Cardinal de' Rossi; but in +place of Cardinal de' Rossi he painted the head of Cardinal Cibo, in +which he acquitted himself very well, and he executed the whole picture +with great diligence and labour. At that time, likewise, he took the +portrait of Cencio Guasconi, who was then a very beautiful youth. And +after this he painted at the villa of Baccio Valori, at Olmo a Castello, a +tabernacle in fresco, which, although it had not much design, was well +and very carefully executed.</p> + +<p>Meanwhile Palla Rucellai was pressing him to finish his altar-piece, +of which mention has been made above, and Giuliano resolved to take +Michelagnolo one day to see it. And so, after he had brought him to +the place where he kept it, and had described to him with what pains he +had executed the lightning-flash, which, coming down from Heaven, +shivers the wheels and kills those who are turning them, and also a sun, +which, bursting from a cloud, delivers S. Catharine from death, he frankly +besought Michelagnolo, who could not keep from laughing as he heard +poor Bugiardini's lamentations, that he should tell him how to make +eight or ten principal figures of soldiers in the foreground of this altar-piece, +drawn up in line after the manner of a guard, and in the act of +flight, some being prostrate, some wounded, and others dead; for, said +Giuliano, he did not know for himself how to foreshorten them in such a +manner that there might be room for them all in so narrow a space, in +the fashion that he had imagined, in line. Buonarroti, then, having +compassion on the poor man and wishing to oblige him, went up to the +picture with a piece of charcoal and outlined with a few strokes, lightly +sketched in, a line of marvellous nude figures, which, foreshortened in +different attitudes, were falling in various ways, some backward and +others forward, with some wounded or dead, and all executed with that +judgment and excellence that were peculiar to Michelagnolo. This done, +he went away with the thanks of Giuliano, who not long afterwards took +<span class="pagenum"><a id="Page_112" name="Page_112"></a>[Pg 112]</span> Tribolo, his dearest friend, to see what Buonarroti had done, telling him +the whole story. But since, as has been related, Buonarroti had drawn +his figures only in outline, Bugiardini was not able to put them into +execution, because there were neither shadows in them nor any other +help; whereupon Tribolo resolved to assist him, and thus made some +sketch-models in clay, which he executed excellently well, giving them +that boldness of manner that Michelagnolo had put into the drawing, +and working them over with the gradine, which is a toothed instrument +of iron, to the end that they might be somewhat rough and might have +greater force; and, thus finished, he gave them to Giuliano. However, +since that manner did not please the smooth fancy of Bugiardini, no +sooner had Tribolo departed than he took a brush and, dipping it from +time to time in water, so smoothed them that he took away the gradine-marks +and polished them all over, insomuch that, whereas the lights +should have served as contrasts to make the shadows stronger, he contrived +to destroy all the excellence that made the work perfect. Which +having afterwards heard from Giuliano himself, Tribolo laughed at the +foolish simplicity of the man; and Giuliano finally delivered the work +finished in such a manner that there is nothing in it to show that Michelagnolo +ever looked at it.</p> + +<p>In the end, being old and poor, and having very few works to do, +Giuliano applied himself with extraordinary and even incredible pains to +make a Pietà in a tabernacle that was to go to Spain, with figures of no +great size, and executed it with such diligence, that it seems a strange +thing to think of an old man of his age having the patience to do such +a work for the love that he bore to art. On the doors of that tabernacle, +in order to depict the darkness that fell at the death of the Saviour, he +painted a Night on a black ground, copied from the one by the hand of +Michelagnolo which is in the Sacristy of S. Lorenzo. But since that +statue has no other sign than an owl, Giuliano, amusing himself over his +picture of Night by giving rein to his fancy, painted there a net for +catching thrushes by night, with the lantern, and one of those little +vessels holding a candle, or rather, a candle-end, that are carried about at +night, with other suchlike things that have something to do with darkness +<span class="pagenum"><a id="Page_113" name="Page_113"></a>[Pg 113]</span> and gloom, such as night-caps, coifs, pillows, and bats; wherefore +Buonarroti was like to dislocate his jaw with laughing when he saw this +work and considered with what strange caprices Bugiardini had enriched +his Night.</p> + +<p>Finally, after having always been that kind of man, Giuliano died +at the age of seventy-five, and was buried in the Church of S. Marco at +Florence, in the year 1556.</p> + +<p>Giuliano once relating to Bronzino how he had seen a very beautiful +woman, after he had praised her to the skies, Bronzino said, "Do you +know her?" "No," answered Giuliano, "but she is a miracle of beauty. +Just imagine that she is a picture by my hand, and there you have her."</p> + +<hr style="width: 65%;"> +<h2><a name="gherardi" id="gherardi"></a><span class="pagenum"><a id="Page_115" name="Page_115"></a>[Pg 115]</span> CRISTOFANO GHERARDI, +CALLED DOCENO</h2> + +<hr style="width: 65%;"> +<h2><a name="life_of_gherardi" id="life_of_gherardi"></a><span class="pagenum"><a id="Page_117" name="Page_117"></a>[Pg 117]</span> LIFE OF CRISTOFANO GHERARDI [CALLED DOCENO] OF +BORGO SAN SEPOLCRO<br> +PAINTER</h2> + +<p>While Raffaello dal Colle of Borgo San Sepolcro, who was a disciple +of Giulio Romano and helped him to paint in fresco the Hall of Constantine +in the Papal Palace at Rome, and the apartments of the Te in +Mantua, was painting, after his return to the Borgo, the altar-piece of +the Chapel of SS. Gilio e Arcanio (in which, imitating Giulio and Raffaello +da Urbino, he depicted the Resurrection of Christ, a work that was much +extolled), with another altar-piece of the Assumption for the Frati de' +Zoccoli without the Borgo, and some other works for the Servite Friars +at Città di Castello; while, I say, Raffaello was executing these and other +works in the Borgo, his native place, acquiring riches and fame, a young +man sixteen years of age, called Cristofano, and by way of by-name, +Doceno, the son of Guido Gherardi, a man of honourable family in that +city, was attending from a natural inclination and with much profit to +painting, drawing and colouring so well and with such grace, that it was +a marvel. Wherefore the above-named Raffaello, having seen some +animals by the hand of this Cristofano, such as dogs, wolves, hares, and +various kinds of birds and fishes, executed very well, and perceiving that +he was most agreeable in his conversation and very witty and amusing, +although he lived a life apart, almost like a philosopher, was well pleased +to form a friendship with him and to have him frequent his workshop in +order to learn.</p> + +<p>Now, after Cristofano had spent some time drawing under the discipline +of Raffaello, there arrived in the Borgo the painter Rosso, with whom +he contracted a friendship, and received some of his drawings; and these +<span class="pagenum"><a id="Page_118" name="Page_118"></a>[Pg 118]</span> Doceno studied with great diligence, considering, as one who had seen no +others but those by the hand of Raffaello, that they were very beautiful, +as indeed they were. But these studies were broken off by him, for, +when Giovanni de' Turrini of the Borgo, at that time Captain of the +Florentines, went with a band of soldiers from the Borgo and from Città +di Castello to the defence of Florence, which was besieged by the armies +of the Emperor and of Pope Clement, Cristofano went thither among the +other soldiers, having been led away by his many friends. It is true that +he did this no less in the hope of having some occasion to study the +works in Florence than with the intention of fighting; but in this he +failed, for his captain, Giovanni, had to guard not a place within the +city, but the bastions on the hill without. That war finished, and the +guard of Florence being commanded not long afterwards by Signor +Alessandro Vitelli of Città di Castello, Cristofano, drawn by his friends +and by his desire to see the pictures and sculptures of the city, enlisted as +a soldier in that guard. And while he was in that service, Signor Alessandro, +having heard from Battista della Bilia, a painter and soldier +from Città di Castello, that Cristofano gave his attention to painting, +and having obtained a beautiful picture by his hand, determined to send +him with that same Battista della Bilia and with another Battista, likewise +of Città di Castello, to decorate with sgraffiti and paintings a garden and +loggia that he had begun at Città di Castello. But the one Battista +having died while that garden was being built up, and the other Battista +having taken his place, for the time being, whatever may have been the +reason, nothing more was done.</p> + +<p>Meanwhile Giorgio Vasari had returned from Rome, and was passing +his time with Duke Alessandro in Florence, until his patron Cardinal +Ippolito should return from Hungary; and he had received rooms in the +Convent of the Servites, that he might make a beginning with the execution +of certain scenes in fresco from the life of Cæsar in the chamber at +the corner of the Medici Palace, where Giovanni da Udine had decorated +the ceiling with stucco-work and pictures. Now Cristofano, having +made Giorgio's acquaintance at the Borgo in the year 1528, when he +went to see Rosso in that place, where he had shown him much +<span class="pagenum"><a id="Page_119" name="Page_119"></a>[Pg 119]</span> kindness, resolved that he would attach himself to Vasari and thus find +much more opportunity for giving attention to art than he had done in +the past. Giorgio, then, after a year's intercourse with him as his companion, +finding that he was likely to make an able master, and that he +was pleasant and gentle in manners and a man after his own heart, +conceived an extraordinary affection for him. Wherefore, having to go +not long afterwards, at the commission of Duke Alessandro, to Città di +Castello, in company with Antonio da San Gallo and Pier Francesco da +Viterbo (who had been in Florence to build the castle, or rather, citadel, +and on their return were taking the road by Città di Castello), in order +to repair the walls of the above-mentioned garden of Vitelli, which were +threatening to fall, he took Cristofano with him, to the end that after +Vasari himself had designed and distributed in their due order the friezes +that were to be executed in certain apartments, and likewise the scenes +and compartments of a bath-room, and other sketches for the walls of +the loggia, Gherardi and the above-named Battista might carry the +whole to completion. All this they did so well and with such grace, and +particularly Cristofano, that a past master in art, well practised in his +work, could not have done so much; and, what is more, experimenting +in that work, he became facile and able to a marvel in drawing and +colouring.</p> + +<p>Then, in the year 1536, the Emperor Charles V coming to Italy and +to Florence, as has been related in other places, the most magnificent +festive preparations were ordained, among which Vasari, by order of +Duke Alessandro, received the charge of the decorations of the Porta a +S. Piero Gattolini, of the façade at S. Felice in Piazza, at the head of the +Via Maggio, and of the pediment that was erected over the door of +S. Maria del Fiore; and, in addition, of a standard of cloth for the castle, +fifteen braccia in depth and forty in length, into the gilding of which +there went fifty thousand leaves of gold. Now the Florentine painters +and others who were employed in these preparations, thinking that +Vasari was too much in favour with Duke Alessandro, and wishing to +leave him disgraced in that part of the decorations—a part truly great +and laborious—which had fallen to him, so went to work that he was +<span class="pagenum"><a id="Page_120" name="Page_120"></a>[Pg 120]</span> not able to enlist the services of any master of architectural painting, +whether young or old, among all those that were in the city, to assist +him in any single thing. Of which having become aware, Vasari sent for +Cristofano, Raffaello dal Colle, and Stefano Veltroni of Monte Sansovino, +his kinsman; and with their assistance and that of other painters from +Arezzo and other places, he executed the works mentioned above, in +which Cristofano acquitted himself in such a manner, that he caused +everyone to marvel, doing honour to himself and also to Vasari, who was +much extolled for those works. After they were finished, Cristofano +remained many days in Florence, assisting the same Vasari in the preparations +that were made in the Palace of Messer Ottaviano de' Medici +for the nuptials of Duke Alessandro; wherein, among other things, +Cristofano executed the coat of arms of the Duchess Margherita of +Austria, with the balls, upheld by a most beautiful eagle, with some boys, +very well done.</p> + +<p>Not long afterwards, when Duke Alessandro had been assassinated, +a compact was made in the Borgo to hand over one of the gates of the +city to Piero Strozzi, when he came to Sestino, and letters were therefore +written to Cristofano by some soldiers exiled from the Borgo, entreating +him that he should consent to help them in this: which letters received, +although Cristofano did not grant their request, yet, in order not to do +a mischief to the soldiers, he chose rather to tear them up, as he did, +than to lay them, as according to the laws and edicts he should have +done, before Gherardo Gherardi, who was then Commissioner for the +Lord Duke Cosimo in the Borgo. When the troubles were over and the +matter became known, many citizens of the Borgo were exiled as rebels, +and among them Doceno; and Signor Alessandro Vitelli, who knew the +truth of this affair and could have helped him, did not do so, to the end +that Cristofano might be as it were forced to serve him in the work of his +garden at Città di Castello, of which we have spoken above.</p> + +<p>After having consumed much time in this service, without any profit +or advantage, Cristofano finally took refuge, almost in despair, with other +exiles, in the village of S. Giustino in the States of the Church, a mile and +a half distant from the Borgo and very near the Florentine frontier. +<span class="pagenum"><a id="Page_121" name="Page_121"></a>[Pg 121]</span> In that place, although he stayed there at his peril, he painted for Abbot +Bufolini of Città di Castello, who has most beautiful and commodious +apartments there, a chamber in a tower, with a pattern of little boys and +figures very well foreshortened to be seen from below, and with grotesques, +festoons, and masks, the most lovely and the most bizarre that could be +imagined. This chamber, when finished, so pleased the Abbot that he +caused him to do another, in which, desiring to make some ornaments +of stucco, and not having marble to grind into powder for mixing it, +for this purpose he found a very good substitute in some stones from a +river-bed, veined with white, the powder from which took a good and +very firm hold. And within these ornaments of stucco Cristofano then +painted some scenes from Roman history, executing them so well in +fresco that it was a marvel.</p> + +<p>At that time Giorgio Vasari was painting in fresco the upper part +of the tramezzo<a id="FNanchor4" name="FNanchor4"></a><a href="#Footnote4" title="Go to footnote 4" class="fnanchor">[4]</a> of the Abbey of Camaldoli, and two panel-pictures for +the lower part; and, wishing to make about these last an ornament in +fresco full of scenes, he would have liked to have Cristofano with him, +no less to restore him to the favour of the Duke than to make use of him. +But, although Messer Ottaviano de' Medici pleaded strongly with the +Duke, it proved impossible to bend him, so ugly was the information +that had been given to him about the behaviour of Cristofano. Not +having succeeded in this, therefore, Vasari, as one who loved Cristofano, +set himself to contrive to remove him at least from S. Giustino, where +he, with other exiles, was living in the greatest peril. In the year 1539, +then, having to execute for the Monks of Monte Oliveto, for the head +of a great refectory in the Monastery of S. Michele in Bosco without +Bologna, three panel-pictures in oils with three scenes each four braccia +in length, and a frieze in fresco three braccia high all round with twenty +stories of the Apocalypse in little figures, and all the monasteries of that +Order copied from the reality, with partitions of grotesques, and round +each window fourteen braccia of festoons with fruits copied from nature, +Giorgio wrote straightway to Cristofano that he should go from S. Giustino +to Bologna, together with Battista Cungi of the Borgo, his compatriot, +<span class="pagenum"><a id="Page_122" name="Page_122"></a>[Pg 122]</span> who had also served Vasari for seven years. These men, therefore, having +gone to Bologna, where Giorgio had not yet arrived—for he was still at +Camaldoli, where, having finished the tramezzo, he was drawing the +cartoon for a Deposition from the Cross, which was afterwards executed +by him and set up on the high-altar in that same place—set themselves +to prime the said three panels with gesso and to lay on the ground, until +such time as Giorgio should arrive.</p> + +<p>Now Vasari had given a commission to Dattero, a Jew, the friend +of Messer Ottaviano de' Medici, who was then a banker in Bologna, that +he should provide Cristofano and Battista with everything that they +required. And since this Dattero was very obliging and most courteous, +he did them a thousand favours and courtesies; wherefore those two at +times went about Bologna in his company in very familiar fashion, and, +Battista having prominent eyes and Cristofano a great speck in one of his, +they were thus taken for Jews, as Dattero was in fact. One morning, +therefore, a shoemaker, who had to bring a pair of new shoes at the +commission of the above-named Jew to Cristofano, arriving at the +monastery, said to Cristofano himself, who was standing at the gate +looking on at the distribution of alms, "Sir, could you show me the rooms +of those two Jew painters who are working in there?" "Jews or no +Jews," said Cristofano, "what have you to do with them?" "I have +to give these shoes," he answered, "to one of them called Cristofano." +"I am he," replied Cristofano, "an honest man and a better Christian +than you are." "You may be what you please," answered the shoemaker. +"I called you Jews, because, besides that you are held and +known as Jews by everyone, that look of yours, which is not of our +country, convinced me of it." "Enough," said Cristofano, "you shall +see that we do the work of Christians."</p> + +<div class="figcenter"> +<a name="img010" id="img010"></a> +<img src="images/img010-tb.jpg" width="400" height="645" alt="The Supper of S. Gregory the Great." title=""> +<p class="caption">THE SUPPER OF S. GREGORY THE GREAT<br> +(<i>After the panel by</i> Giorgio Vasari, <i>with details by</i> Cristofano Gherardi +[Doceno]. <i>Bologna: Accademia, 198</i>)<br> +<i>Poppi</i><br> +<span class="link"><a href="images/img010.jpg">View larger image</a></span></p> +</div> + +<p>But to return to the work: Vasari having arrived in Bologna, not a +month had passed before, Giorgio designing, and Cristofano and Battista +laying in the panels in colour, all three were completely laid in, with +great credit to Cristofano, who acquitted himself in this excellently well. +The laying in of the panels being finished, work was begun on the frieze, +in which Cristofano had a companion, although he was to have executed +<span class="pagenum"><a id="Page_123" name="Page_123"></a>[Pg 123]</span> it all by himself; for there came from Camaldoli to Bologna the cousin of +Vasari, Stefano Veltroni of Monte Sansovino, who had laid in the panel-picture +of the Deposition, and the two executed that work together, and +that so well, that it proved a marvel. Cristofano painted grotesques so +well, that there was nothing better to be seen, but he did not give them +that particular finish that would have made them perfect; and Stefano, +on the contrary, was wanting in resolution and grace, for the reason that +his brush-strokes did not fix his subjects in their places at one sweep, +but, since he was very patient, in the end, although he endured greater +labour, he used to execute his grotesques with more neatness and delicacy. +Labouring in competition, then, at the work of this frieze, these two took +such pains, both the one and the other, that Cristofano learned to finish +from Stefano, and Stefano learned from Cristofano to be more resolute +and to work like a master.</p> + +<p>Work being then begun on the broad festoons that were to run in +clusters round the windows, Vasari made one with his own hand, keeping +real fruits in front of him, that he might copy them from nature. This +done, he ordained that Cristofano and Stefano should go on with the rest, +holding to the same design, one on one side of the window, and the other +on the other side, and should thus, one by one, proceed to finish them +all; promising to him who might prove at the end of the work to have +acquitted himself best a pair of scarlet hose. And so, competing lovingly +for both honour and profit, they set themselves to copy everything, from +the large things down to the most minute, such as millet-seed, hemp-seed, +bunches of fennel, and the like, in such a manner that those festoons +proved to be very beautiful; and both of them received from Vasari the +prize of the scarlet hose.</p> + +<p>Giorgio took great pains to persuade Cristofano to execute by himself +part of the designs for the scenes that were to go into the frieze, but he +would never do it. Wherefore, the while that Giorgio was drawing them +himself, Gherardi executed the buildings in two of the panel-pictures, +with much grace and beauty of manner, and such perfection, that a +master of great judgment, even if he had had the cartoons before him, +could not have done what Cristofano did. And, in truth, there never was +<span class="pagenum"><a id="Page_124" name="Page_124"></a>[Pg 124]</span> a painter who could do by himself, and without study, the things that +he contrived to do. After having finished the execution of the buildings +in the two panel-pictures, the while that Vasari was carrying to completion +the twenty stories from the Apocalypse for the above-mentioned frieze, +Cristofano, taking in hand the panel-picture in which S. Gregory (whose +head is a portrait of Pope Clement VII) is eating with his twelve poor +men, executed the whole service of the table, all very lifelike and most +natural. Then, a beginning having been made with the third panel-picture, +while Stefano was occupied with the gilding of the ornamental +frames of the other two, a staging was erected upon two trestles of wood, +from which, while Vasari was painting on one side, in a glory of sunlight, +the three Angels that appeared to Abraham in the Valley of Mamre, +Cristofano painted some buildings on the other side. But he was always +making some contraption with stools and tables, and at times with basins +and pans upside down, on which he would climb, like the casual creature +that he was; and once it happened that, seeking to draw back in order +to look at what he had done, one of his feet gave way under him, the +whole contraption turned topsy-turvy, and he fell from a height of five +braccia, bruising himself so grievously that he had to be bled and properly +nursed, or he would have died. And, what was worse, being the sort of +careless fellow that he was, one night there slipped off the bandages that +were on the arm from which the blood had been drawn, to the great +danger of his life, so that, if Stefano, who was sleeping with him, had not +noticed this, it would have been all up with him; and even so Stefano +had something to do to revive him, for the bed was a lake of blood, and +he himself was reduced almost to his last gasp. Vasari, therefore, taking +him under his own particular charge, as if he had been his brother, had +him tended with the greatest possible care, than which, indeed, nothing +less would have sufficed; and with all this he was not restored until that +work was completely finished. After that, returning to S. Giustino, +Cristofano completed some of the apartments of the Abbot there, which +had been left unfinished, and then executed at Città di Castello, all with +his own hand, an altar-piece that had been allotted to Battista, his dearest +friend, and a lunette that is over the side-door of S. Fiorido, containing +three figures in fresco.</p> + +<p><span class="pagenum"><a id="Page_125" name="Page_125"></a>[Pg 125]</span> Giorgio being afterwards summoned to Venice at the instance of +Messer Pietro Aretino, in order to arrange and execute for the nobles and +gentlemen of the Company of the Calza the setting for a most sumptuous +and magnificent festival, and the scenery of a comedy written by that +same Messer Pietro Aretino for those gentlemen, Giorgio, I say, knowing +that he was not able to carry out so great a work by himself alone, sent +for Cristofano and the above-mentioned Battista Cungi. And they, +having finally arrived in Venice after being carried by the chances of the +sea to Sclavonia, found that Vasari not only had arrived there before +them, but had already designed everything, so that there was nothing +for them to do but to set hand to painting. Now the said gentlemen of +the Calza had taken at the end of the Canareio a large house which was +not finished—it had nothing, indeed, save the main walls and the roof—and +in a space forming an apartment seventy braccia long and sixteen +braccia wide, Giorgio caused to be made two ranges of wooden steps, +four braccia in height from the floor, on which the ladies were to be seated. +The walls at the sides he divided each into four square spaces of ten +braccia, separated by niches each four braccia in breadth, within which +were figures, and these niches had each on either side a terminal figure +in relief, nine braccia high; insomuch that the niches on either side were +five and the terminal figures ten, and in the whole apartment there were +altogether ten niches, twenty terminal figures, and eight square pictures +with scenes. In the first of these pictures (which were all in chiaroscuro), +that on the right hand, next the stage, there was, representing Venice, +a most beautiful figure of Adria depicted as seated upon a rock in the +midst of the sea, with a branch of coral in the hand. Around her stood +Neptune, Thetis, Proteus, Nereus, Glaucus, Palæmon, and other sea gods +and nymphs, who were presenting to her jewels, pearls, gold, and other +riches of the sea; and besides this there were some Loves that were +shooting arrows, and others that were flying through the air and scattering +flowers, and the rest of the field of the picture was all most beautiful +palms. In the second picture were the Rivers Drava and Sava naked, +with their vases. In the third was the Po, conceived as large and corpulent, +with seven sons, representing the seven branches which, issuing +<span class="pagenum"><a id="Page_126" name="Page_126"></a>[Pg 126]</span> from the Po, pour into the sea as if each of them were a kingly river. In +the fourth was the Brenta, with other rivers of Friuli. On the other +wall, opposite to the Adria, was the Island of Candia, wherein was to be +seen Jove being suckled by the Goat, with many Nymphs around. Beside +this, and opposite to the Drava, were the River Tagliamento and the +Mountains of Cadore. Beyond this, opposite to the Po, were Lake +Benacus and the Mincio, which were pouring their waters into the Po; +and beside them, opposite to the Brenta, were the Adige and the Tesino, +falling into the sea. The pictures on the right-hand side were divided by +these Virtues, placed in the niches—Liberality, Concord, Compassion, +Peace, and Religion; and opposite to these, on the other wall, were +Fortitude, Civic Wisdom, Justice, a Victory with War beneath her, and, +lastly, a Charity. Above all, then, were a large cornice and architrave, +and a frieze full of lights and of glass globes filled with distilled waters, +to the end that these, having lights behind them, might illuminate the +whole apartment. Next, the ceiling was divided into four quadrangular +compartments, each ten braccia wide in one direction and eight braccia +in the other; and, with a width equal to that of the niches of four braccia, +there was a frieze which ran right round the cornice, while in a +line with the niches there came in the middle of all the spaces a compartment +three braccia square. These compartments were in all twenty-three, +without counting one of double size that was above the stage, +which brought the number up to twenty-four; and in them were the +Hours, twelve of the night, namely, and twelve of the day. In the first +of the compartments ten braccia in length, which was above the stage, +was Time, who was arranging the Hours in their places, accompanied by +Æolus, God of the Winds, by Juno, and by Iris. In another compartment, +at the door of entrance, was the Car of Aurora, who, rising from +the arms of Tithonus, was scattering roses, while the Car itself was being +drawn by some Cocks. In the third was the Chariot of the Sun; and in +the fourth was the Chariot of Night, drawn by Owls, and Night had the +Moon upon her head, some Bats in front of her, and all around her +darkness.</p> + +<p>Of these pictures Cristofano executed the greater part, and he +<span class="pagenum"><a id="Page_127" name="Page_127"></a>[Pg 127]</span> acquitted himself so well, that everyone stood marvelling at them: particularly +in the Chariot of Night, wherein he did in the way of oil-sketches +that which was, in a manner of speaking, not possible. And in the +picture of Adria, likewise, he painted those monsters of the sea with such +beauty and variety, that whoever looked at them was struck with astonishment +that a craftsman of his rank should have shown such knowledge. +In short, in all this work he bore himself beyond all expectation like an +able and well-practised painter, and particularly in the foliage and +grotesques.</p> + +<p>After finishing the preparations for that festival, Vasari and Cristofano +stayed some months in Venice, painting for the Magnificent Messer +Giovanni Cornaro the ceiling, or rather, soffit, of an apartment, into which +there went nine large pictures in oils. Vasari being then entreated by +the Veronese architect, Michele San Michele, to stay in Venice, he might +perhaps have consented to remain there for a year or two; but Cristofano +always dissuaded him from it, saying that it was not a good thing to +stay in Venice, where no account was taken of design, nor did the painters +in that city make any use of it, not to mention that those painters themselves +were the reason that no attention was paid there to the labours +of the arts; and he declared that it would be better to return to Rome, +the true school of noble arts, where ability was recognized much more +than in Venice. The dissuasions of Cristofano being thus added to the +little desire that Vasari had to stay there, they went off together. But, +since Cristofano, being an exile from the State of Florence, was not able +to follow Giorgio, he returned to S. Giustino, where he did not remain +long, doing some work all the time for the above-mentioned Abbot, before +he went to Perugia on the first occasion when Pope Paul III went there +after the war waged with the people of that city. There, in the festive +preparations that were made to receive his Holiness, he acquitted himself +very well in several works, and particularly in the portal called after +Frate Rinieri, where, at the wish of Monsignore della Barba, who was +then governor there, Cristofano executed a large Jove in Anger and +another Pacified, which are two most beautiful figures, and on the other +side he painted an Atlas with the world on his back, between two women, +<span class="pagenum"><a id="Page_128" name="Page_128"></a>[Pg 128]</span> one of whom had a sword and the other a pair of scales. These works, +with many others that Cristofano executed for those festivities, were the +reason that afterwards, when the citadel had been built in Perugia by +order of the same Pontiff, Messer Tiberio Crispo, who was governor and +castellan at that time, when causing many of the rooms to be painted, +desired that Cristofano, in addition to that which Lattanzio, a painter +of the March, had executed in them up to that time, should also work +there. Whereupon Cristofano not only assisted the above-named Lattanzio, +but afterwards executed with his own hand the greater part of the +best works that are painted in the apartments of that fortress, in which +there also worked Raffaello dal Colle and Adone Doni of Assisi, an able +and well-practised painter, who has executed many things in his native +city and in other places. Tommaso Papacello also worked there; but the +best that there was among them, and the one who gained most praise +there, was Cristofano, on which account he was recommended by Lattanzio +to the favour of the said Crispo, and was ever afterwards much +employed by him.</p> + +<p>Meanwhile, that same Crispo having built in Perugia a new little +church known as S. Maria del Popolo, but first called Del Mercato, +Lattanzio had begun for it an altar-piece in oils, and in this Cristofano +painted with his own hand all the upper part, which is indeed most +beautiful and worthy of great praise. Then, Lattanzio having been +changed from a painter into the Constable of Perugia, Cristofano returned +to S. Giustino, where he stayed many months, again working for the +above-named Lord Abbot Bufolini.</p> + +<p>After this, in the year 1543, Giorgio Vasari, having to execute a +panel-picture in oils for the Great Cancelleria by order of the most illustrious +Cardinal Farnese, and another for the Church of S. Agostino at +the commission of Galeotto da Girone, sent for Cristofano, who went +very willingly, as one who had a desire to see Rome. There he stayed +many months, doing little else but go about seeing everything; but nevertheless +he thus gained so much, that, after returning once more to +S. Giustino, he painted in a hall some figures after his own fancy which +were so beautiful, that it appeared that he must have studied at them +<span class="pagenum"><a id="Page_129" name="Page_129"></a>[Pg 129]</span> twenty years. Then, in the year 1545, Vasari had to go to Naples to +paint for the Monks of Monte Oliveto a refectory involving much more +work than that of S. Michele in Bosco at Bologna, and he sent for Cristofano, +Raffaello dal Colle, and Stefano, already mentioned as his friends +and pupils; and they all came together at the appointed time in Naples, +excepting Cristofano, who remained behind because he was ill. However, +being pressed by Vasari, he made his way to Rome on his journey to +Naples; but he was detained by his brother Borgognone, who was likewise +an exile, and who wished to take him to France to enter the service of +the Colonel Giovanni da Turrino, and so that occasion was lost. But +when Vasari returned from Naples to Rome in the year 1546, in order +to execute twenty-four pictures that were afterwards sent to Naples +and placed in the Sacristy of S. Giovanni Carbonaro, in which he painted +stories from the Old Testament, and also from the life of S. John the +Baptist, with figures of one braccio or little more, and also in order to +paint the doors of the organ of the Piscopio, which were six braccia in +height, he availed himself of Cristofano, who was of great assistance to +him and executed figures and landscapes in those works excellently well. +Giorgio had also proposed to make use of him in the Hall of the Cancelleria, +which was painted after cartoons by his hand, and entirely +finished in a hundred days, for Cardinal Farnese, but in this he did not +succeed, for Cristofano fell ill and returned to S. Giustino as soon as he +had begun to mend. And Vasari finished the Hall without him, assisted +by Raffaello dal Colle, the Bolognese Giovan Battista Bagnacavallo, +the Spaniards Roviale and Bizzerra, and many others of his friends +and pupils.</p> + +<p>After returning from Rome to Florence and setting out from that +city to go to Rimini, to paint a chapel in fresco and an altar-piece in the +Church of the Monks of Monte Oliveto for Abbot Gian Matteo Faettani, +Giorgio passed through S. Giustino, in order to take Cristofano with him: +but Abbot Bufolini, for whom he was painting a hall, would not let him +go for the time being, although he promised Giorgio that he should send +Cristofano to him soon all the way to Romagna. But, notwithstanding +such a promise, the Abbot delayed so long to send him, that Cristofano, +<span class="pagenum"><a id="Page_130" name="Page_130"></a>[Pg 130]</span> when he did go, found that Vasari had not only finished all the work for +the other Abbot, but had also executed an altar-piece for the high-altar +of S. Francesco at Rimini, for Messer Niccolò Marcheselli, and another +altar-piece in the Church of Classi, belonging to the Monks of Camaldoli, +at Ravenna, for Don Romualdo da Verona, the Abbot of that abbey.</p> + +<p>In the year 1550, not long before this, Giorgio had just executed +the story of the Marriage of Esther in the Black Friars' Abbey of S. Fiore, +that is, in the refectory, at Arezzo, and also, at Florence, for the Chapel +of the Martelli in the Church of S. Lorenzo, the altar-piece of S. Gismondo, +when, Julius III having been elected Pope, he was summoned to Rome +to enter the service of his Holiness. Thereupon he thought for certain +that by means of Cardinal Farnese, who went at that time to stay in +Florence, he would be able to reinstate Cristofano in his country and +restore him to the favour of Duke Cosimo. But this proved to be impossible, +so that poor Cristofano had to stay as he was until 1554, at +which time, Vasari having been invited into the service of Duke Cosimo, +there came to him an opportunity of delivering Cristofano. Bishop da' +Ricasoli, who knew that he would be doing a thing pleasing to his Excellency, +had set to work to have the three façades of his palace, which +stands on the abutment of the Ponte alla Carraja, painted in chiaroscuro, +when Messer Sforza Almeni, Cup-bearer as well as first and favourite +Chamberlain to the Duke, resolved that he also would have his house +in the Via de' Servi painted in chiaroscuro, in emulation of the Bishop. +But, not having found in Florence any painters according to his fancy, +he wrote to Giorgio Vasari, who had not then arrived in Florence, that he +should think out the inventions and send him designs of all that it might +seem to him best to paint on that façade of his. Whereupon Giorgio, +who was much his friend, for they had known each other from the time +when they were both in the service of Duke Alessandro, having thought +out the whole according to the measurements of the façade, sent him a +design of most beautiful invention, which embellished the windows and +joined them together with a well-varied decoration in a straight line +from top to bottom, and filled all the spaces in the façade with rich scenes. +This design, I say, which contained, to put it briefly, the whole life of +<span class="pagenum"><a id="Page_131" name="Page_131"></a>[Pg 131]</span> man from birth to death, was sent by Vasari to Messer Sforza; and it so +pleased him, and likewise the Duke, that, in order that it might have all +its perfection, they resolved that they would not have it taken in hand +until such time as Vasari himself should have arrived in Florence. Which +Vasari having at last come and having been received by his most illustrious +Excellency and by the above-named Messer Sforza with great +friendliness, they began to discuss who might be the right man to execute +that façade. Whereupon Giorgio, not allowing the occasion to slip by, +said to Messer Sforza that no one was better able to carry out that work +than Cristofano, and that neither in that nor in the works that were to +be executed in the Palace, could he do without Cristofano's aid. And +so, Messer Sforza having spoken of this to the Duke, after many inquiries +it was found that Cristofano's crime was not so black as it had been +painted, and the poor fellow was at last pardoned by his Excellency. +Which news having been received by Vasari, who was at Arezzo, revisiting +his native place and his friends, he sent a messenger expressly to Cristofano, +who knew nothing of the matter, to give him that good news; and +when he heard it, he was like to faint with joy. All rejoicing, therefore, +and confessing that no one had ever been a better friend to him than +Vasari, he went off next morning from Città di Castello to the Borgo, +where, after presenting his letters of deliverance to the Commissioner, he +made his way to his father's house, where his mother and also his brother, +who had been recalled from exile long before, were struck with astonishment. +Then, after passing two days there, he went off to Arezzo, where +he was received by Giorgio with more rejoicing than if he had been his +own brother, and recognized that he was so beloved by Vasari that he +resolved that he would spend the rest of his life with him.</p> + +<p>They then went from Arezzo to Florence together, and Cristofano +went to kiss the hands of the Duke, who received him readily and was +struck with amazement, for the reason that, whereas he had thought to +see some great bravo, he saw the best little man in the world. Cristofano +was likewise made much of by Messer Sforza, who conceived a very great +affection for him; and he then set his hand to the above-mentioned +façade. In that work, Giorgio, because it was not yet possible to work +<span class="pagenum"><a id="Page_132" name="Page_132"></a>[Pg 132]</span> in the Palace, assisted him, at his own request, to execute some designs +for the scenes in the façade, also designing at times during the progress +of the work, on the plaster, some of the figures that are there. But, +although there are in it many things retouched by Vasari, nevertheless +the whole façade, with the greater part of the figures and all the ornaments, +festoons, and large ovals, is by the hand of Cristofano, who in truth, +as may be seen, was so able in handling colours in fresco, that it may be +said—and Vasari confesses it—that he knew more about it than Giorgio +himself. And if Cristofano, when he was a lad, had exercised himself +continuously in the studies of art—for he never did a drawing save when +he had afterwards to carry it into execution—and had pursued the practice +of art with spirit, he would have had no equal, seeing that his facility, +judgment and memory enabled him to execute his works in such a way, +without any further study, that he used to surpass many who in fact +knew more than he. Nor could anyone believe with what facility and +resolution he executed his labours, for, when he set himself to work, no +matter how long a time it might take, he so delighted in it that he would +never lift his eyes off his painting; wherefore his friends might well expect +the greatest things from him. Besides this, he was so gracious in his +conversation and his jesting as he worked, that Vasari would at times +stay working in his company from morning till night, without ever +growing weary.</p> + +<p>Cristofano executed this façade in a few months, not to mention +that he sometimes stayed away some weeks without working there, going +to the Borgo to see and enjoy his home. Now I do not wish to grudge +the labour of describing the distribution and the figures of this work, +which, from its being in the open air and much exposed to the vagaries +of the weather, may not have a very long life; scarcely, indeed, was it +finished, when it was much injured by a terrible rain and a very heavy +hail-storm, and in some places the wall was stripped of plaster. In this +façade, then, there are three compartments. The first, to begin at the +foot, is where the principal door and the two windows are; the second is +from the sill of those windows to that of the second range of windows; +and the third is from those last windows to the cornice of the roof. There +<span class="pagenum"><a id="Page_133" name="Page_133"></a>[Pg 133]</span> are, besides this, six windows in each range, which give seven spaces; +and the whole work was divided according to this plan in straight lines +from the cornice of the roof down to the ground. Next to the cornice +of the roof, then, there is in perspective a great cornice, with brackets +that project over a frieze of little boys, six of whom stand upright along +the breadth of the façade—namely, one above the centre of the arch of +each window; and these support with their shoulders most beautiful +festoons of fruits, leaves, and flowers, which run from one to another. +Those fruits and flowers are arranged in due succession according to the +seasons, symbolizing the periods of our life, which is there depicted; and +on the middle of the festoons, likewise, where they hang down, are other +little boys in various attitudes. This frieze finished, between the upper +windows, in the spaces that are there, there were painted the seven +Planets, with the seven celestial Signs above them as a crown and an +ornament. Beneath the sill of these windows, on the parapet, is a frieze +of Virtues, who, two by two, are holding seven great ovals; in which +ovals are seven distinct stories representing the Seven Ages of Man, and +each Age is accompanied by two Virtues appropriate to her, and beneath +the ovals in the spaces between the lower windows there are the three +Theological and the four Moral Virtues. Below this, in the frieze that +is above the door and the windows supported by knee-shaped brackets, +are the seven Liberal Arts, each of which is in a line with the oval in +which is the particular story of the Life of Man appropriate to it; and in +the same straight lines, continued upwards, are the Moral Virtues, Planets, +Signs, and other corresponding symbols. Next, between the windows +with knee-shaped brackets, there is Life, both the active and the contemplative, +with scenes and statues, continued down to Death, Hell, and +our final Resurrection.</p> + +<p>In brief, Cristofano executed almost all by himself the whole cornice, +the festoons, the little boys, and the seven Signs of the Planets. Then, +beginning on one side, he painted first the Moon, and represented her by +a Diana who has her lap full of flowers, after the manner of Proserpine, +with a moon upon her head and the Sign of Cancer above her. Below, +in the oval wherein is the story of Infancy, there are present at the +<span class="pagenum"><a id="Page_134" name="Page_134"></a>[Pg 134]</span> Birth of Man some nurses who are suckling infants, and newly-delivered +women in bed, executed by Cristofano with much grace; and this oval is +supported by Will alone, who is a half-nude young woman, fair and +beautiful, and she is sustained by Charity, who is also suckling infants. +And beneath the oval, on the parapet, is Grammar, who is teaching some +little boys to read.</p> + +<p>Beginning over again, there follows Mercury with the Caduceus and +with his Sign, who has below him in the oval some little boys, some of +whom are going to school and some playing. This oval is supported +by Truth, who is a nude little girl all pure and simple, who has on one +side a male figure representing Falsehood, with a variety of girt-up +garments and a most beautiful countenance, but with the eyes much +sunken. Beneath the oval of the windows is Faith, who with the right +hand is baptizing a child in a conch full of water, and with the left +hand is holding a cross; and below her, on the parapet, is Logic covered +by a veil, with a serpent.</p> + +<p>Next follows the Sun, represented by an Apollo who has the lyre +in his hand, with his Sign in the ornament above. In the oval is Adolescence, +represented by two boys of equal age, one of whom, holding a +branch of olive, is ascending a mountain illumined by the sun, and the +other, halting halfway up to admire the beauties that Fraud displays +from the middle upwards, without perceiving that her hideous countenance +is concealed behind a smooth and beautiful mask, is caused by her +and her wiles to fall over a precipice. This oval is supported by Sloth, +a gross and corpulent man, who stands all sleepy and nude in the guise +of a Silenus; and also by Toil, in the person of a robust and hard-working +peasant, who has around him the implements for tilling the earth. These +are supported by that part of the ornament that is between the windows, +where Hope is, who has the anchors at her feet; and on the parapet below +is Music, with various musical instruments about her.</p> + +<p>There follows in due order Venus, who has clasped Love to her +bosom, and is kissing him; and she, also, has her Sign above her. In the +oval that she has beneath her is the story of Youth; that is, in the centre +a young man seated, with books, instruments for measuring, and other +<span class="pagenum"><a id="Page_135" name="Page_135"></a>[Pg 135]</span> things appertaining to design, and in addition maps of the world and +cosmographical globes and spheres; and behind him is a loggia, in which +are young men who are merrily passing the time away with singing, +dancing, and playing, and also a banquet of young people all given over +to enjoyment. On one side this oval is supported by Self-knowledge, +who has about her compasses, armillary spheres, quadrants, and books, +and is gazing at herself in a mirror; and, on the other side, by Fraud, a +hideous old hag, lean and toothless, who is mocking at Self-knowledge, +and in the act of covering her face with a smooth and beautiful mask. +Below the oval is Temperance, with a horse's bridle in her hand, and +beneath her, on the parapet, is Rhetoric, who is in a line with the other +similar figures.</p> + +<p>Next to these comes Mars in armour, with many trophies about +him, and with the Sign of the Lion above him. In his oval, which is +below him, is Virility, represented by a full-grown man, standing between +Memory and Will, who are holding before him a basin of gold containing +a pair of wings, and are pointing out to him the path of deliverance +in the direction of a mountain; and this oval is supported by Innocence, +who is a maiden with a lamb at her side, and by Hilarity, who, all smiling +and merry, reveals herself as what she really is. Beneath the oval, between +the windows, is Prudence, who is making herself beautiful before +a mirror; and she has below her, on the parapet, a figure of Philosophy.</p> + +<p>Next there follows Jove, with his thunderbolt and his bird, the +Eagle, and with his Sign above him. In the oval is Old Age, who is +represented by an old man clothed as a priest and kneeling before an +altar, upon which he is placing the basin of gold with the two wings; +and this oval is supported by Compassion, who is covering some naked +little boys, and by Religion, enveloped in sacerdotal vestments. Below +these is a Fortitude in armour, who, planting one of her legs in a +spirited attitude on a fragment of a column, is placing some balls in the +mouth of a lion; and beneath her, on the parapet, she has a figure of +Astrology.</p> + +<p>The last of the seven Planets is Saturn, depicted as an old man +heavy with melancholy, who is devouring his own children, with a great +<span class="pagenum"><a id="Page_136" name="Page_136"></a>[Pg 136]</span> serpent that is seizing its own tail with its teeth; which Saturn has above +him the Sign of Capricorn. In the oval is Decrepitude, and here is depicted +Jove in Heaven receiving a naked and decrepit old man, kneeling, +who is watched over by Felicity and Immortality, who are casting his +garments into the world. This oval is supported by Beatitude, who is +upheld by a figure of Justice in the ornament below, who is seated and +has in her hand the sceptre and upon her shoulders the stork, with arms +and laws around her; and on the parapet below is Geometry.</p> + +<p>In the lowest part at the foot, which is about the windows with +knee-shaped brackets and the door, is Leah in a niche, representing the +Active Life, and on the other side of the same place is Industry, who has +a Cornucopia and two goads in her hands. Near the door is a scene in +which many masters in wood and stone, architects, and stone-cutters +have before them the gate of Cosmopolis, a city built by the Lord Duke +Cosimo in the island of Elba, with a representation of Porto-Ferrajo. +Between this scene and the frieze in which are the Liberal Arts, is Lake +Trasimene, round which are Nymphs who are issuing from the water +with tench, pike, eels, and roach, and beside the lake is Perugia, a nude +figure holding with her hands a dog, which she is showing to a figure of +Florence corresponding to her, who stands on the other side, with a +figure of Arno beside her who is embracing and fondling her. And below +this is the Contemplative Life in another scene, in which many philosophers +and astrologers are measuring the heavens, appearing to be casting +the horoscope of the Duke; and beside this, in the niche corresponding +to that of Leah, is her sister Rachel, the daughter of Laban, representing +the Contemplative Life. The last scene, which is likewise between two +niches and forms the conclusion of the whole invention, is Death, who, +mounted on a lean horse and holding the scythe, and accompanied by +War, Pestilence, and Famine, is riding over persons of every kind. In +one niche is the God Pluto, and beneath him Cerberus, the Hound of +Hell; and in the other is a large figure rising again from a sepulchre on +the last day. After all these things Cristofano executed on the pediments +of the windows with knee-shaped brackets some nude figures that are +holding the devices of his Excellency, and over the door a Ducal coat of +<span class="pagenum"><a id="Page_137" name="Page_137"></a>[Pg 137]</span> arms, the six balls of which are upheld by some naked little boys, who +twine in and out between each other as they fly through the air. And +last of all, in the bases at the foot, beneath all the scenes, the same +Cristofano painted the device of M. Sforza; that is, some obelisks, or +rather triangular pyramids, which rest upon three balls, with a motto +around that reads—Immobilis.</p> + +<p>This work, when finished, was vastly extolled by his Excellency and +by Messer Sforza himself, who, like the courteous gentleman that he was, +wished to reward with a considerable present the art and industry of +Cristofano; but he would have none of it, being contented and fully +repaid by the goodwill of that lord, who loved him ever afterwards more +than I could say. While the work was being executed, Vasari had +Cristofano with him, as he had always done in the past, in the house of +Signor Bernardetto de' Medici, who much delighted in painting; which +having perceived, Cristofano painted two scenes in chiaroscuro in a +corner of his garden. One was the Rape of Proserpine, and in the +other were Vertumnus and Pomona, the deities of agriculture; and +besides this Cristofano painted in this work some ornaments of terminal +figures and children of such variety and beauty, that there is nothing +better to be seen.</p> + +<p>Meanwhile arrangements had been made for beginning to paint in +the Palace, and the first thing that was taken in hand was a hall in the +new apartments, which, being twenty braccia wide, and having a height, +according as Tasso had constructed it, of not more than nine braccia, +was raised three braccia with beautiful ingenuity by Vasari, that is, to a +total height of twelve braccia, without moving the roof, which was half +a pavilion roof.</p> + +<p>But because in doing this, before it could become possible to paint, +much time had to be devoted to reconstructing the ceilings and to other +works in that apartment and in others, Vasari himself obtained leave +to go to Arezzo to spend two months there together with Cristofano. +However, he did not succeed in being able to rest during that time, for +the reason that he could not refuse to go in those days to Cortona, where +he painted in fresco the vaulting and the walls of the Company of Jesus +<span class="pagenum"><a id="Page_138" name="Page_138"></a>[Pg 138]</span> with the assistance of Cristofano, who acquitted himself very well, and +particularly in the twelve different sacrifices from the Old Testament +which they executed in the lunettes between the spandrels of the +vaulting. Indeed, to speak more exactly, almost the whole of this +work was by the hand of Cristofano, Vasari having done nothing therein +beyond making certain sketches, designing some parts on the plaster, +and then retouching it at times in various places, according as it was +necessary.</p> + +<p>This work finished, which is not otherwise than grand, worthy of +praise, and very well executed, by reason of the great variety of things +that are in it, they both returned to Florence in the month of January +of the year 1555. There, having taken in hand the Hall of the Elements, +while Vasari was painting the pictures of the ceiling, Cristofano executed +some devices that bind together the friezes of the beams in perpendicular +lines, in which are heads of capricorns and tortoises with the sail, devices +of his Excellency. But the works in which he showed himself most +marvellous were some festoons of fruits that are in the friezes of the +beams on the under side, which are so beautiful that there is nothing +better coloured or more natural to be seen, particularly because they are +separated one from another by certain masks, that hold in their mouths +the ligatures of the festoons, than which one would not be able to find +any more varied or more bizarre; in which manner of work it may be +said that Cristofano was superior to any other who has ever made it +his principal and particular profession. This done, he painted some large +figures on that part of the walls where there is the Birth of Venus, but +after the cartoons of Vasari, and many little figures in a landscape, which +were executed very well. In like manner, on the wall where there are the +Loves as tiny little children, fashioning the arrows of Cupid, he painted +the three Cyclopes forging thunderbolts for Jove. Over six doors he +executed in fresco six large ovals with ornaments in chiaroscuro and +containing scenes in the colour of bronze, which were very beautiful; and +in the same hall, between the windows, he painted in colours a Mercury +and a Pluto, which are likewise very beautiful.</p> + +<p>Work being then begun in the Chamber of the Goddess Ops, which +<span class="pagenum"><a id="Page_139" name="Page_139"></a>[Pg 139]</span> is next to that described above, he painted the four Seasons in fresco +on the ceiling, and, in addition to the figures, some festoons that were +marvellous in their variety and beauty, for the reason that, even as those +of Spring were filled with a thousand kinds of flowers, so those of Summer +were painted with an infinite number of fruits and cereals, those of +Autumn were of leaves and bunches of the grape, and those of Winter +were of onions, turnips, radishes, carrots, parsnips, and dried leaves, not +to mention that in the central picture, in which is the Car of Ops, he +coloured so beautifully in oils four lions that are drawing the Car, that +nothing better could be done; and, in truth, in painting animals he had +no equal.</p> + +<p>Then in the Chamber of Ceres, which is beside the last-named, he +executed in certain angles some little boys and festoons that are beautiful +to a marvel. And in the central picture, where Vasari had painted Ceres +seeking for Proserpine with a lighted pine torch, upon a car drawn by +two serpents, Cristofano carried many things to completion with his own +hand, because Vasari was ill at that time and had left that picture, among +other things, unfinished.</p> + +<p>Finally, when it came to decorating a terrace that is beyond the +Chamber of Jove and beside that of Ops, it was decided that all the +history of Juno should be painted there; and so, after all the ornamentation +in stucco had been finished, with very rich carvings and various +compositions of figures, wrought after the cartoons of Vasari, the same +Vasari ordained that Cristofano should execute that work by himself in +fresco, desiring, since it was a work to be seen from near, and of figures +not higher than one braccio, that Gherardi should do something beautiful +in this, which was his peculiar profession. Cristofano, then, executed +in an oval on the vaulting a Marriage with Juno in the sky, and in a picture +on one side Hebe, Goddess of Youth, and on the other Iris, who is pointing +to the rainbow in the heavens. On the same vaulting he painted three +other quadrangular pictures, two to match the others, and a larger +one in a line with the oval in which is the Marriage, and in the +last-named picture is Juno seated in a car drawn by peacocks. In one +of the other two, which are on either side of that one, is the Goddess +<span class="pagenum"><a id="Page_140" name="Page_140"></a>[Pg 140]</span> of Power, and in the other Abundance with the Cornucopia at her feet. +And in two other pictures on the walls below, over the openings of +two doors, are two other stories of Juno—the Transformation of +Io, the daughter of the River Inachus, into a Cow, and of Callisto +into a Bear.</p> + +<p>During the execution of that work his Excellency conceived a very +great affection for Cristofano, seeing him zealous and diligent in no ordinary +manner at his work; for the morning had scarcely broken into day +when Cristofano would appear at his labour, of which he had such a love, +and it so delighted him, that very often he would not finish dressing +before setting out. And at times, nay, frequently, it happened that in +his haste he put on a pair of shoes—all such things he kept under his +bed—that were not fellows, but of two kinds; and more often than not +he had his cloak wrong side out, with the hood on the inside. One +morning, therefore, appearing at an early hour at his work, where the +Lord Duke and the Lady Duchess were standing looking at it, while +preparations were being made to set out for the chase, and the ladies +and others of the Court were making themselves ready, they noticed that +Cristofano had as usual his cloak wrong side out and the hood inside. +At which both laughing, the Duke said: "What is your idea in always +wearing your cloak inside out?" "I know not, my Lord," answered +Cristofano, "but I mean to find some day a kind of cloak that shall have +neither right side nor wrong side, and shall be the same on both sides, +for I have not the patience to think of wearing it in any other way, since +in the morning I generally dress and go out of the house in the dark, +besides that I have one eye so feeble that I can see nothing with it. But +let your Excellency look at what I paint, and not at my manner of +dressing." The Duke said nothing in answer, but within a few days he +caused to be made for him a cloak of the finest cloth, with the pieces +sewn and drawn together in such a manner that there was no difference +to be seen between outside and inside, and the collar worked with braid +in the same manner both inside and out, and so also the trimming that +it had round the edges. This being finished, he sent it to Cristofano by +a lackey, commanding the man that he should give it to him on the part +<span class="pagenum"><a id="Page_141" name="Page_141"></a>[Pg 141]</span> of the Duke. Having therefore received the cloak very early one morning, +Cristofano, without making any further ceremony, tried it on and then +said to the lackey: "The Duke is a man of sense. Tell him that it suits +me well."</p> + +<p>Now, since Cristofano was thus careless of his person and hated +nothing more than to have to put on new clothes or to go about too +tightly constrained and confined in them, Vasari, who knew this humour +of his, whenever he observed that he was in need of any new clothes, +used to have them made for him in secret, and then, early one morning, +used to place these in his chamber and take away the old ones; and so +Cristofano was forced to put on those that he found. But it was marvellous +sport to stand and hear him raging with fury as he dressed himself +in the new clothes. "Look here," he would say, "what devilments are +these? Devil take it, can a man not live in his own way in this world, +without the enemies of comfort giving themselves all this trouble?" +One morning among others, Cristofano having put on a pair of white +hose, the painter Domenico Benci, who was also working in the Palace +with Vasari, contrived to persuade him to go with himself, in company +with other young men, to the Madonna dell'Impruneta. There they +walked, danced, and enjoyed themselves all day, and in the evening, +after supper, they returned home. Then Cristofano, who was tired, went +off straightway to his room to sleep; but, when he set himself to take +off his hose, what with their being new and his having sweated, he was not +able to pull off more than one of them. Now Vasari, having gone in the +evening to see how he was, found that he had fallen asleep with one leg +covered and the other bare; whereupon, one servant holding his leg and +the other pulling at the stocking, they contrived to draw it off, while he +lay cursing clothes, Giorgio, and him who invented such fashions as—so +he said—kept men bound in chains like slaves. Nay, he grumbled +that he would take leave of them all and by hook or by crook return +to S. Giustino, where he was allowed to live in his own way and +had not all these restraints; and it was the devil's own business to +pacify him.</p> + +<p>It pleased him to talk seldom, and he loved that others also should +<span class="pagenum"><a id="Page_142" name="Page_142"></a>[Pg 142]</span> be brief in speaking, insomuch that he would have gone so far as to have +men's proper names very short, like that of a slave belonging to M. Sforza, +who was called "M." "These," said Cristofano, "are fine names, and +not your Giovan Francesco and Giovanni Antonio, which take an hour's +work to pronounce;" and since he was a good fellow at heart, and said +these things in his own jargon of the Borgo, it would have made the +Doleful Knight himself laugh. He delighted to go on feast-days to +the places where legends and printed pictures were sold, and he would +stay there the whole day; and if he bought some, more often than not, +while he went about looking at the others, he would leave them at some +place where he had been leaning. And never, unless he was forced, +would he go on horseback, although he was born from a noble family in +his native place and was rich enough.</p> + +<p>Finally, his brother Borgognone having died, he had to go to the +Borgo; and Vasari, who had drawn much of the money of his salary and +had kept it for him, said to him: "See, I have all this money of yours, +it is right that you should take it with you and make use of it in your +requirements." "I want no money," answered Cristofano, "take it for +yourself. For me it is enough to have the luck to stay with you and to +live and die in your company." "It is not my custom," replied Vasari, +"to profit by the labour of others. If you will not have it, I shall send +it to your father Guido." "That you must not do," said Cristofano, +"for he would only waste it, as he always does." In the end, he took +the money and went off to the Borgo, but in poor health and with little +contentment of mind; and after arriving there, what with his sorrow at the +death of his brother, whom he had loved very dearly, and a cruel flux of +the reins, he died in a few days, after receiving the full sacraments of +the Church and distributing to his family and to many poor persons the +money that he had brought. He declared a little before his death that +it grieved him for no other reason save that he was leaving Vasari too +much embarrassed by the great labours to which he had set his hand in +the Palace of the Duke. Not long afterwards, his Excellency having +heard of the death of Cristofano, and that with true regret, he caused +a head of him to be made in marble and sent it with the underwritten +<span class="pagenum"><a id="Page_143" name="Page_143"></a>[Pg 143]</span> epitaph from Florence to the Borgo, where it was placed in +S. Francesco:</p> + +<p class="center smcap"> + D. O. M.<br> + CHRISTOPHORO GHERARDO BURGENSI<br> + PINGENDI ARTE PRÆSTANTISS.<br> +QUOD GEORGIUS VASARIUS ARETINUS HUJUS<br> + ARTIS FACILE PRINCEPS<br> + IN EXORNANDO<br> + COSMI FLORENTIN. DUCIS PALATIO<br> + ILLIUS OPERAM QUAM MAXIME<br> + PROBAVERIT,<br> + PICTORES HETRUSCI POSUERE.<br> + OBIIT A.D. MDLVI.<br> + VIXIT AN. LVI, M. III, D. VI.</p> + + +<hr style="width: 65%;"> +<h2><a name="pontormo" id="pontormo"></a><span class="pagenum"><a id="Page_145" name="Page_145"></a>[Pg 145]</span> JACOPO DA PONTORMO</h2> + +<div class="figcenter"> +<a name="img011" id="img011"></a> +<img src="images/img011-tb.jpg" width="600" height="259" alt="The Adoration of the Magi." title=""> +<p class="caption">THE ADORATION OF THE MAGI<br> +(<i>After the painting by</i> Jacopo da Pontormo. <i>Siena: S. Agostino</i>)<br> +<i>Anderson</i><br> +<span class="link"><a href="images/img011.jpg">View larger image</a></span></p> +</div> + +<hr style="width: 65%;"> +<h2><a name="life_of_pontormo" id="life_of_pontormo"></a><span class="pagenum"><a id="Page_147" name="Page_147"></a>[Pg 147]</span> LIFE OF JACOPO DA PONTORMO<br> +PAINTER OF FLORENCE</h2> + + +<p>The ancestors—or rather, the elders of Bartolommeo di Jacopo di Martino, +the father of Jacopo da Pontormo, whose Life we are now about to write—had +their origin, so some declare, in Ancisa, a township in the Upper +Valdarno, famous enough because from it the ancestors of Messer +Francesco Petrarca likewise derived their origin. But, whether it was +from there or from some other place that his elders came, the above-named +Bartolommeo, who was a Florentine, and, so I have been told, of the +family of the Carrucci, is said to have been a disciple of Domenico +Ghirlandajo, and, after executing many works in the Valdarno, as a painter +passing able for those times, to have finally made his way to Empoli to +carry out certain labours, living there and in the neighbouring places, and +taking to wife at Pontormo a most virtuous girl of good condition, called +Alessandra, the daughter of Pasquale di Zanobi and of his wife Monna +Brigida. To this Bartolommeo, then, there was born in the year 1493 +our Jacopo. But the father having died in the year 1499, the mother +in the year 1504, and the grandfather in the year 1506, Jacopo was left +to the care of his grandmother, Monna Brigida, who kept him for several +years at Pontormo, and had him taught reading, writing, and the first +rudiments of Latin grammar; and finally, at the age of thirteen, he was +taken by the same guardian to Florence, and placed with the Pupilli, +to the end that his small property might be safeguarded and preserved by +that board, as is the custom. And after settling the boy himself in the +house of one Battista, a shoemaker distantly related to him, Monna +Brigida returned to Pontormo, taking with her a sister of Jacopo's. +But not long after that, Monna Brigida herself having died, Jacopo was +<span class="pagenum"><a id="Page_148" name="Page_148"></a>[Pg 148]</span> forced to bring that sister to Florence, and to place her in the house of a +kinsman called Niccolaio, who lived in the Via de' Servi; and the girl, +also, following the rest of her family, died in the year 1512, before ever +she was married.</p> + +<p>But to return to Jacopo; he had not been many months in Florence +when he was placed by Bernardo Vettori with Leonardo da Vinci, and +shortly afterwards with Mariotto Albertinelli, then with Piero di Cosimo, +and finally, in the year 1512, with Andrea del Sarto, with whom, likewise, +he did not stay long, for the reason that, after Jacopo had executed the +cartoons of the little arch for the Servites, of which there will be an +account below, it appears that Andrea never again looked favourably +upon him, whatever may have been the reason. The first work, then, +that Jacopo executed at that time was a little Annunciation for one +his friend, a tailor; but the tailor having died before the work was finished, +it remained in the hands of Jacopo, who was at that time with Mariotto, +and Mariotto took pride in it, and showed it as a rare work to all who +entered his workshop. Now Raffaello da Urbino, coming in those days +to Florence, saw with infinite marvel the work and the lad who had done it, +and prophesied of Jacopo that which was afterwards seen to come true. +Not long afterwards, Mariotto having departed from Florence and gone +to Viterbo to execute the panel-picture that Fra Bartolommeo had begun +there, Jacopo, who was young, solitary, and melancholy, being thus left +without a master, went by himself to work under Andrea del Sarto, at +the very moment when Andrea had finished the stories of S. Filippo in +the court of the Servites, which pleased Jacopo vastly, as did all his other +works and his whole manner and design. Jacopo having then set himself +to make every effort to imitate him, no long time passed before it was +seen that he had made marvellous progress in drawing and colouring, +insomuch that from his facility it seemed as if he had been many years +in art.</p> + +<p>Now Andrea had finished in those days a panel-picture of the +Annunciation for the Church of the Friars of S. Gallo, which is now +destroyed, as has been related in his Life; and he gave the predella of that +panel-picture to Jacopo to execute in oils. Jacopo painted in it a Dead +<span class="pagenum"><a id="Page_149" name="Page_149"></a>[Pg 149]</span> Christ, with two little Angels who are weeping over Him and illuminating +Him with two torches, and, in two round pictures at the sides, two +Prophets, which were executed by him so ably, that they have the appearance +of having been painted not by a mere lad but by a practised master; +but it may also be, as Bronzino says, that he remembers having heard +from Jacopo da Pontormo himself that Rosso likewise worked on this +predella. And even as Andrea was assisted by Jacopo in executing the +predella, so also was he aided by him in finishing the many pictures and +works that Andrea continually had in hand.</p> + +<p>In the meantime, Cardinal Giovanni de' Medici having been elected +Supreme Pontiff under the title of Leo X, there were being made all +over Florence by the friends and adherents of that house many escutcheons +of the Pontiff, in stone, in marble, on canvas, and in fresco. +Wherefore the Servite Friars, wishing to give some sign of their service +and devotion to that house and Pontiff, caused the arms of Leo to be +made in stone, and placed in the centre of the arch in the first portico +of the Nunziata, which is on the piazza; and shortly afterwards they +arranged that it should be overlaid with gold by the painter Andrea di +Cosimo, and adorned with grotesques, of which he was an excellent master, +and with the devices of the house of Medici, and that, in addition, on +either side of it there should be painted a Faith and a Charity. But +Andrea di Cosimo, knowing that he was not able to execute all these +things by himself, thought of giving the two figures to some other to do; +and so, having sent for Jacopo, who was then not more than nineteen +years of age, he gave him those two figures to execute, although he had +no little trouble to persuade him to undertake to do it, seeing that, being +a mere lad, he did not wish to expose himself at the outset to such a risk, +or to work in a place of so much importance. However, having taken +heart, although he was not as well practised in fresco as in oil-painting, +Jacopo undertook to paint those two figures. And, withdrawing—for he +was still working with Andrea del Sarto—to draw the cartoons at S. +Antonio by the Porta a Faenza, where he lived, in a short time he carried +them to completion; which done, one day he took his master Andrea to +see them. Andrea, after seeing them with infinite marvel and amazement, +<span class="pagenum"><a id="Page_150" name="Page_150"></a>[Pg 150]</span> praised them vastly; but afterwards, as has been related, whether +it was from envy or from some other reason, he never again looked with a +kindly eye on Jacopo; nay, Jacopo going several times to his workshop, +either the door was not opened to him or he was mocked at by the +assistants, insomuch that he retired altogether by himself, beginning to +live on the least that he could, for he was very poor, and to study with +the greatest assiduity.</p> + +<div class="figcenter"> +<a name="img012" id="img012"></a> +<img src="images/img012-tb.jpg" width="200" height="593" alt="Duke Cosimo I. de' Medici." title=""> +<p class="caption">DUKE COSIMO I. DE' MEDICI<br> +(<i>After the painting by</i> Jacopo da Pontormo. <i>Florence: Uffizi, 1270</i>)<br> +<i>Anderson</i><br> +<span class="link"><a href="images/img012.jpg">View larger image</a></span></p> +</div> + +<p>When Andrea di Cosimo, then, had finished gilding the escutcheon and +all the eaves, Jacopo set to work all by himself to finish the rest; and +being carried away by the desire to make a name, by his joy in working, +and by nature, which had endowed him with extraordinary grace and +fertility of genius, he executed that work with incredible rapidity and with +such perfection as could not have been surpassed by an old, well-practised, +and excellent master. Wherefore, growing in courage through this +experience, and thinking that he could do a much better work, he took +it into his head that he would throw to the ground all that he had done, +without saying a word to anyone, and paint it all over again after another +design that he had in his brain. But in the meantime the friars, having +seen that the work was finished and that Jacopo came no more to his +labour, sought out Andrea, and so pestered him that he resolved to +uncover it. Having therefore looked for Jacopo, in order to ask him +whether he wished to do any more to the work, and not finding him, for +the reason that he stayed shut up over his new design and would not +answer to anyone, Andrea had the screen and scaffolding removed and +the work uncovered. The same evening Jacopo, having issued from +his house in order to go to the Servite convent, and, when it should be +night, to throw to the ground the work that he had done, and to put into +execution the new design, found the scaffolding taken away and everything +uncovered, and a multitude of people all around gazing at the work. +Whereupon, full of fury, he sought out Andrea, and complained of his +having uncovered it without his consent, going on to describe what he +had in mind to do. To which Andrea answered, laughing: "You are +wrong to complain, because the work that you have done is so good that, +if you had it to do again, you may take my word for it that you would +<span class="pagenum"><a id="Page_151" name="Page_151"></a>[Pg 151]</span> not be able to do it better. You will not want for work, so keep these +designs for another occasion." That work, as may be seen, was of such +a kind and so beautiful, what with the novelty of the manner, the sweetness +in the heads of those two women, and the loveliness of the graceful +and lifelike children, that it was the most beautiful work in fresco that +had ever been seen up to that time; and, besides the children with the +Charity, there are two others in the air holding a piece of drapery over +the escutcheon of the Pope, who are so beautiful that nothing better +could be done, not to mention that all the figures have very strong relief +and are so executed in colouring and in every other respect that one is +not able to praise them enough. And Michelagnolo Buonarroti, seeing +the work one day, and reflecting that a youth of nineteen had done it, +said: "This young man, judging from what may be seen here, will +become such that, if he lives and perseveres, he will exalt this art to the +heavens." This renown and fame being heard by the men of Pontormo, +they sent for Jacopo, and commissioned him to execute in their stronghold, +over a gate placed on the main road, an escutcheon of Pope Leo with +two little boys, which was very beautiful; but already it has been little +less than ruined by rain.</p> + +<div class="figcenter"> +<a name="img013" id="img013"></a> +<img src="images/img013-tb.jpg" width="400" height="496" alt="The Visitation." title=""> +<p class="caption">THE VISITATION<br> +(<i>After the fresco by</i> Jacopo da Pontormo. <i>Florence: SS. Annunziata, Cloister</i>)<br> +<i>Anderson</i><br> +<span class="link"><a href="images/img013.jpg">View larger image</a></span></p> +</div> + +<p>At the Carnival in the same year, all Florence being gay and full +of rejoicing at the election of the above-named Leo X, many festive +spectacles were ordained, and among them two of great beauty and +extraordinary cost, which were given by two companies of noblemen +and gentlemen of the city. One of these, which was called the Diamante,<a id="FNanchor5" name="FNanchor5"></a><a href="#Footnote5" title="Go to footnote 5" class="fnanchor">[5]</a> +had for its head the brother of the Pope, Signor Giuliano de' Medici, who +had given it that name because the diamond had been a device of his +father, the elder Lorenzo; and the head of the other, which had as name +and device the Broncone,<a id="FNanchor6" name="FNanchor6"></a><a href="#Footnote6" title="Go to footnote 6" class="fnanchor">[6]</a> was Signor Lorenzo, the son of Piero de' +Medici, who had for his device a Broncone—that is, a dried trunk of +laurel growing green again with leaves, as it were to signify that he was +reviving and restoring the name of his grandfather.</p> + +<p>By the Company of the Diamante, then, a commission was given +to M. Andrea Dazzi, who was then lecturing on Greek and Latin Letters +<span class="pagenum"><a id="Page_152" name="Page_152"></a>[Pg 152]</span> at the Studio in Florence, to look to the invention of a triumphal procession; +whereupon he arranged one similar to those that the Romans used +to have for their triumphs, with three very beautiful cars wrought in +wood, and painted with rich and beautiful art. In the first was Boyhood, +with a most beautiful array of boys. In the second was Manhood, with +many persons who had done great things in their manly prime. And +in the third was Old Age, with many famous men who had performed +great achievements in their last years. All these persons were very +richly apparelled, insomuch that it was thought that nothing better +could be done. The architects of these cars were Raffaello delle Vivole, +Il Carota the wood-carver, the painter Andrea di Cosimo, and Andrea +del Sarto; those who arranged and prepared the dresses of the figures +were Ser Piero da Vinci, the father of Leonardo, and Bernardino di +Giordano, both men of beautiful ingenuity; and to Jacopo da Pontormo +alone it fell to paint all the three cars, wherein he executed various scenes +in chiaroscuro of the Transformations of the Gods into different forms, +which are now in the possession of Pietro Paolo Galeotto, an excellent +goldsmith. The first car bore, written in very clear characters, the word +"Erimus," the second "Sumus," and the third "Fuimus"—that is, +"We shall be," "We are," and "We have been." The song began, +"The years fly on...."</p> + +<p>Having seen these triumphal cars, Signor Lorenzo, the head of the +Company of the Broncone, desiring that they should be surpassed, gave +the charge of the whole work to Jacopo Nardi, a noble and most learned +gentleman, to whom, for what he afterwards became, his native city of +Florence is much indebted. This Jacopo prepared six triumphal cars, +in order to double the number of those executed by the Diamante. The +first, drawn by a pair of oxen decked with herbage, represented the Age +of Saturn and Janus, called the Age of Gold; and on the summit of the +car were Saturn with the Scythe, and Janus with the two heads and with +the key of the Temple of Peace in the hand, and at his feet a figure of +Fury bound, with a vast number of things around appertaining to +Saturn, all executed most beautifully in different colours by the genius +of Pontormo. Accompanying this car were six couples of Shepherds, +<span class="pagenum"><a id="Page_153" name="Page_153"></a>[Pg 153]</span> naked but for certain parts covered by skins of marten and sable, with +footwear of various kinds after the ancient manner, and with their +wallets, and on their heads garlands of many kinds of leaves. The horses +on which these Shepherds sat were without saddles, but covered with +skins of lions, tigers, and lynxes, the paws of which, overlaid with gold, +hung at their sides with much grace and beauty. The ornaments of their +croups and of the grooms were of gold cord, the stirrups were heads of +rams, dogs, and other suchlike animals, and the bridles and reins made +with silver cord and various kinds of verdure. Each Shepherd had +four grooms in the garb of shepherd-boys, dressed more simply in other +skins, with torches fashioned in the form of dry trunks and branches of +pine, which made a most beautiful sight.</p> + +<p>Upon the second car, drawn by two pairs of oxen draped in the richest +cloth, with garlands on their heads and great paternosters hanging from +their gilded horns, was Numa Pompilius, the second King of Rome, with +the books of religion and all the sacerdotal instruments and the things +appertaining to sacrifices, for the reason that he was the originator and +first founder of religion and sacrifices among the Romans. This car was +accompanied by six priests on most beautiful she-mules, their heads +covered with hoods of linen embroidered with silver and gold in a masterly +pattern of ivy-leaves; and on their bodies they had sacerdotal vestments +in the ancient fashion, with borders and fringes of gold all round, and in +the hands one had a thurible, another a vase of gold, and the rest +other similar things. At their stirrups they had attendants in the +guise of Levites, and the torches that these had in their hands were +after the manner of ancient candelabra, and wrought with beautiful +artistry.</p> + +<p>The third car represented the Consulate of Titus Manlius Torquatus, +who was Consul after the end of the first Carthaginian war, and governed +in such a manner, that in his time there flourished in Rome every virtue +and every blessing. That car, upon which was Titus himself, with many +ornaments executed by Pontormo, was drawn by eight most beautiful +horses, and before it went six couples of Senators clad in the toga, on +horses covered with cloth of gold, accompanied by a great number of +<span class="pagenum"><a id="Page_154" name="Page_154"></a>[Pg 154]</span> grooms representing Lictors, with the fasces, axes, and other things +appertaining to the administration of justice.</p> + +<p>The fourth car, drawn by four buffaloes disguised as elephants, +represented Julius Cæsar in Triumph for the victory gained over Cleopatra, +the car being all painted by Pontormo with his most famous deeds. That +car was accompanied by six couples of men-at-arms clad in rich and +brightly shining armour all bordered with gold, with their lances on their +hips; and the torches that the half-armed grooms carried had the form +of trophies, designed in various ways.</p> + +<p>The fifth car, drawn by winged horses that had the form of gryphons, +bore upon it Cæsar Augustus, the Lord of the Universe, accompanied by +six couples of Poets on horseback, all crowned, as was also Cæsar, with +laurel, and dressed in costumes varying according to their provinces; +and these were there because poets were always much favoured by Cæsar +Augustus, whom they exalted with their works to the heavens. And +to the end that they might be recognized, each of them had across his +forehead a scroll after the manner of a fillet, on which was his name.</p> + +<p>On the sixth car, drawn by four pairs of heifers richly draped, was +Trajan, that just Emperor, before whom, as he sat on the car, which was +painted very well by Pontormo, there rode upon beautiful and finely +caparisoned horses six couples of Doctors of Law, with togas reaching +to their feet and with capes of miniver, such as it was the ancient custom +for Doctors to wear. The grooms who carried their torches, a great +number, were scriveners, copyists, and notaries, with books and writings +in their hands.</p> + +<p>After these six came the car, or rather, triumphal chariot, of the +Age or Era of Gold, wrought with the richest and most beautiful artistry, +with many figures in relief executed by Baccio Bandinelli, and very +beautiful paintings by the hand of Pontormo; among those in relief the +four Cardinal Virtues being highly extolled. From the centre of the car +rose a great sphere in the form of a globe of the world, upon which there +lay prostrate on his face, as if dead, a man clad in armour all eaten with +rust, who had the back open and cleft, and from the fissure there issued +a child all naked and gilded, who represented the new birth of the age +<span class="pagenum"><a id="Page_155" name="Page_155"></a>[Pg 155]</span> of gold and the end of the age of iron, from which he was coming forth +into that new birth by reason of the election of that Pontiff; and this +same significance had the dry trunk putting forth new leaves, although +some said that the matter of that dry trunk was an allusion to the +Lorenzo de' Medici who became Duke of Urbino. I should mention +that the gilded boy, who was the son of a baker, died shortly afterwards +through the sufferings that he endured in order to gain ten +crowns.</p> + +<p>The chant that was sung in that masquerade, as is the custom, was +composed by the above-named Jacopo Nardi, and the first stanza ran +thus:</p> + +<p class="poem20"> +Colui che da le leggi alla Natura<br> +E i varii stati e secoli dispone,<br> +D'ogni bene è cagione;<br> +E il mal, quanto permette, al Mondo dura;<br> +Onde questa figura<br> +Contemplando si vede,<br> +Come con certo piede<br> +L'un secol dopo l'altro al Mondo viene<br> +E muta il bene in male, e 'l male in bene.</p> + +<p>From the works that he executed for this festival Pontormo gained, +besides the profit, so much praise, that probably few young men of his +age ever gained as much in that city; wherefore, Pope Leo himself afterwards +coming to Florence, he was much employed in the festive preparations +that were made, for he had attached himself to Baccio da Montelupo, +a sculptor advanced in years, who made an arch of wood at the head of +the Via del Palagio, at the steps of the Badia, and Pontormo painted it +all with very beautiful scenes, which afterwards came to an evil end +through the scant diligence of those who had charge of them. Only one +remained, that in which Pallas is tuning an instrument into accord with +the lyre of Apollo, with great grace and beauty; from which scene one is +able to judge what excellence and perfection were in the other works and +figures. For the same festivities Ridolfo Ghirlandajo had received the +task of fitting up and embellishing the Sala del Papa, which is attached +to the Convent of S. Maria Novella, and was formerly the residence of +<span class="pagenum"><a id="Page_156" name="Page_156"></a>[Pg 156]</span> the Pontiffs in the city of Florence; but being pressed for time, he was +forced to avail himself in some things of the work of others, and thus, after +having adorned all the other rooms, he laid on Jacopo da Pontormo the +charge of executing some pictures in fresco in the chapel where his +Holiness was to hear Mass every morning. Whereupon, setting his hand +to the work, Jacopo painted there a God the Father with many little +Angels, and a Veronica who had the Sudarium with the image of Jesus +Christ; which work, thus executed by Jacopo in so short a time, was +much extolled.</p> + +<p>He then painted in fresco, in a chapel of the Church of S. Ruffillo, +behind the Archbishop's Palace in Florence, Our Lady with her Son in +her arms between S. Michelagnolo and S. Lucia, and two other Saints +kneeling; and, in the lunette of the chapel, a God the Father with some +Seraphim about Him. Next, having been commissioned by Maestro Jacopo, +a Servite friar, as he had greatly desired, to paint a part of the court of +the Servites, because Andrea del Sarto had gone off to France and left +the work of that court unfinished, he set himself with much study to make +the cartoons. But since he was poorly provided with the things of this +world, and was obliged, while studying in order to win honour, to have +something to live upon, he executed over the door of the Hospital for +Women—behind the Church of the Priest's Hospital, between the Piazza +di S. Marco and the Via di S. Gallo, and exactly opposite to the wall of +the Sisters of S. Catharine of Siena—two most beautiful figures in +chiaroscuro, with Christ in the guise of a pilgrim awaiting certain women +in order to give them hospitality and lodging; which work was deservedly +much extolled in those days, as it still is, by all good judges. At this +same time he painted some pictures and little scenes in oils for the Masters +of the Mint, on the Carro della Moneta, which goes every year in the +procession of S. John; the workmanship of which car was by the hand +of Marco del Tasso. And over the door of the Company of Cecilia, on +the heights of Fiesole, he painted a S. Cecilia with some roses in her hand, +coloured in fresco, and so beautiful and so well suited to that place, that, +for a work of that kind, it is one of the best paintings in fresco that there +are to be seen.</p> + +<p><span class="pagenum"><a id="Page_157" name="Page_157"></a>[Pg 157]</span> These works having been seen by the above-named Servite friar, +Maestro Jacopo, he became even more ardent in his desire, and he determined +at all costs to cause Jacopo to finish the work in that court of the +Servites, thinking that in emulation of the other masters who had worked +there he would execute something of extraordinary beauty in the part +that remained to be painted. Having therefore set his hand to it, from +a desire no less of glory and honour than of gain, Jacopo painted the +scene of the Visitation of the Madonna, in a manner a little freer and more +lively than had been his wont up to that time; which circumstance gave +an infinite excellence to the work, in addition to its other extraordinary +beauties, in that the women, little boys, youths, and old men are executed +in fresco with such softness and such harmony of colouring, that it is a +thing to marvel at, and the flesh-colours of a little boy who is seated on +some steps, and, indeed, those likewise of all the other figures, are such +that they could not be done better or with more softness in fresco. This +work, then, after the others that Jacopo had executed, gave a sure earnest +of his future perfection to the craftsmen, comparing them with those of +Andrea del Sarto and Franciabigio. Jacopo delivered the work finished +in the year 1516, and received in payment sixteen crowns and no more.</p> + +<p>Having then been allotted by Francesco Pucci, if I remember rightly, +the altar-piece of a chapel that he had caused to be built in S. Michele +Bisdomini in the Via de' Servi, Jacopo executed the work in so beautiful +a manner, and with a colouring so vivid, that it seems almost impossible +to credit it. In this altar-piece Our Lady, who is seated, is handing the +Infant Jesus to S. Joseph, in whose countenance there is a smile so +animated and so lifelike that it is a marvel; and very beautiful, likewise, +is a little boy painted to represent S. John the Baptist, and also two other +little children, naked, who are upholding a canopy. There may be seen +also a S. John the Evangelist, a most beautiful old man, and a S. Francis +kneeling, who is absolutely alive, for, with the fingers of one hand +interlocked with those of the other, and wholly intent in contemplating +fixedly with his eyes and his mind the Virgin and her Son, he appears +really to be breathing. And no less beautiful is the S. James who may +be seen beside the others. Wherefore it is no marvel that this is the +<span class="pagenum"><a id="Page_158" name="Page_158"></a>[Pg 158]</span> most beautiful altar-piece that was ever executed by this truly rare +painter.</p> + +<p>I used to believe that it was after this work, and not before, that the +same Jacopo had painted in fresco the two most lovely and graceful +little boys who are supporting a coat of arms over a door within a passage +on the Lungarno, between the Ponte S. Trinita and the Ponte alla Carraja, +for Bartolommeo Lanfredini; but since Bronzino, who may be supposed +to know the truth about these matters, declares that they were among +the first works that Jacopo executed, we must believe that this is so +without a doubt, and praise Pontormo for them all the more, seeing that +they are so beautiful that they cannot be matched, and yet were among +the earliest works that he did.</p> + +<p>But to resume the order of our story: after these works, Jacopo +executed for the men of Pontormo an altar-piece wherein are S. Michelagnolo +and S. John the Evangelist, which was placed in the Chapel of the +Madonna in S. Agnolo, their principal church. At this time one of two +young men who were working under Jacopo—that is, Giovan Maria Pichi +of Borgo a S. Sepolcro, who was acquitting himself passing well, and +who afterwards became a Servite friar, and executed some works in the +Borgo and in the Pieve a S. Stefano—while still working, I say, under +Jacopo, painted in a large picture a nude S. Quentin in martyrdom, in +order to send it to the Borgo. But since Jacopo, like a loving master to +his disciple, desired that Giovan Maria should win honour and praise, +he set himself to retouch it, and so, not being able to take his hands off +it, and retouching one day the head, the next day the arms, and the +day after the body, the retouching became such that it may almost be +said that the work is entirely by his hand. Wherefore it is no marvel +that this picture, which is now in the Church of the Observantine Friars +of S. Francis in the Borgo, is most beautiful.</p> + +<div class="figcenter"> +<a name="img014" id="img014"></a> +<img src="images/img014-tb.jpg" width="400" height="344" alt="Joseph and his Kindred in Egypt." title=""> +<p class="caption">JOSEPH AND HIS KINDRED IN EGYPT<br> +(<i>After the painting by</i> Jacopo da Pontormo. <i>London: National Gallery, 1131</i>)<br> +<i>Hanfstaengl</i><br> +<span class="link"><a href="images/img014.jpg">View larger image</a></span></p> +</div> + +<p>The second of the two young men, who was Giovanni Antonio +Lappoli of Arezzo, of whom there has been an account in another place, +like a vain fellow had taken a portrait of himself with a mirror, also while +he was working under Jacopo. But his master, thinking that the portrait +was a poor likeness, took it in hand himself, and executed a portrait that +<span class="pagenum"><a id="Page_159" name="Page_159"></a>[Pg 159]</span> is so good that it has the appearance of life; which portrait is now at +Arezzo, in the house of the heirs of that Giovanni Antonio.</p> + +<p>Pontormo also portrayed in one and the same picture two of his +dearest friends—one the son-in-law of Beccuccio Bicchieraio, and another, +whose name likewise I do not know; it is enough that the portraits are +by the hand of Pontormo. He then executed for Bartolommeo Ginori, +in anticipation of his death, a string of pennons, according to the custom +of the Florentines; and in the upper part of all these, on the white +taffeta, he painted a Madonna with the Child, and on the coloured fringe +below he painted the arms of that family, as is the custom. For the +centre of the string, which was of twenty-four pennons, he made two all +of white taffeta without any fringe, on which he painted two figures of +S. Bartholomew, each two braccia high. The size of all these pennons +and their almost novel manner caused all the others that had been made +up to that time to appear poor and mean; and this was the reason that +they began to be made of the size that they are at the present day, with +great grace and much less expense for gold.</p> + +<p>At the head of the garden and vineyard of the Friars of S. Gallo, +without the gate that is called after that Saint, in a chapel that is in a +line with the central entrance, he painted a Dead Christ, a Madonna +weeping, and two little Angels in the air, one of whom was holding the +Chalice of the Passion in his hands, and the other was supporting the +fallen head of Christ. On one side was S. John the Evangelist, all tearful, +with the arms stretched out, and on the other S. Augustine in episcopal +robes, who, leaning with the left hand on the pastoral staff, stood in an +attitude truly full of sorrow, contemplating the Dead Saviour. And for +Messer Spina, the familiar friend of Giovanni Salviati, he executed in a +courtyard, opposite to the principal door of his house, the coat of arms +of that Giovanni (who had been made a Cardinal in those days by Pope +Leo), with the red hat above and two little boys standing—works in +fresco which are very beautiful, and much esteemed by Messer Filippo +Spina, as being by the hand of Pontormo.</p> + +<p>Jacopo also worked, in competition with other masters, on the +ornamentation in wood that was formerly executed in a magnificent +<span class="pagenum"><a id="Page_160" name="Page_160"></a>[Pg 160]</span> manner, as has been related elsewhere, in some apartments of Pier +Francesco Borgherini; and, in particular, he painted there with his own +hand on two coffers some stories from the life of Joseph in little figures, +which were truly most beautiful. And whoever wishes to see the best +work that he ever did in all his life, in order to consider how able and +masterly was Jacopo in giving liveliness to heads, in grouping figures, +in varying attitudes, and in beauty of invention, let him look at a scene +of some size, likewise in little figures, in the corner on the left hand as +one enters through the door, in the chamber of Borgherini, who was a +nobleman of Florence; in which scene is Joseph in Egypt, as it were a +Prince or a King, in the act of receiving his father Jacob with all his +brethren, the sons of that Jacob, with extraordinary affection. Among +these figures he portrayed at the foot of the scene, seated upon some +steps, Il Bronzino, who was then a boy and his disciple—a figure with a +basket, which is lifelike and beautiful to a marvel. And if this scene were +on a greater scale, on a large panel or a wall, instead of being small, I +would venture to say that it would not be possible to find another picture +executed with the grace, excellence, and even perfection wherewith this +one was painted by Jacopo; wherefore it was rightly regarded by all +craftsmen as the most beautiful picture that Pontormo ever executed. +Nor is it to be wondered at that Borgherini should have prized it as he +did, and should have been besought to sell it by great persons as a +present for mighty lords and princes.</p> + +<div class="figcenter"> +<a name="img015" id="img015"></a> +<img src="images/img015-tb.jpg" width="400" height="520" alt="Vertumnus Fresco (Detail)." title=""> +<p class="caption">VERTUMNUS FRESCO (DETAIL)<br> +(<i>After</i> Jacopo da Pontormo. <i>Poggio a Caiano: Villa Reale</i>)<br> +<i>Alinari</i><br> +<span class="link"><a href="images/img015.jpg">View larger image</a></span></p> +</div> + +<p>On account of the siege of Florence Pier Francesco retired to Lucca, +and Giovan Battista della Palla, who desired to obtain, together with +other things that he was transporting into France, the decorations of this +chamber, so that they might be presented to King Francis in the name +of the Signoria, received such favours, and went to work so effectively +with both words and deeds, that the Gonfalonier granted a commission +that they should be taken away after payment to the wife of Pier +Francesco. Whereupon some others went with Giovan Battista to +execute the will of the Signori; but, when they arrived at the house of +Pier Francesco, his wife, who was in the house, poured on Giovan Battista +the greatest abuse that was ever spoken to any man. "So you make +<span class="pagenum"><a id="Page_161" name="Page_161"></a>[Pg 161]</span> bold, Giovan Battista," said she, "you vile slop-dealer, you little twopenny +pedlar, to strip the ornaments from the chambers of noblemen +and despoil our city of her richest and most honoured treasures, as you +have done and are always doing, in order to embellish with them the +countries of foreigners, our enemies! At you I do not marvel, you, a +base plebeian and the enemy of your country, but at the magistrates of +this city, who aid and abet you in these shameful rascalities. This bed, +which you would seize for your own private interest and for greed of gain, +although you keep your evil purpose cloaked with a veil of righteousness, +this is the bed of my nuptials, in honour of which my husband's father, +Salvi, made all these magnificent and regal decorations, which I revere +in memory of him and from love for my husband, and mean to defend +with my very blood and with life itself. Out of this house with these +your cut-throats, Giovan Battista, and go to those who sent you with +orders that these things should be removed from their places, for I am +not the woman to suffer a single thing to be moved from here. If they +who believe in you, a vile creature of no account, wish to make presents +to King Francis of France, let them go and strip their own houses, and +take the ornaments and beds from their own chambers, and send them +to him. And you, if you are ever again so bold as to come to this house +on such an errand, I will make you smart sorely for it, and teach you what +respect should be paid by such as you to the houses of noblemen." +Thus spoke Madonna Margherita, the wife of Pier Francesco Borgherini, +and the daughter of Ruberto Acciaiuoli, a most noble and wise citizen; +and she, a truly courageous woman and a worthy daughter of such a +father, with her noble ardour and spirit, was the reason that those gems +are still preserved in that house.</p> + +<p>Giovan Maria Benintendi, about this same time, had adorned an +antechamber in his house with many pictures by the hands of various able +men; and after the work executed for Borgherini, incited by hearing +Jacopo da Pontormo very highly praised, he caused a picture to be +painted by him with the Adoration of the Magi, who went to Bethlehem +to see Christ; which work, since Jacopo devoted to it much study and +diligence, proved to be well varied and beautiful in the heads and in +<span class="pagenum"><a id="Page_162" name="Page_162"></a>[Pg 162]</span> every other part, and to be truly worthy of all praise. Afterwards he +executed for Messer Goro da Pistoia, then Secretary to the Medici, a +picture with the portrait of the Magnificent Cosimo de' Medici, the elder, +from the knees upwards, which is indeed worthy to be extolled; and this +portrait is now in the house of Messer Ottaviano de' Medici, in the +possession of his son, Messer Alessandro, a young man—besides the +distinction and nobility of his blood—of most upright character, well +lettered, and the worthy son of the Magnificent Ottaviano and of Madonna +Francesca, the daughter of Jacopo Salviati and the maternal aunt of the +Lord Duke Cosimo.</p> + +<p>By means of this work, and particularly this head of Cosimo, Pontormo +became the friend of Messer Ottaviano; and the Great Hall at Poggio a +Caiano having then to be painted, there were given to him to paint the +two ends where the round openings are that give light—that is, the +windows—from the vaulting down to the floor. Whereupon, desiring to +do himself honour even beyond his wont, both from regard for the place +and from emulation of the other painters who were working there, he set +himself to study with such diligence, that he overshot the mark, for the +reason that, destroying and doing over again every day what he had done +the day before, he racked his brains in such a manner that it was a +tragedy; but all the time he was always making new discoveries, which +brought credit to himself and beauty to the work. Thus, having to +execute a Vertumnus with his husbandmen, he painted a peasant seated +with a vine-pruner in his hand, which is so beautiful and so well done +that it is a very rare thing, even as certain children that are there are +lifelike and natural beyond all belief. On the other side he painted +Pomona and Diana, with other Goddesses, enveloping them perhaps too +abundantly with draperies. However, the work as a whole is beautiful +and much extolled; but while it was being executed Leo was overtaken +by death, and so it remained unfinished, like many other similar works +at Rome, Florence, Loreto, and other places; nay, the whole world was +left poor, being robbed of the true Mæcenas of men of talent.</p> + +<div class="figcenter"> +<a name="img016" id="img016"></a> +<img src="images/img016-tb.jpg" width="400" height="522" alt="Vertumnus Fresco (Detail)." title=""> +<p class="caption">VERTUMNUS FRESCO (DETAIL)<br> +(<i>After</i> Jacopo da Pontormo. <i>Poggio a Caiano: Villa Reale</i>)<br> +<i>Alinari</i><br> +<span class="link"><a href="images/img016.jpg">View larger image</a></span></p> +</div> + +<p>Having returned to Florence, Jacopo painted in a picture a seated +figure of S. Augustine as a Bishop, who is giving the benediction, with two +<span class="pagenum"><a id="Page_163" name="Page_163"></a>[Pg 163]</span> little nude Angels flying through the air, who are very beautiful; which +picture is over an altar in the little Church of the Sisters of S. Clemente +in the Via di S. Gallo. He carried to completion, likewise, a picture of +a Pietà with certain nude Angels, which was a very beautiful work, and +held very dear by certain merchants of Ragusa, for whom he painted it; +but most beautiful of all in this picture was a landscape taken for the +most part from an engraving by Albrecht Dürer. He also painted a +picture of Our Lady with the Child in her arms, and some little Angels +about her, which is now in the house of Alessandro Neroni; and for +certain Spaniards he executed another like it—that is, of the Madonna—but +different from the one described above and in another manner, which +picture, being for sale in a second-hand dealer's shop many years after, +was bought by Bartolommeo Panciatichi at the suggestion of Bronzino.</p> + +<p>Then, in the year 1522, there being a slight outbreak of plague in +Florence, and many persons therefore departing in order to avoid that +most infectious sickness and to save themselves, an occasion presented +itself to Jacopo of flying the city and removing himself to some distance, +for a certain Prior of the Certosa, a place built by the Acciaiuoli three +miles away from Florence, had to have some pictures painted in fresco +at the corners of a very large and beautiful cloister that surrounds a +lawn, and Jacopo was brought to his notice; whereupon the Prior had him +sought out, and he, having accepted the work very willingly at such a +time, went off to Certosa, taking with him only Bronzino. There, after +a trial of that mode of life, that quiet, that silence, and that solitude—all +things after the taste and nature of Jacopo—he thought with such an +occasion to make a special effort in the matters of art, and to show to +the world that he had acquired greater perfection and a different manner +since those works that he had executed before. Now not long before +there had come from Germany to Florence many sheets printed from +engravings done with great subtlety with the burin by Albrecht Dürer, +a most excellent German painter and a rare engraver of plates on copper +and on wood; and, among others, many scenes, both large and small, of +the Passion of Jesus Christ, in which was all the perfection and excellence +of engraving with the burin that could ever be achieved, what with the +<span class="pagenum"><a id="Page_164" name="Page_164"></a>[Pg 164]</span> beauty and variety of the vestments and the invention. Jacopo, having +to paint at the corners of those cloisters scenes from the Passion of the +Saviour, thought to avail himself of the above-named inventions of +Albrecht Dürer, in the firm belief that he would satisfy not only himself +but also the greater part of the craftsmen of Florence, who were all +proclaiming with one voice and with common consent and agreement the +beauty of those engravings and the excellence of Albrecht. Setting +himself therefore to imitate that manner, and seeking to give to the +expressions of the heads of his figures that liveliness and variety which +Albrecht had given to his, he caught it so thoroughly, that the charm of +his own early manner, which had been given to him by nature, all full of +sweetness and grace, suffered a great change from that new study and +labour, and was so impaired through his stumbling on that German +manner, that in all these works, although they are all beautiful, there is +but a sorry remnant to be seen of that excellence and grace that he had +given up to that time to all his figures.</p> + +<p>At the entrance to the cloister, then, in one corner, he painted Christ +in the Garden, counterfeiting so well the darkness of night illumined by +the light of the moon, that it appears almost like daylight; and while +Christ is praying, not far distant are Peter, James, and John sleeping, +executed in a manner so similar to that of Dürer, that it is a marvel. +Not far away is Judas leading the Jews, likewise with a countenance so +strange, even as the features of all those soldiers are depicted in the +German manner with bizarre expressions, that it moves him who beholds +it to pity for the simplicity of the man, who sought with such patience +to learn that which others avoid and seek to lose, and all to lose the +manner that surpassed all others in excellence and gave infinite pleasure +to everyone. Did not Pontormo know, then, that the Germans and +Flemings came to these parts to learn the Italian manner, which he with +such effort sought to abandon as if it were bad?</p> + +<p>Beside this scene is one in which is Christ led by the Jews before +Pilate, and in the Saviour he painted all the humility that could possibly +be imagined in the Person of Innocence betrayed by the sins of men, +and in the wife of Pilate that pity and dread for themselves which those +<span class="pagenum"><a id="Page_165" name="Page_165"></a>[Pg 165]</span> have who fear the divine judgment; which woman, while she pleads the +cause of Christ before her husband, gazes into His countenance with +pitying wonder. Round Pilate are some soldiers so characteristic in +the expressions of the faces and in the German garments, that one who +knew not by whose hand was that work would believe it to have been +executed in reality by ultramontanes. It is true, indeed, that in the +distance in this scene there is a cup-bearer of Pilate's that is descending +some steps with a basin and a ewer in his hands, carrying to his master +the means to wash the hands, who is lifelike and very beautiful, having +in him something of the old manner of Jacopo.</p> + +<p>Having next to paint the Resurrection of Christ in one of the other +corners, the fancy came to Jacopo, as to one who had no steadfastness +in his brain and was always cogitating new things, to change his colouring; +and so he executed that work with a colouring in fresco so soft and +so good, that, if he had done the work in another manner than that same +German, it would certainly have been very beautiful, for in the heads +of those soldiers, who are in various attitudes, heavy with sleep, and as +it were dead, there may be seen such excellence, that one cannot believe +that it is possible to do better.</p> + +<p>Then, continuing the stories of the Passion in another of the corners, +he painted Christ going with the Cross upon His shoulder to Mount +Calvary, and behind Him the people of Jerusalem, accompanying Him; +and in front are the two Thieves, naked, between the ministers of justice, +who are partly on foot and partly on horseback, with the ladders, the +inscription for the Cross, hammers, nails, cords, and other suchlike instruments. +And in the highest part, behind a little hill, is the Madonna with +the Maries, who, weeping, are awaiting Christ, who has fallen to the +ground in the middle of the scene, and has about Him many Jews that +are smiting Him, while Veronica is offering to Him the Sudarium, accompanied +by some women both young and old, all weeping at the outrage +that they see being done to the Saviour. This scene, either because he +was warned by his friends, or perhaps because Jacopo himself at last +became aware, although tardily, of the harm that had been done to his +own sweet manner by the study of the German, proved to be much better +<span class="pagenum"><a id="Page_166" name="Page_166"></a>[Pg 166]</span> than the others executed in the same place, for the reason that certain +naked Jews and some heads of old men are so well painted in fresco, +that it would not be possible to do more, although the same German +manner may be seen constantly maintained in the work as a whole.</p> + +<p>After these he was to have gone on with the Crucifixion and the +Deposition from the Cross in the other corners; but, putting them aside +for a time, with the intention of executing them last, he painted in their +stead Christ taken down from the Cross, keeping to the same manner, +but with great harmony of colouring. In this scene, besides that the +Magdalene, who is kissing the feet of Christ, is most beautiful, there are +two old men, representing Joseph of Arimathæa and Nicodemus, who, +although they are in the German manner, have the most beautiful expressions +and heads of old men, with beards feathery and coloured with +marvellous softness, that there are to be seen.</p> + +<p>Now Jacopo, besides being generally slow over his works, was +pleased with the solitude of the Certosa, and he therefore spent several +years on these labours; and, after the plague had finished and he had +returned to Florence, he did not for that reason cease to frequent that +place constantly, and was always going and coming between the Certosa +and the city. Proceeding thus, he satisfied those fathers in many things, +and, among others, he painted in their church, over one of the doors that +lead into the chapels, in a figure from the waist upwards, the portrait of +a lay-brother of that monastery, who was alive at that time and one +hundred and twenty years old, executing it so well and with such finish, +such vivacity, and such animation, that through it alone Pontormo +deserves to be excused for the strange and fantastic new manner with +which he was saddled by that solitude and by living far from the commerce +of men.</p> + +<p>Besides this, he painted for the Prior of that place a picture of the +Nativity of Christ, representing Joseph as giving light to Jesus Christ +in the darkness of the night with a lantern, and this in pursuit of the +same notions and caprices which the German engravings put into his +head. Now let no one believe that Jacopo is to blame because he +imitated Albrecht Dürer in his inventions, for the reason that this is no +<span class="pagenum"><a id="Page_167" name="Page_167"></a>[Pg 167]</span> error, and many painters have done it and are continually doing it; but +only because he adopted the unmixed German manner in everything, in +the draperies, in the expressions of the heads, and in the attitudes, which +he should have avoided, availing himself only of the inventions, since he +had the modern manner in all the fullness of its beauty and grace. For +the Stranger's Apartment of the same monks he painted a large picture +on canvas and in oil-colours, without straining himself at all or forcing +his natural powers, of Christ at table with Cleophas and Luke, figures +of the size of life; and since in this work he followed the bent of his own +genius, it proved to be truly marvellous, particularly because he portrayed +among those who are serving at that table some lay-brothers of +the convent, whom I myself have known, in such a manner that they +could not be either more lifelike or more animated than they are.</p> + +<p>Bronzino, meanwhile (that is, while his master was executing the +works described above in the Certosa), pursuing with great spirit the +studies of painting, and encouraged all the time by Pontormo, who was +very loving with his disciples, executed on the inner side over an arch +above the door of the cloister that leads into the church, without having +ever seen the process of painting in oil-colours on the wall, a nude +S. Laurence on the gridiron, which was so beautiful that there began +to be seen some indication of that excellence to which he has since +attained, as will be related in the proper place; which circumstance gave +infinite satisfaction to Jacopo, who already saw whither that genius would +arrive.</p> + +<p>Not long afterwards there returned from Rome Lodovico di Gino +Capponi, who had bought that chapel in S. Felicita, on the right hand of +the entrance into the church, which the Barbadori had formerly caused +to be built by Filippo di Ser Brunellesco; and he resolved to have all the +vaulting painted, and then to have an altar-piece executed for it, with +a rich ornament. Having therefore consulted in the matter with +M. Niccolò Vespucci, knight of Rhodes, who was much his friend, the +knight, who was also much the friend of Jacopo, and knew, into the +bargain, the talent and worth of that able man, did and said so much that +Lodovico allotted that work to Pontormo. And so, having erected an +<span class="pagenum"><a id="Page_168" name="Page_168"></a>[Pg 168]</span> enclosure, which kept that chapel closed for three years, he set his hand +to the work. On the vaulted ceiling he painted a God the Father, who +has about Him four very beautiful Patriarchs; and in the four medallions +at the angles he depicted the four Evangelists, or rather, he executed +three of them with his own hand, and Bronzino one all by himself. And +with this occasion I must mention that Pontormo used scarcely ever to +allow himself to be helped by his assistants, or to suffer them to lay a +hand on that which he intended to execute with his own hand; and when +he did wish to avail himself of one of them, chiefly in order that they +might learn, he allowed them to do the whole work by themselves, as +he allowed Bronzino to do here.</p> + +<p>In the works that Jacopo executed in the said chapel up to this +point, it seemed almost as if he had returned to his first manner; but +he did not follow the same method in painting the altar-piece, for, thinking +always of new things, he executed it without shadows, and with a colouring +so bright and so uniform, that one can scarcely distinguish the lights +from the middle tints, and the middle tints from the darks. In this +altar-piece is a Dead Christ taken down from the Cross and being carried +to the Sepulchre. There is the Madonna who is swooning, and the +Maries, all executed in a fashion so different from his first work, that it +is clearly evident that his brain was always busy investigating new +conceptions and fantastic methods of painting, not being content with, +and not fixing on, any single method. In a word, the composition of +this altar-piece is altogether different from the figures on the vaulting, +and likewise the colouring; and the four Evangelists, which are in the +medallions on the spandrels of the vaulting, are much better and in a +different manner.</p> + +<div class="figcenter"> +<a name="img017" id="img017"></a> +<img src="images/img017-tb.jpg" width="400" height="656" alt="The Descent from the Cross." title=""> +<p class="caption">THE DESCENT FROM THE CROSS<br> +(<i>After the painting by</i> Jacopo da Pontormo. +<i>Florence: S. Felicita</i>)<br> +<i>Alinari</i><br> +<span class="link"><a href="images/img017.jpg">View larger image</a></span></p> +</div> + +<p>On the wall where the window is are two figures in fresco, on one +side the Virgin, and on the other the Angel, who is bringing her the +Annunciation, but so distorted, both the one and the other, that it is +evident that, as I have said, that bizarre and fantastic brain was never +content with anything. And in order to be able to do as he pleased in +this, and to avoid having his attention distracted by anyone, all the time +that he was executing this work he would never allow even the owner +<span class="pagenum"><a id="Page_169" name="Page_169"></a>[Pg 169]</span> of the chapel himself to see it, insomuch that, having painted it after +his own fancy, without any of his friends having been able to give him +a single hint, when it was finally uncovered and seen, it amazed all +Florence. For the same Lodovico he executed a picture of Our Lady in +that same manner for his chamber, and in the head of a S. Mary Magdalene +he made the portrait of a daughter of Lodovico, who was a very +beautiful young woman.</p> + +<p>Near the Monastery of Boldrone, on the road that goes from there +to Castello, and at the corner of another that climbs the hill and goes +to Cercina (that is, at a distance of two miles from Florence), he painted +in fresco in a shrine Christ Crucified, Our Lady weeping, S. John the +Evangelist, S. Augustine, and S. Giuliano; all which figures, his caprice +not being yet satisfied, and the German manner still pleasing him, are +not very different from those that he executed at the Certosa. He did +the same, also, in an altar-piece that he painted for the Nuns of S. Anna, +at the Porta a S. Friano, in which altar-piece is Our Lady with the Child +in her arms, and S. Anne behind her, with S. Peter, S. Benedict, and other +Saints, and in the predella is a small scene with little figures, which +represent the Signoria of Florence as it used to go in procession with +trumpeters, pipers, mace-bearers, messengers, and ushers, with the rest +of the household; and this he did because the commission for that +altar-piece was given to him by the Captain and the household of the +Palace.</p> + +<p>The while that Jacopo was executing this work, Alessandro and +Ippolito de' Medici, who were both very young, having been sent to +Florence by Pope Clement VII under the care of the Legate, Silvio +Passerini, Bishop of Cortona, the Magnificent Ottaviano, to whom the +Pope had straitly recommended them, had the portraits of both of them +taken by Pontormo, who served him very well, and made them very +good likenesses, although he did not much depart from the manner that +he had learned from the Germans. In the portrait of Ippolito he also +painted a favourite dog of that lord, called Rodon, and made it so characteristic +and so natural, that it might be alive. He took the portrait, +likewise, of Bishop Ardinghelli, who afterwards became a Cardinal; and +<span class="pagenum"><a id="Page_170" name="Page_170"></a>[Pg 170]</span> for Filippo del Migliore, who was much his friend, he painted in fresco +in his house on the Via Larga, in a niche opposite to the principal door, +a woman representing Pomona, from which it appeared that he was +beginning to seek to abandon in part his German manner.</p> + +<p>Now Giovan Battista della Palla perceived that by reason of many +works the name of Jacopo was becoming every day more celebrated; +and, since he had not succeeded in sending to King Francis the pictures +executed by that same master and by others for Borgherini, he resolved, +knowing that the King had a desire for them, at all costs to send him +something by the hand of Pontormo. Whereupon he so went to work +that he persuaded Jacopo to execute a most beautiful picture of the +Raising of Lazarus, which proved to be one of the best works that he +ever painted and that was ever sent by Giovan Battista, among the vast +number that he sent, to King Francis of France. For, besides that the +heads were most beautiful, the figure of Lazarus, whose spirit as he +returned to life was re-entering his dead flesh, could not have been more +marvellous, for about the eyes he still had the hue of corruption, and the +flesh cold and dead at the extremities of the hands and feet, where the +spirit had not yet come.</p> + +<div class="figcenter"> +<a name="img018" id="img018"></a> +<img src="images/img018-tb.jpg" width="400" height="371" alt="The Martyrdom of the forty Saints." title=""> +<p class="caption">THE MARTYRDOM OF THE FORTY SAINTS<br> +(<i>After the panel by</i> Jacopo da Pontormo. <i>Florence: Pitti, 182</i>)<br> +<i>Alinari</i><br> +<span class="link"><a href="images/img018.jpg">View larger image</a></span></p> +</div> + +<p>In a picture of one braccio and a half he painted for the Sisters of +the Hospital of the Innocenti, with an infinite number of little figures, +the story of the eleven thousand Martyrs who were condemned to death +by Diocletian and all crucified in a wood. In this Jacopo represented +a battle of horsemen and nude figures, very beautiful, and some most +lovely little Angels flying through the air, who are shooting arrows at +the ministers of the crucifixion; and in like manner, about the Emperor, +who is pronouncing the condemnation, are some most beautiful nude +figures who are going to their death. This picture, which in every part +is worthy to be praised, is now held in great price by Don Vincenzio +Borghini, the Director of that Hospital, who once was much the friend of +Jacopo. Another picture similar to that described above he painted +for Carlo Neroni, but only with the Battle of the Martyrs and the Angel +baptizing them; and then the portrait of Carlo himself. He also executed +a portrait, at the time of the siege of Florence, of Francesco Guardi in +<span class="pagenum"><a id="Page_171" name="Page_171"></a>[Pg 171]</span> the habit of a soldier, which was a very beautiful work; and on the cover +of this picture Bronzino afterwards painted Pygmalion praying to Venus +that his statue, receiving breath, might spring to life and become—as, +according to the fables of the poets, it did—flesh and blood. At this +time, after much labour, there came to Jacopo the fulfilment of a desire +that he had long had, in that, having always felt a wish to have a house +that might be his own, so that he should no longer live in the house of +another, but might occupy his own and live as pleased himself, finally +he bought one in the Via della Colonna, opposite to the Nuns of S. Maria +degli Angeli.</p> + +<p>The siege finished, Pope Clement commanded Messer Ottaviano de' +Medici that he should cause the hall of Poggio a Caiano to be finished. +Whereupon, Franciabigio and Andrea del Sarto being dead, the whole +charge of this was given to Pontormo, who, after having the staging and +the screens made, began to execute the cartoons; but, for the reason +that he went off into fantasies and cogitations, beyond that he never set +a hand to the work. This, perchance, would not have happened if +Bronzino had been in those parts, who was then working at the Imperiale, +a place belonging to the Duke of Urbino, near Pesaro; which Bronzino, +although he was sent for every day by Jacopo, nevertheless was not able +to depart at his own pleasure, for the reason that, after he had executed +a very beautiful naked Cupid on the spandrel of a vault in the Imperiale, +and the cartoons for the others, Prince Guidobaldo, having recognized +the young man's genius, ordained that his own portrait should be taken +by him, and, seeing that he wished to be portrayed in some armour that +he was expecting from Lombardy, Bronzino was forced to stay with that +Prince longer than he could have wished. During that time he painted +the case of a harpsichord, which much pleased the Prince, and finally +Bronzino executed his portrait, which was very beautiful, and the Prince +was well satisfied with it.</p> + +<p>Jacopo, then, wrote so many times, and employed so many means, that +in the end he brought Bronzino back; but for all that the man could never +be induced to do any other part of this work than the cartoons, although +he was urged to it by the Magnificent Ottaviano and by Duke Alessandro. +<span class="pagenum"><a id="Page_172" name="Page_172"></a>[Pg 172]</span> In one of these cartoons, which are now for the most part in the house of +Lodovico Capponi, is a Hercules who is crushing Antæus, in another a +Venus and Adonis, and in yet another drawing a scene of nude figures +playing football.</p> + +<p>In the meantime Signor Alfonso Davalos, Marchese del Vasto, having +obtained from Michelagnolo Buonarroti by means of Fra Niccolò della +Magna a cartoon of Christ appearing to the Magdalene in the garden, +moved heaven and earth to have it executed for him in painting by +Pontormo, Buonarroti having told him that no one could serve him better +than that master. Jacopo then executed that work to perfection, and +it was accounted a rare painting by reason both of the grandeur of +Michelagnolo's design and of Jacopo's colouring. Wherefore Signor +Alessandro Vitelli, who was at that time Captain of the garrison of soldiers +in Florence, having seen it, had a picture painted for himself from the +same cartoon by Jacopo, which he sent to Città di Castello and caused +to be placed in his house. It thus became evident in what estimation +Michelagnolo held Pontormo, and with what diligence Pontormo carried +to completion and executed excellently well the designs and cartoons +of Michelagnolo, and Bartolommeo Bettini so went to work that Buonarroti, +who was much his friend, made for him a cartoon of a nude Venus +with a Cupid who is kissing her, in order that he might have it executed +in painting by Pontormo and place it in the centre of a chamber of his +own, in the lunettes of which he had begun to have painted by Bronzino +figures of Dante, Petrarca, and Boccaccio, with the intention of having +there all the other poets who have sung of love in Tuscan prose and verse. +Jacopo, then, having received this cartoon, executed it to perfection at +his leisure, as will be related, in the manner that all the world knows +without my saying another word in praise of it. These designs of Michelagnolo's +were the reason that Pontormo, considering the manner of that +most noble craftsman, took heart of grace, and resolved that by hook +or by crook he would imitate and follow it to the best of his ability. +And then it was that Jacopo recognized how ill he had done to allow +the work of Poggio a Caiano to slip through his hands, although he put +the blame in great measure on a long and very troublesome illness that he +<span class="pagenum"><a id="Page_173" name="Page_173"></a>[Pg 173]</span> had suffered, and finally on the death of Pope Clement, which brought +that undertaking completely to an end.</p> + +<p>Jacopo having executed after the works described above a picture +with the portrait from life of Amerigo Antinori, a young man much +beloved in Florence at that time, and that portrait being much extolled +by everyone, Duke Alessandro had him informed that he wished to have +his portrait taken by him in a large picture. And Jacopo, for the sake +of convenience, executed his portrait for the time being in a little picture +of the size of a sheet of half-folio, and with such diligence and care, that +the works of the miniaturists do not in any way come up to it; for the +reason that, besides its being a very good likeness, there is in that head +all that could be desired in the rarest of paintings. From that little +picture, which is now in the guardaroba of Duke Cosimo, Jacopo afterwards +made a portrait of the same Duke in a large picture, with a style +in the hand, drawing the head of a woman; which larger portrait Duke +Alessandro afterwards presented to Signora Taddea Malespina, the sister +of the Marchesa di Massa. Desiring at all costs to reward liberally the +genius of Jacopo for these works, the Duke sent him a message by Niccolò +da Montaguto, his servant, that he should ask whatever he wished, and +it would be granted to him. But such was the poor spirit or the excessive +respect and modesty of the man, I know not which to call it, that +he asked for nothing save as much money as would suffice him to redeem +a cloak that he had pledged; which having heard, the Duke, not without +laughing at the character of the man, commanded that fifty gold crowns +should be given and a salary offered to him; and even then Niccolò had +much ado to make him accept it.</p> + +<p>Meanwhile Jacopo had finished painting the Venus from the cartoon +belonging to Bettini, which proved to be a marvellous thing, but it was +not given to Bettini at the price for which Jacopo had promised it to him, +for certain tuft-hunters, in order to do Bettini an injury, took it almost +by force from the hands of Jacopo and gave it to Duke Alessandro, +restoring the cartoon to Bettini. Which having heard, Michelagnolo +felt much displeasure for love of the friend for whom he had drawn +the cartoon, and he bore a grudge against Jacopo, who, although he +<span class="pagenum"><a id="Page_174" name="Page_174"></a>[Pg 174]</span> received fifty crowns for it from the Duke, nevertheless cannot be said +to have defrauded Bettini, seeing that he gave up the Venus at the +command of him who was his lord. But of all this some say that Bettini +himself was in great measure the cause, from his asking too much.</p> + +<div class="figcenter"> +<a name="img019" id="img019"></a> +<img src="images/img019-tb.jpg" width="400" height="534" alt="Jacopo da Pontormo: Portrait of an Engraver." title=""> +<p class="caption">JACOPO DA PONTORMO: PORTRAIT OF AN ENGRAVER<br> +(<i>Paris: Louvre, 1241. Panel</i>)<br> +<span class="link"><a href="images/img019.jpg">View larger image</a></span></p> +</div> + +<p>The occasion having thus presented itself to Pontormo, by means +of these moneys, to set his hand to the fitting up of his house, he made +a beginning with his building, but did nothing of much importance. +Indeed, although some persons declare that he had it in mind to spend +largely, according to his position, and to make a commodious dwelling +and one that might have some design, it is nevertheless evident that +what he did, whether this came from his not having the means to spend +or from some other reason, has rather the appearance of a building erected +by an eccentric and solitary creature than of a well-ordered habitation, +for the reason that to the room where he used to sleep and at times to +work, he had to climb by a wooden ladder, which, after he had gone in, +he would draw up with a pulley, to the end that no one might go up to +him without his wish or knowledge. But that which most displeased +other men in him was that he would not work save when and for whom +he pleased, and after his own fancy; wherefore on many occasions, being +sought out by noblemen who desired to have some of his work, and once +in particular by the Magnificent Ottaviano de' Medici, he would not +serve them; and then he would set himself to do anything in the world +for some low and common fellow, at a miserable price. Thus the mason +Rossino, a person of no small ingenuity considering his calling, by playing +the simpleton, received from him in payment for having paved certain +rooms with bricks, and for having done other mason's work, a most +beautiful picture of Our Lady, in executing which Jacopo toiled and +laboured as much as the mason did in his building. And so well did the +good Rossino contrive to manage his business, that, in addition to the +above-named picture, he got from the hands of Jacopo a most beautiful +portrait of Cardinal Giulio de' Medici, copied from one by the hand of +Raffaello, and, into the bargain, a very beautiful little picture of a +Christ Crucified, which, although the above-mentioned Magnificent +Ottaviano bought it from the mason Rossino as a work by the hand of +<span class="pagenum"><a id="Page_175" name="Page_175"></a>[Pg 175]</span> Jacopo, nevertheless is known for certain to be by the hand of Bronzino, +who executed it all by himself while he was working with Jacopo at the +Certosa, although it afterwards remained, I know not why, in the possession +of Pontormo. All these three pictures, won by the industry of the +mason from the hands of Jacopo, are now in the house of M. Alessandro +de' Medici, the son of the above-named Ottaviano.</p> + +<p>Now, although this procedure of Jacopo's and his living solitary and +after his own fashion were not much commended, that does not mean +that if anyone wished to excuse him he would not be able, for the reason +that for those works that he did we should acknowledge our obligation +to him, and for those that he did not choose to do we should not blame +or censure him. No craftsman is obliged to work save when and for whom +he pleases; and, if he suffered thereby, the loss was his. As for solitude, +I have always heard say that it is the greatest friend of study; and, even +if it were not so, I do not believe that much blame is due to him who lives +in his own fashion without offence to God or to his neighbour, dwelling +and employing his time as best suits his nature.</p> + +<p>But to return, leaving these matters on one side, to the works of +Jacopo: Duke Alessandro had caused to be restored in some parts the +Villa of Careggi, formerly built by the elder Cosimo de' Medici, at a +distance of two miles from Florence, and had carried out the ornamentation +of the fountain and the labyrinth, which wound through the centre of +an open court, into which there opened two loggie, and his Excellency +ordained that those loggie should be painted by Jacopo, but that company +should be given him, to the end that he might finish them the quicker, +and that conversation with others, keeping him cheerful, might be a means +of making him work without straying so much into vagaries and distilling +away his brains. Nay, the Duke himself sent for Jacopo and +besought him that he should strive to deliver that work completely +finished as soon as possible. Jacopo, therefore, having summoned +Bronzino, caused him to paint a figure on each of five spandrels of the +vaulting, these being Fortune, Justice, Victory, Peace, and Fame; and +on the other spandrel, for they are in all six, Jacopo with his own hand +painted a Love. Then, having made the design for some little boys +<span class="pagenum"><a id="Page_176" name="Page_176"></a>[Pg 176]</span> that were going in the oval space of the vaulting, with various animals +in their hands, and all foreshortened to be seen from below, he caused +them all, with the exception of one, to be executed in colour by Bronzino, +who acquitted himself very well. And since, while Jacopo and Bronzino +were painting these figures, the ornaments all around were executed by +Jacone, Pier Francesco di Jacopo, and others, the whole of that work +was finished in a short time, to the great satisfaction of the Lord Duke. +His Excellency wished to have the other loggia painted, but he was not +in time, for the reason that the above-named work having been finished +on the 13th of December in the year 1536, on the 6th of the January +following that most illustrious lord was assassinated by his kinsman +Lorenzino; and so this work and others remained without their completion.</p> + +<p>The Lord Duke Cosimo having then been elected, and the affair of +Montemurlo having passed off happily, a beginning was made with the +works of Castello, according as has been related in the Life of Tribolo, +and his most illustrious Excellency, in order to gratify Signora Donna +Maria, his mother, ordained that Jacopo should paint the first loggia, +which one finds on the left hand in entering the Palace of Castello. +Whereupon, setting to work, Jacopo first designed all the ornaments that +were to be painted there, and had them executed for the most part by +Bronzino and the masters who had executed those of Careggi. Then, +shutting himself up alone, he proceeded with that work after his own +fancy and wholly at his leisure, studying with all diligence, to the end +that it might be much better than that of Careggi, which he had not +executed entirely with his own hand. This he was able to do very conveniently, +having eight crowns a month for it from his Excellency, whom +he portrayed, young as he was, in the beginning of that work, and likewise +Signora Donna Maria, his mother. Finally, after that loggia had +been closed for five years, no one being able to have even a glance at +what Jacopo had done, one day the above-named lady became enraged +against him, and commanded that the staging and the screen should be +thrown to the ground. But Jacopo, having begged for grace and having +obtained leave to keep it covered for a few days more, first retouched it +<span class="pagenum"><a id="Page_177" name="Page_177"></a>[Pg 177]</span> where it seemed to him to be necessary, and then caused a cloth of his +own contriving to be made, which should keep that loggia covered when +those lords were not there, to the end that the weather might not, as it +had done at Careggi, eat away those pictures, which were executed in oils +on the dry plaster; and at last he uncovered it, amid the lively expectation +of everyone, all thinking that in that work Jacopo must have surpassed +himself and done something altogether stupendous. But the effect did +not correspond completely to the expectations, for the reason that, +although many parts of the work are good, the general proportion of +the figures appears very poor in form, and certain distorted attitudes +that are there seem to be wanting in measure and very strange. But +Jacopo excused himself by saying that he had never worked very willingly +in that place, for the reason that, being without the city, it seemed much +exposed to the fury of the soldiery and to other suchlike dangers; but there +was no need for him to be afraid of that, seeing that time and the weather, +from the work having been executed in the manner already described, +are eating it away little by little.</p> + +<p>In the centre of the vaulting, then, he painted a Saturn with the +Sign of Capricorn, and a Hermaphrodite Mars in the Sign of the Lion +and of the Virgin, and some little Angels who are flying through the air, +like those of Careggi. He then painted in certain gigantic women, +almost entirely nude, Philosophy, Astrology, Geometry, Music, Arithmetic, +and a Ceres; with some little scenes in medallions, executed with +various tints of colour and appropriate to the figures. Although this +work, so fatiguing and so laboured, did not give much satisfaction, or, +if a certain measure of satisfaction, much less than was expected, yet his +Excellency declared that it pleased him, and availed himself of Jacopo +on every occasion, chiefly because that painter was held in great veneration +by the people on account of the very good and beautiful works that +he had executed in the past.</p> + +<p>The Lord Duke then brought to Florence the Flemings, Maestro +Giovanni Rosso and Maestro Niccolò, excellent masters in arras-tapestries, +to the end that the art might be learned and practised by the Florentines, +and he ordained that tapestries in silk and gold should be executed for +<span class="pagenum"><a id="Page_178" name="Page_178"></a>[Pg 178]</span> the Council Hall of the Two Hundred at a cost of 60,000 crowns, and +that Jacopo and Bronzino should make the cartoons with the stories of +Joseph. But, when Jacopo had made two of them, in one of which is +the scene when the death of Joseph is announced to Jacob and the +bloody garments are shown to him, and in the other the Flight of Joseph +from the wife of Potiphar, leaving his garment behind, they did not +please either the Duke or those masters who had to put them into execution, +for they appeared to them to be strange things and not likely to be +successful when executed in woven tapestries. And so Jacopo did not +go on to make any more cartoons, but returned to his usual labours and +painted a picture of Our Lady, which was presented by the Duke to Signor +Don ..., who took it to Spain.</p> + +<p>Now his Excellency, following in the footsteps of his ancestors, has +always sought to embellish and adorn his city; and he resolved, the +necessity having come to his notice, to cause to be painted all the principal +chapel of the magnificent Temple of S. Lorenzo, formerly built by the +great Cosimo de' Medici, the elder. Whereupon he gave the charge of +this to Jacopo da Pontormo, either of his own accord, or, as was said, +at the instance of Messer Pier Francesco Ricci, his major-domo; and +Jacopo was very glad of that favour, for the reason that, although the +greatness of the work, he being well advanced in years, gave him food +for thought and perhaps dismayed him, on the other hand he reflected +how, in a work of such magnitude, he had a fair field to show his ability +and worth. Some say that Jacopo, finding that the work had been allotted +to him notwithstanding that Francesco Salviati, a painter of great fame, +was in Florence and had brought to a happy conclusion the painting of +that hall in the Palace which was once the audience-chamber of the +Signoria, must needs declare that he would show the world how to draw +and paint, and how to work in fresco, and, besides this, that the other +painters were but ordinary hacks, with other words equally insolent and +overbearing. But I myself always knew Jacopo as a modest person, +who spoke of everyone honourably and in a manner proper to an orderly +and virtuous craftsman, such as he was, and I believe that these words +were imputed to him falsely, and that he never let slip from his mouth +<span class="pagenum"><a id="Page_179" name="Page_179"></a>[Pg 179]</span> any such boastings, which are for the most part the marks of vain men +who presume too much upon their merits, in which manner of men there +is no place for virtue or good breeding. And, although I might have kept +silent about these matters, I have not chosen to do so, because to proceed +as I have done appears to me the office of a faithful and veracious historian; +it is enough that, although these rumours went around, and +particularly among our craftsmen, nevertheless I have a firm belief that +they were the words of malicious persons, Jacopo having always been in +the experience of everyone modest and well-behaved in his every action.</p> + +<p>Having then closed up that chapel with walls, screens of planks, +and curtains, and having given himself over to complete solitude, he kept +it for a period of eleven years so well sealed up, that excepting himself +not a living soul entered it, neither friend nor any other. It is true, +indeed, that certain lads who were drawing in the sacristy of Michelagnolo, +as young men will do, climbed by its spiral staircase on to the +roof of the church, and, removing some tiles and the plank of one of the +gilded rosettes that are there, saw everything. Of which having heard, +Jacopo took it very ill, but took no further notice beyond closing up +everything with greater care; although some say that he persecuted those +young men sorely, and sought to make them regret it.</p> + +<p>Imagining, then, that in this work he would surpass all other painters, +and perchance, so it was said, even Michelagnolo, he painted in the upper +part, in a number of scenes, the Creation of Adam and Eve, the Eating +of the Forbidden Fruit, their Expulsion from Paradise, the Tilling of the +Earth, the Sacrifice of Abel, the Death of Cain, the Blessing of the Seed +of Noah, and the same Noah designing the plan and the measurements +of the Ark. Next, on one of the lower walls, each of which is fifteen +braccia in each direction, he painted the inundation of the Deluge, in +which is a mass of dead and drowned bodies, and Noah speaking with God. +On the other wall is painted the Universal Resurrection of the Dead, +which has to take place on the last and final day; with such variety and +confusion, that the real resurrection will perhaps not be more confused, +or more full of movement, in a manner of speaking, than Pontormo +painted it. Opposite to the altar and between the windows—that is, +<span class="pagenum"><a id="Page_180" name="Page_180"></a>[Pg 180]</span> on the central wall—there is on either side a row of nude figures, who, +clinging to each other's bodies with hands and legs, form a ladder wherewith +to ascend to Paradise, rising from the earth, where there are many +dead in company with them, and at the end, on either side, are two dead +bodies clothed with the exception of the legs and also the arms, with which +they are holding two lighted torches. At the top, in the centre of the +wall, above the windows, he painted in the middle Christ on high in His +Majesty, who, surrounded by many Angels all nude, is raising those dead +in order to judge them.</p> + +<p>But I have never been able to understand the significance of this +scene, although I know that Jacopo had wit enough for himself, and also +associated with learned and lettered persons; I mean, what he could +have intended to signify in that part where there is Christ on high, raising +the dead, and below His feet is God the Father, who is creating Adam +and Eve. Besides this, in one of the corners, where are the four Evangelists, +nude, with books in their hands, it does not seem to me that in a +single place did he give a thought to any order of composition, or measurement, +or time, or variety in the heads, or diversity in the flesh-colours, +or, in a word, to any rule, proportion, or law of perspective; for the +whole work is full of nude figures with an order, design, invention, composition, +colouring, and painting contrived after his own fashion, and +with such melancholy and so little satisfaction for him who beholds the +work, that I am determined, since I myself do not understand it, although +I am a painter, to leave all who may see it to form their own judgment, +for the reason that I believe that I would drive myself mad with it and +would bury myself alive, even as it appears to me that Jacopo in the +period of eleven years that he spent upon it sought to bury himself and +all who might see the painting, among all those extraordinary figures. +And although there may be seen in this work some bit of a torso with the +back turned or facing to the front and some attachments of flanks, executed +with marvellous care and great labour by Jacopo, who made finished +models of clay in the round for almost all the figures, nevertheless the +work as a whole is foreign to his manner, and, as it appears to almost +every man, without proportion, the torsi for the most part being large and +<span class="pagenum"><a id="Page_181" name="Page_181"></a>[Pg 181]</span> the legs and arms small, to say nothing of the heads, in which there is +not a trace to be seen of that singular excellence and grace that he used +to give to them, so greatly to the satisfaction of those who examine his +other pictures. Wherefore it appears that in this work he paid no attention +to anything save certain parts, and of the other more important parts +he took no account whatever. In a word, whereas he had thought in +this work to surpass all the paintings in the world of art, he failed by a +great measure to equal his own works that he had executed in the past; +whence it is evident that he who seeks to strive beyond his strength and, +as it were, to force nature, ruins the good qualities with which he may +have been liberally endowed by her. But what can we or ought we to +do save have compassion upon him, seeing that the men of our arts are +as much liable to error as others? And the good Homer, so it is said, +even he sometimes nods; nor shall it ever be said that there is a single +work of Jacopo's, however he may have striven to force his nature, in +which there is not something good and worthy of praise.</p> + +<p>He died shortly before finishing the work, and some therefore declare +that he died of grief, ending his life very much dissatisfied with himself; +but the truth is that, being old and much exhausted by making portraits +and models in clay and labouring so much in fresco, he sank into a dropsy, +which finally killed him at the age of sixty-five. After his death there +were found in his house many designs, cartoons, and models in clay, all +very beautiful, and a picture of Our Lady executed by him excellently +well and in a lovely manner, to all appearance many years before, which +was sold by his heirs to Piero Salviati. Jacopo was buried in the first +cloister of the Church of the Servite Friars, beneath the scene of the +Visitation that he had formerly painted there; and he was followed to +the grave by an honourable company of the painters, sculptors, and +architects.</p> + +<p>Jacopo was a frugal and sober man, and in his dress and manner +of life he was rather miserly than moderate; and he lived almost always +by himself, without desiring that anyone should serve him or cook for +him. In his last years, indeed, he kept in his house, as it were to bring +him up, Battista Naldini, a young man of fine spirit, who took such care +<span class="pagenum"><a id="Page_182" name="Page_182"></a>[Pg 182]</span> of Jacopo's life as Jacopo would allow him to take; and under his master's +discipline he made no little proficiency in design, and became such, indeed, +that a very happy result is looked for from him. Among Pontormo's +friends, particularly in this last period of his life, were Pier Francesco +Vernacci and Don Vincenzio Borghini, with whom he took his recreation, +sometimes eating with them, but rarely. But above all others, and +always supremely beloved by him, was Bronzino, who loved him as +dearly, being grateful and thankful for the benefits that he had received +from him.</p> + +<p>Pontormo had very beautiful manners, and he was so afraid of death, +that he would not even hear it spoken of, and avoided having to meet +dead bodies. He never went to festivals or to any other places where +people gathered together, so as not to be caught in the press; and he was +solitary beyond all belief. At times, going out to work, he set himself +to think so profoundly on what he was to do, that he went away without +having done any other thing all day but stand thinking. And that this +happened to him times without number in the work of S. Lorenzo may +readily be believed, for the reason that when he was determined, like an +able and well-practised craftsman, he had no difficulty in doing what +he desired and had resolved to put into execution.</p> + +<hr style="width: 65%;"> +<h2><a name="mosca" id="mosca"></a><span class="pagenum"><a id="Page_183" name="Page_183"></a>[Pg 183]</span> SIMONE MOSCA</h2> + +<hr style="width: 65%;"> +<h2><a name="life_of_simonemosca" id="life_of_simonemosca"></a><span class="pagenum"><a id="Page_185" name="Page_185"></a>[Pg 185]</span> LIFE OF SIMONE MOSCA<br> +SCULPTOR AND ARCHITECT</h2> + +<p>From the times of the ancient Greek and Roman sculptors to our own, +no modern carver has equalled the beautiful and difficult works that +they executed in their bases, capitals, friezes, cornices, festoons, trophies, +masks, candelabra, birds, grotesques, or other carved cornice-work, save +only Simone Mosca of Settignano, who in our own days has worked in +such a manner in those kinds of labour, that he has made it evident by +his genius and art that all the diligence and study of the modern carvers +who had come before him had not enabled them up to that time to +imitate the best work of those ancients or to adopt the good method +in their carvings, for the reason that their works incline to dryness, and +the turn of their foliage to spikiness and crudeness. He, on the other +hand, has executed foliage with great boldness, rich and abundant in +new curves, the leaves being carved in various manners with beautiful +indentations and with the most lovely flowers, seeds and creepers that +there are to be seen, not to speak of the birds that he has contrived to +carve so gracefully in various forms among his foliage and festoons, +insomuch that it may be affirmed that Simone alone—be it said without +offence to the others—has been able to remove from the marble that +hardness which craftsmen are wont very often to leave in their sculptures, +and has brought his works by his handling of the chisel to such a point +that they have the appearance of things real to the touch, and the same +may be said of the cornices and other suchlike labours, executed by him +with most beautiful grace and judgment.</p> + +<p>This Simone, having given his attention to design in his childhood +with much profit, and having then become well-practised in carving, +<span class="pagenum"><a id="Page_186" name="Page_186"></a>[Pg 186]</span> was taken by Maestro Antonio da San Gallo, who recognized his genius +and noble spirit, to Rome, where he caused him to execute, as his first +works, some capitals and bases and several friezes of foliage for the +Church of S. Giovanni de' Fiorentini, and some works for the Palace of +Alessandro, the first Cardinal Farnese. Simone meanwhile devoting +himself, particularly on feast-days, and whenever he could snatch the +time, to drawing the antiquities of that city, no long time passed before +he was drawing and tracing ground-plans with more grace and neatness +than did Antonio himself, insomuch that, having applied himself heart +and soul to the study of designing foliage in the ancient manner, of giving +a bold turn to the leaves, and of perforating his works in such a way as +to make them perfect, taking the best from the best examples, one +thing from one and one from another, in a few years he formed a manner +of composition so beautiful and so catholic, that afterwards he did everything +well, whether in company or by himself. This may be seen in +some coats of arms that were to be placed in the above-named Church +of S. Giovanni in the Strada Giulia; in one of which coats of arms, making +a great lily, the ancient emblem of the Commune of Florence, he carved +upon it some curves of foliage with creepers and seeds executed so well +that they made everyone gasp with wonder. Nor had any long time +passed when Antonio da San Gallo—who was directing for Messer Agnolo +Cesis the execution of the marble ornaments of a chapel and tomb for +himself and his family, which were afterwards erected in the year 1550 +in the Church of S. Maria della Pace—caused part of certain pilasters +and socles covered with friezes, which were going into that work, to be +wrought by Simone, who executed them so well and with such beauty, +that they make themselves known among the others, without my saying +which they are, by their grace and perfection; nor is it possible to see +any altars for the offering of sacrifices after the ancient use more beautiful +and fanciful than those that he made on the base of that work. Afterwards +the same San Gallo, who was superintending the execution of the +mouth of the well in the cloister of S. Pietro in Vincula, caused Mosca +to make the borders with some large masks of great beauty.</p> + +<p>Not long afterwards he returned one summer to Florence, having a +<span class="pagenum"><a id="Page_187" name="Page_187"></a>[Pg 187]</span> good name among craftsmen, and Baccio Bandinelli, who was making +the Orpheus of marble that was placed in the court of the Medici Palace, +after having the base for that work carried out by Benedetto da Rovezzano, +caused Simone to execute the festoons and other carvings therein, which +are very beautiful, although one festoon is unfinished and only worked +over with the gradine. Having then done many works in grey sandstone, +of which there is no need to make record, he was planning to +return to Rome, when in the meantime the sack took place, and he did +not go after all. But, having taken a wife, he was living in Florence +with little to do: wherefore, being obliged to support his family, and +having no income, he was occupying himself with any work that he +could obtain. Now in those days there arrived in Florence one Pietro +di Subisso, a master-mason of Arezzo, who always had under him a good +number of workmen, for the reason that all the building in Arezzo passed +through his hands; and he took Simone, with many others, to Arezzo. +There he set Simone to making a chimney-piece of grey sandstone and +a water-basin of no great cost, for a hall in the house of the heirs of +Pellegrino da Fossombrone, a citizen of Arezzo; which house had been +formerly erected by M. Piero Geri, an excellent astrologer, after the +design of Andrea Sansovino, and had been sold by his nephews. Setting +to work, therefore, and beginning with the chimney-piece, Simone placed +it upon two pilasters, making two niches in the thickness of the wall, +in the direction of the fire, and laying upon those pilasters architrave, +frieze, and great cornice, and over all a pediment with festoons and with +the arms of that family. And thus, proceeding with it, he executed it +with carvings of such a kind and so well varied, and with such subtle +craftsmanship, that, although that work was of grey sandstone, under his +hands it became more beautiful than if it had been of marble, and more +astounding; which, indeed, came to pass the more readily because that +stone is not as hard as marble and, if anything, rather sandy. Putting +extraordinary diligence, therefore, into the work, he executed on the +pilasters trophies in half-relief and low-relief, than which nothing more +bizarre or more beautiful could be done, with helmets, buskins, shields, +quivers, and various other arms; and he likewise made there masks, +<span class="pagenum"><a id="Page_188" name="Page_188"></a>[Pg 188]</span> sea monsters, and other graceful fantasies, all so well figured and cut +out that they have the appearance of silver. The frieze that is between +the architrave and the great cornice, he made with a most beautiful +turn of foliage, all pierced through and full of birds that are executed so +well, that they seem to be flying through the air; and it is a marvellous +thing to see their little legs, no larger than life, and yet completely in the +round and detached from the stone in such a way as one cannot believe +to be possible; and, in truth, the work seems rather a miracle than a +product of human art. Besides all this, he made there in a festoon some +leaves and fruits so well cut out, and wrought with such delicacy and +care, that in a certain sense they surpass the reality. Lastly, the work +is finished off by some great masks and candelabra, which are truly most +beautiful. Although Simone need not have given such care to a work +of that kind, for which he was to be but poorly paid by those patrons, +who could not afford much, yet, drawn by the love that he bore to art +and by the pleasure that a man feels in working well, he chose to do so; +but he did not do the same with the water-basin for the same patrons, +for he made it beautiful enough, but simple.</p> + +<p>At the same time he assisted Pietro di Subisso, who did not know +much, to make many designs of buildings and plans of houses, doors, +windows, and other things appertaining to that profession. On the +Canto degli Albergotti, below the school and university of the Commune, +there is a window of considerable beauty constructed after his design; +and there are two of them in the house of Ser Bernardino Serragli in the +Pelliceria. On the corner of the Palazzo de' Priori there is a large +escutcheon of Pope Clement VII in grey sandstone, by the hand of the +same master; and under his direction, and partly by his hand, was +executed for Bernardino di Cristofano da Giuovi a chapel of grey sandstone +in the Corinthian Order, which was erected in the Abbey of S. Fiore, +a passing handsome monastery of Black Friars in Arezzo. For this +chapel the patron wished to have the altar-piece painted by Andrea del +Sarto, and then by Rosso, but in this he never succeeded, seeing that, +being hindered now by one thing and now by another, they were not +able to serve him. Finally Bernardino turned to Giorgio Vasari, but +<span class="pagenum"><a id="Page_189" name="Page_189"></a>[Pg 189]</span> with him also he had difficulties, and there was much trouble in finding +a way of arranging the matter, for the reason that, the chapel being +dedicated to S. James and S. Christopher, he wished to have in the picture +Our Lady with the Child in her arms, and also the giant S. Christopher +with another little Christ on his shoulder; which composition, besides +that it appeared monstrous, could not be accommodated, nor was it +possible to paint a giant of six braccia in an altar-piece of four braccia. +Giorgio, then, being desirous to serve Bernardino, made him a design +in this manner: he placed Our Lady upon some clouds, with a sun behind +her back, and on the ground he painted S. Christopher kneeling on one +side of the picture, with one leg in the water, and with the other in the +act of moving in order to rise, while Our Lady is placing upon his shoulders +the Infant Christ with the globe of the world in His hands. In the rest +of the altar-piece, also, were to be S. James and the other Saints, accommodated +in such a manner that they would not have been in the way; +and this design, pleasing Bernardino, would have been put into execution, +but Bernardino in the meantime died, and the chapel was left in that +condition to his heirs, who have not done anything more.</p> + +<p>Now, while Simone was labouring at that chapel, there passed +through Arezzo Antonio da San Gallo, who was returning from the work +of fortifying Parma and was going to Loreto to finish the work of the +Chapel of the Madonna, to which he had sent Tribolo, Raffaello da Montelupo, +the young Francesco da San Gallo, Girolamo da Ferrara, Simone +Cioli, and other carvers, masons, and stone-cutters, in order to finish +that which Andrea Sansovino at his death had left incomplete; and he +contrived to take Simone to work there. He ordained that Simone +should have charge not only of the carvings, but also of the architecture +and of the other ornaments of that work; in which commissions Mosca +acquitted himself very well, and, what is more, executed many things +perfectly with his own hands, particularly some little boys of marble in +the round, which are on the pediments of the doors; and although there +are also some by the hand of Simone Cioli, the best—and rare indeed +they are—are all by Mosca. He made, likewise, all the festoons of marble +that are around all that work, with most beautiful artistry and carvings +<span class="pagenum"><a id="Page_190" name="Page_190"></a>[Pg 190]</span> full of grace and worthy of all praise; wherefore it is no marvel that +these works are so esteemed and admired, that many craftsmen from +distant parts have set off in order to go to see them.</p> + +<p>Antonio da San Gallo, then, recognizing how much Mosca was worth, +made use of him in any undertaking of importance, with the intention of +remunerating him some day when the occasion might present itself, and +of giving him to know how much he loved him for his abilities. When, +therefore, after the death of Pope Clement, a new Supreme Pontiff had +been elected in Paul III of the Farnese family, who ordained that, the +mouth of the well at Orvieto having remained unfinished, Antonio should +have charge of it, Antonio took Mosca thither, to the end that he might +carry that work to completion, which presented some difficulties, and +particularly in the ornamentation of the doors, for the reason that, +the curve of the mouth being round, convex without and concave within, +those two circles conflicted with each other and caused a difficulty in +accommodating the squared doors with the ornaments of stone. But +the virtue of that singular genius of Simone's solved every difficulty, and +executed the whole work with such grace and perfection, that no one +could see that there had ever been any difficulty. He finished off the +mouth and border of the well in grey sandstone, filled in with bricks, together +with some very beautiful inscriptions on white stone and other +ornaments, making the doors correspond with one another. He also +made there in marble the arms of the above-named Pope Paul Farnese, +or rather, where they had previously been made of balls for Pope Clement, +who had carried out that work, Mosca was forced—and he succeeded +excellently well—to make lilies out of the balls in relief, and thus to +change the arms of the Medici into those of the house of Farnese; notwithstanding, +as I have said (for so do things go in this world), that the +author of that vast, regal, and magnificent work was Pope Clement VII, +of whom in this last and most imposing part no mention whatever was +made.</p> + +<div class="figcenter"> +<a name="img020" id="img020"></a> +<img src="images/img020-tb.jpg" width="400" height="647" alt="The Altar of the three Kings." title=""> +<p class="caption">THE ALTAR OF THE THREE KINGS<br> +(<i>After</i> Simone Mosca <i>and</i> Michele San Michele. <i>Orvieto: Duomo</i>)<br> +<i>Alinari</i><br> +<span class="link"><a href="images/img020.jpg">View larger image</a></span></p> +</div> + +<p>While Simone was engaged in finishing this well, the Wardens of +Works of S. Maria, the Duomo of Orvieto, desiring to give completion +to the chapel of marble that had been carried as far as the socle under +<span class="pagenum"><a id="Page_191" name="Page_191"></a>[Pg 191]</span> the direction of Michele San Michele of Verona, with some carvings, +besought Simone, whom they had come to know as a master of true +excellence, that he should attend to it. Whereupon they came to terms, +and Simone, liking the society of the people of Orvieto, brought his +family thither, in order to live in greater comfort; and then he set himself +to work with a quiet and composed mind, being greatly honoured by +everyone in that place. When, therefore, as it were by way of sample, +he had made a beginning with some pilasters and friezes, the excellence +and ability of Simone were recognized by those men, and there was +assigned to him a salary of two hundred crowns of gold a year, and with +this, continuing to labour, he carried that work well forward. Now in the +centre, to fill up the ornaments, there was to go a scene of marble in +half-relief, representing the Adoration of the Magi; and there was summoned +at the suggestion of Simone his very dear friend Raffaello da +Montelupo, the Florentine sculptor, who, as has been related, executed +half of that scene in a very beautiful manner. In the ornamentation of +this chapel, then, are certain socles, each two and a half braccia in breadth, +which are on either side of the altar, and upon these are pilasters five +braccia high, two on either side, between which is the story of the Magi; +and on the pilasters next to the story, of which two of the faces are seen, +are carved some candelabra, with friezes of grotesques, masks, little +figures, and foliage, which are things divine. In the predella at the +foot, which runs right over the altar from pilaster to pilaster, is a little +half-length Angel who is holding an inscription with his hands, with +festoons over all, between the capitals of the pilasters, where the architrave, +frieze and great cornice project to the extent of the depth of the +pilasters. Above those in the centre, in a space equal to their breadth, +curves an arch that serves as an ornament to the above-named story of +the Magi, and in this, namely, in the lunette, are many Angels; and above +the arch is a cornice, which runs from one pilaster to another, that is, +from those on the outside, which form a frontispiece to the whole work. +In this part is a God the Father in half-relief; and at the sides, where +the arch rises over the pilasters, are two Victories in half-relief. All +this work, then, is so well composed, and executed with such a wealth +<span class="pagenum"><a id="Page_192" name="Page_192"></a>[Pg 192]</span> of carvings, that one cannot have enough of examining the minute details +of the perforations and the excellence of all the things that are in the +capitals, cornices, masks, festoons, and candelabra in the round, which +form the completion of a work truly worthy to be admired as something +rare.</p> + +<p>Simone Mosca thus dwelling in Orvieto, a son of his called Francesco, +and as a bye-name Il Moschino, a boy fifteen years of age, who had been +produced by nature with chisels in his hand, as it were, and with so +beautiful a genius, that he did with supreme grace whatsoever thing he +desired to do, executed in this work under the discipline of his father, +miraculously, so to speak, the Angels that are holding the inscriptions +between the pilasters, then the God the Father in the pediment, as well as +the Angels that are in the lunette of that work, above the Adoration of +the Magi executed by Raffaello da Montelupo, and finally the Victories +at the sides of the lunette; by which works he caused everyone to wonder +and marvel. All this was the reason that, when the chapel was finished, +Simone was commissioned by the Wardens of Works of the Duomo to +make another similar to it, on the other side, to the end that the space +of the Chapel of the High-Altar might be suitably set off, on the understanding +that the figures should be varied without varying the architecture, +and that in the centre there should be the Visitation of Our Lady, +which was allotted to the above-named Moschino. Then, having made +an agreement about every matter, the father and son set their hands to +the work; and, while they were engaged upon it, Mosca was very helpful +and useful to that city, making for many citizens architectural designs +of houses and many other edifices. Among other things, he executed +in that city the ground-plan and façade of the house of Messer Raffaello +Gualtieri, father of the Bishop of Viterbo, and of Messer Felice, both +noblemen and lords of great excellence and reputation; and likewise the +ground-plans of some houses for the honourable Counts della Cervara. +He did the same in many places near Orvieto, and made, in particular, +the models of many structures and buildings for Signor Pirro Colonna +da Stripicciano.</p> + +<div class="figcenter"> +<a name="img021" id="img021"></a> +<img src="images/img021-tb.jpg" width="400" height="604" alt="The Salutation." title=""> +<p class="caption">THE SALUTATION<br> +(<i>After</i> Simone Mosca. <i>Orvieto: Duomo</i>)<br> +<i>Alinari</i><br> +<span class="link"><a href="images/img021.jpg">View larger image</a></span></p> +</div> + +<p>The Pope then causing the fortress to be built in Perugia where there +<span class="pagenum"><a id="Page_193" name="Page_193"></a>[Pg 193]</span> had stood the houses of the Baglioni, Antonio da San Gallo, having sent +for Mosca, gave him the charge of making the ornaments; where there +were executed after his designs all the doors, windows, chimney-pieces, +and other suchlike things, and in particular two large and very beautiful +escutcheons of his Holiness. In that work Simone formed a connection +with M. Tiberio Crispo, who was Castellan there; and he was sent by +M. Tiberio to Bolsena, where, on the highest point of that stronghold, +overlooking the lake, he arranged a large and beautiful habitation, partly +on the old structure and partly founding anew, with a very handsome +flight of steps and many ornaments of stone. Nor did any long time +pass before Messer Tiberio, having been made Castellan of the Castello +di S. Angelo, caused Mosca to go to Rome, where he made use of him in +many matters in renovating the apartments of that castle; and, among +other things, he caused him to make over the arches that rise over the +new loggia, which faces towards the meadows, two escutcheons of the +above-named Pope in marble, which are so well wrought and perforated +in the mitre, or rather, triple crown, in the keys, and in certain festoons +and little masks, that they are marvellous.</p> + +<p>Having then returned to Orvieto in order to finish the work of the +chapel, he laboured there continuously all the time that Pope Paul was +alive, executing it in such a manner that it proved to be, as may be +seen, no less excellent than the first, and perhaps even better. For +Mosca, as has been said, bore such love to art, and took such pleasure in +working, that he could never have enough of it, almost striving after +the impossible, and that rather from a desire for glory than from any +wish to accumulate gold, for he was more pleased to work well at his +profession than to acquire property.</p> + +<p>Finally, Julius III having been elected Pope in the year 1550, and +all men thinking that work would be begun in earnest on the building of +S. Pietro, Mosca went off to Rome and sought to obtain at a fixed price +from the superintendents of that building the commission for some +capitals of marble, but more to accommodate Gian Domenico, his son-in-law, +than for any other reason. Now Giorgio Vasari, who always +bore love to Mosca, found him in Rome, whither he also had been summoned +<span class="pagenum"><a id="Page_194" name="Page_194"></a>[Pg 194]</span> to the service of the Pope, and he thought that without fail he +would have some work to offer him, for the reason that the old Cardinal +dal Monte, when he died, had left directions with his heirs that a tomb of +marble should be built for him in S. Pietro a Montorio, and the above-named +Pope Julius, his nephew and heir, had ordained that this should +be done, and had given the charge of the matter to Vasari; and Giorgio +wished that in that tomb Mosca should execute some extraordinary work +in carving. But, after Giorgio had made some models for that tomb, the +Pope discussed the whole matter with Michelagnolo Buonarroti before +he would make up his mind; whereupon Michelagnolo told his Holiness +that he should not involve himself with carvings, saying that, although +they enrich a work, they confuse the figures, whereas squared work, +when it is well done, is much more beautiful than carving and is a better +accompaniment for the figures, for the reason that figures do not brook +other carvings about them: and even so did his Holiness order the work +to be done. Wherefore Vasari was not able to give Mosca anything to do +in that work, and he was dismissed; and the tomb was finished without +any carvings, which made it much better than it would have been with +them.</p> + +<p>Simone having then returned to Orvieto, arrangements were made +to erect after his designs, in the cross at the head of the church, two great +tabernacles of marble, works truly graceful, beautiful, and well-proportioned, +for one of which Raffaello da Montelupo made in marble a +nude Christ with the Cross on His shoulder in a niche, and for the other +Moschino made a S. Sebastian, likewise nude. Work being then continued +on the execution of the Apostles for the church, Moschino made +a S. Peter and a S. Paul of the same size, which were held to be creditable +statues. Meanwhile the work of the above-mentioned Chapel of the +Visitation was not abandoned, and it was carried so far forward during +the lifetime of Mosca, that there was nothing left to do save two birds, +and even these would not have been wanting, had not M. Bastiano +Gualtieri, Bishop of Viterbo, as has been related, kept Simone occupied +with an ornament of marble in four pieces, which, when finished, he sent +to France to the Cardinal of Lorraine, who held it very dear, for it was +<span class="pagenum"><a id="Page_195" name="Page_195"></a>[Pg 195]</span> beautiful to a marvel, all full of foliage and wrought with such diligence, +that it is believed to have been one of the best that Simone ever executed.</p> + +<p>Not long after he had finished that work, in the year 1554, Simone +died, at the age of fifty-eight, to the no small loss of that church of +Orvieto, in which he was buried with honour.</p> + +<p>Francesco Moschino was then elected to his father's place by the +Wardens of Works of that same Duomo, but, thinking nothing of it, he +left it to Raffaello da Montelupo, and went to Rome, where he finished +for M. Ruberto Strozzi two very graceful figures in marble, the Mars +and Venus, namely, which are in the court of his house in the Banchi. +Afterwards he executed a scene with little figures, almost in full-relief, +in which is Diana bathing with her Nymphs, who changes Actæon into a +stag, and he is devoured by his own hounds; and then Francesco came to +Florence, and gave the work to the Lord Duke Cosimo, whom he much +desired to serve. Whereupon his Excellency, having accepted and much +commended it, did not disappoint the desire of Moschino, even as he has +never disappointed anyone who has sought to work valiantly in any +calling. For he was attached to the Works of the Duomo at Pisa, and +has laboured up to the present day with great credit to himself in the +Chapel of the Nunziata, formerly built by Stagio da Pietrasanta, executing +the Angel and the Madonna in figures of four braccia, together with the +carvings and every other thing; in the centre, Adam and Eve, who have +the apple-tree between them; and a large God the Father with certain +little boys on the vaulting of that chapel, which is all of marble, as are +also the two statues, which have gained for Moschino no little fame and +honour. And since that chapel is little less than finished, his Excellency +has given orders that the chapel opposite to it should be taken in hand, +which is called the Chapel of the Incoronata and stands immediately +at the entrance of the church, on the left hand. The same Moschino, +in connection with the nuptial festivities of her most serene Majesty +Queen Joanna and the most illustrious Prince of Florence, has acquitted +himself very well in those works that were given him to do.</p> + +<hr style="width: 65%;"> +<h2><a name="girolamo" id="girolamo"></a><span class="pagenum"><a id="Page_197" name="Page_197"></a>[Pg 197]</span> GIROLAMO AND BARTOLOMMEO +GENGA, AND GIOVAN BATTISTA +SAN MARINO, SON-IN-LAW +OF GIROLAMO</h2> + +<hr style="width: 65%;"> +<h2><a name="life_of_girolamo" id="life_of_girolamo"></a><span class="pagenum"><a id="Page_199" name="Page_199"></a>[Pg 199]</span> LIVES OF GIROLAMO AND BARTOLOMMEO GENGA, +AND OF GIOVAN BATTISTA SAN MARINO, +SON-IN-LAW OF GIROLAMO</h2> + + +<p>Girolamo Genga, who was of Urbino, was apprenticed by his father +at the age of ten to the wool trade, but he followed it with the greatest +ill-will, and, according as he could find time and place, he was for ever +drawing in secret with charcoal or an ordinary pen. Which circumstance +being observed by some friends of his father, they exhorted him +to remove the boy from that trade and to set him to painting; wherefore +he placed Girolamo with certain masters of little reputation in Urbino. +But, having seen his beautiful manner, and that he was like to make +proficience, when the boy was fifteen years of age the father apprenticed +him to Maestro Luca Signorelli of Cortona, an excellent master in +painting of that time; with whom he stayed many years, following him +to the March of Ancona, to Cortona, and to many other places where he +executed works, and in particular to Orvieto, in the Duomo of which city, +as has been related, Luca painted a chapel of Our Lady with an infinite +number of figures. At this our Girolamo worked continually, and he +was always one of the best disciples that Luca had.</p> + +<p>Then, having parted from Signorelli, he placed himself with Pietro +Perugino, a much esteemed painter, with whom he stayed about three +years, giving considerable attention to perspective, which was so well +grasped and understood by him, that it may be said that he became +very excellent therein, even as is evident from his works in painting and +architecture. This was at the same time that there was with Pietro +the divine Raffaello da Urbino, who was much the friend of Girolamo.</p> + +<p>After leaving Pietro, he went off to live in Florence, where he studied +<span class="pagenum"><a id="Page_200" name="Page_200"></a>[Pg 200]</span> for some considerable time. Then, having gone to Siena, he stayed there +for months and even years with Pandolfo Petrucci, in whose house he +painted many rooms, which, from their being very well designed and +coloured in a pleasing manner, were rightly admired and praised by all +the people of Siena, and particularly by the above-named Pandolfo, by +whom he was always looked upon with great favour and cherished most +dearly. Pandolfo having died, he then returned to Urbino, where +Guidobaldo, the second Duke, retained him for a considerable time, +causing him to paint horse's caparisons, such as were used in those times, +in company with Timoteo da Urbino, a painter of passing good name +and much experience, together with whom he painted a chapel of S. Martino +in the Vescovado for Messer Giovan Piero Arrivabene of Mantua, +then Bishop of Urbino. In this, both the one and the other of them +gave proof of very beautiful genius, as the work itself demonstrates, in +which is a portrait of the above-named Bishop, which has all the appearance +of life. Genga was also particularly employed by the same Duke +to execute scenery and settings for comedies, which, since he had a very +good understanding of perspective and was well-grounded in architecture, +he made marvellously beautiful.</p> + +<p>He then departed from Urbino and went to Rome, where he executed +in painting, in S. Caterina da Siena on the Strada Giulia, a Resurrection +of Christ, wherein he made himself known as a rare and excellent master, +having done it with good design and with figures foreshortened in beautiful +attitudes and well coloured, to which those who are of the profession +and have seen it are able to bear ample testimony. While living in +Rome, he gave much attention to measuring the antiquities there, as is +proved by writings in the possession of his heirs.</p> + +<div class="figcenter"> +<a name="img022" id="img022"></a> +<img src="images/img022-tb.jpg" width="400" height="603" alt="Madonna and Child with Saints." title=""> +<p class="caption">MADONNA AND CHILD WITH SAINTS<br> +(<i>After the painting by</i> Girolamo Genga. <i>Milan: Brera, 202</i>)<br> +<i>Alinari</i><br> +<span class="link"><a href="images/img022.jpg">View larger image</a></span></p> +</div> + +<p>At this time, Duke Guido having died, and having been succeeded +by Francesco Maria, third Duke of Urbino, Girolamo was recalled from +Rome by Francesco Maria, and constrained to return to Urbino at the +time when the above-named Duke took to wife and brought into his +dominions Leonora Gonzaga, the daughter of the Marquis of Mantua; +and he was employed by his Excellency in making triumphal arches, +festive preparations, and scenery for comedies, which were all so well +<span class="pagenum"><a id="Page_201" name="Page_201"></a>[Pg 201]</span> arranged and carried into execution by him, that Urbino could be likened +to a Rome in triumph; from which he gained very great fame and honour. +Afterwards, in due course, the Duke was expelled from his state for the +last time, when he went to Mantua, and Girolamo followed him, even as +he had already done in his other periods of exile, always sharing one +and the same fortune with him; and he retired with his family to Cesena. +There he painted for the high-altar of S. Agostino an altar-piece in oils, +at the top of which is an Annunciation, and below that a God the Father, +and still lower down a Madonna with the Child in her arms, between the +four Doctors of the Church—a work truly beautiful and worthy to be +esteemed. He then painted in fresco a chapel on the right hand in +S. Francesco at Forlì, containing the Assumption of the Madonna, with +many Angels and other figures—Prophets, namely, and Apostles—around; +in this, also, it is evident how admirable was his genius, and the +work was judged to be very beautiful. He also painted there the story +of the Holy Spirit, which he finished in the year 1512, for Messer Francesco +Lombardi, a physician; and other works throughout Romagna, for all +which he gained honour and rewards.</p> + +<p>The Duke having then returned to his state, Girolamo also returned, +and was retained by him and employed as architect in restoring an old +palace on the Monte dell'Imperiale, above Pesaro, and adding to it +another tower. That palace was adorned with scenes in painting from +the actions of the Duke, after the directions and designs of Girolamo, +by Francesco da Forlì and Raffaello dal Borgo, painters of good repute, +and by Camillo Mantovano, a very rare master in painting landscapes +and verdure; and the young Florentine Bronzino also worked there, +among others, as has been related in the Life of Pontormo. Thither, +likewise, were summoned the Dossi of Ferrara, and a room was assigned +to them to paint; but since, when they had finished that room, it did not +please the Duke, he had it thrown down and repainted by the masters +mentioned above. Girolamo then erected the tower there, one hundred +and twenty feet in height, with thirteen flights of wooden steps whereby +to ascend to the top, so well fitted and concealed in the walls, that they +can be withdrawn with ease from story to story, which renders that +<span class="pagenum"><a id="Page_202" name="Page_202"></a>[Pg 202]</span> tower very strong and marvellous. A desire afterwards came to the +Duke to fortify Pesaro, and he caused Pier Francesco da Viterbo, a most +excellent architect, to be sent for; and Girolamo always taking part in the +discussions that arose about the fortifications, his discourse and his opinions +were held to be good and full of judgment. Wherefore, if I may be +allowed to say it, the design of that fortress came rather from Girolamo +than from any other, although that sort of architecture was always little +esteemed by him, appearing to him to be of small value and dignity.</p> + +<p>The Duke, then, perceiving how rare a genius he had at his command, +determined to build on the above-named Monte dell'Imperiale, +near the old palace, a new palace; and so he built that to be seen there +at the present day, which being a very beautiful and well-planned fabric, +and full of apartments, colonnades, courts, loggie, fountains, and most +delightful gardens, there is no Prince passes that way that does not go +to see it. Wherefore it was right fitting that Pope Paul III, on his way +to Bologna with all his Court, should go to see it and find it entirely to +his satisfaction. From the design of this same master, the Duke caused +the Palace at Pesaro to be restored, and also the little park, making +within it a house representing a ruin, which is a very beautiful thing to +see. Among other things, there is a staircase similar to that of the +Belvedere in Rome, which is very handsome. By means of him the +Duke had the fortress of Gradara restored, and likewise the Palace at +Castel Durante, insomuch that all that is good in those works came from +that admirable genius. Girolamo also built the corridor of the Palace +at Urbino, above the garden, and he enclosed a courtyard on one side +with perforated stone-work executed with great diligence.</p> + +<p>From the design of the same master, likewise, were begun the Convent +of the Frati Zoccolanti at Monte Baroccio and S. Maria delle Grazie at +Sinigaglia, which in the end remained unfinished by reason of the death +of the Duke. And about the same time was begun after his directions +and design the Vescovado of Sinigaglia, of which the model, made by +him, is still to be seen. He also executed some works in sculpture and +figures of clay and wax in the round, beautiful enough, which are in the +house of his family at Urbino. For the Imperiale he made some Angels +<span class="pagenum"><a id="Page_203" name="Page_203"></a>[Pg 203]</span> in clay, which he afterwards caused to be cast in bronze and placed +over the doors of the rooms decorated with stucco-work in the new palace; +and these are very beautiful. For the Bishop of Sinigaglia he executed +some fantasies in wax in the form of drinking-cups, which were afterwards +to be made in silver; and with greater diligence he made some +others, most beautiful, for the Duke's credence. He showed fine invention +in masquerades and costumes, as was seen in the time of the above-named +Duke, by whom he was passing well rewarded, as he deserved, for +his rare parts and good qualities.</p> + +<p>His son, Guidobaldo, who reigns at the present day, having then +succeeded him as Duke, caused a beginning to be made by the above-named +Genga with the Church of S. Giovan Battista at Pesaro, which, +having been carried out according to the model of Girolamo by his son +Bartolommeo, is of very beautiful architecture in every part, for he +imitated the antique considerably, and made it in such a manner that +it is the most beautiful temple that there is in those parts, as the work +itself clearly demonstrates, being able to challenge comparison with the +most famous buildings in Rome. After his designs and directions, likewise, +there was executed in S. Chiara at Urbino by the Florentine sculptor +Bartolommeo Ammanati, who was then very young, the tomb of Duke +Francesco Maria, which, for a simple work of little cost, proved to be +very beautiful. In like manner, the Venetian painter Battista Franco +was summoned by him to paint the great chapel of the Duomo at Urbino, +at the time when there was being made after his design the ornament of +the organ of that Duomo, which is not yet finished.</p> + +<p>Shortly afterwards, the Cardinal of Mantua having written to the +Duke that he should send him Girolamo, because he wished to restore the +Vescovado of that city, Girolamo went thither and fitted it up very +well with lights and with all that the above-named lord desired. Besides +this, the Cardinal, wishing to make a beautiful façade for the Duomo, +caused him to prepare a model for it, which was executed by him in +such a manner, that it may be said that it surpassed all the architectural +works of his time, for the reason that in it may be seen grandeur, proportion, +grace, and great beauty of composition.</p> + +<p><span class="pagenum"><a id="Page_204" name="Page_204"></a>[Pg 204]</span> Having then returned from Mantua, now an old man, he went to +live at a villa of his own, called Le Valle, in the territory of Urbino, in +order to rest and enjoy the fruits of his labours; in which place, not +wishing to remain idle, he executed in chalk a Conversion of S. Paul +with figures and horses of considerable size and in very beautiful attitudes, +which was finished by him with such patience and diligence, that no +greater could be either described or seen, as is evident from the work itself, +now in the possession of his heirs, by whom it is treasured as a very dear +and precious thing. There, while living with a tranquil mind, he was +attacked by a terrible fever, and, after he had received all the Sacraments +of the Church, finished the course of his life, to the infinite grief of his +wife and children, on the 11th of July in the year 1551, at the age of +about seventy-five. Having been carried from that place to Urbino, he +was buried with honour in the Vescovado, in front of the Chapel of +S. Martino formerly painted by him; and his death caused extraordinary +sorrow to his relatives and to all the citizens.</p> + +<p>Girolamo was always an excellent man, insomuch that nothing was +ever heard of any bad action committed by him. He was not only a +painter, sculptor, and architect, but also a good musician and a fine +talker, and his society was very agreeable. He was full of courtesy and +lovingness towards his relatives and friends; and, what entitles him to +no little praise, he laid the foundation of the house of Genga at Urbino +with his good name and property. He left two sons, one of whom followed +in his footsteps and gave his attention to architecture, in which, if he +had not been hindered by death, he was like to become most excellent, +as his beginnings demonstrate; and the other, who devoted himself to the +cares of the family, is still alive at the present day.</p> + +<p>A disciple of Girolamo, as has been related, was Francesco Menzochi +of Forlì, who first began to draw by himself when still a child, imitating +and copying an altar-piece in the Duomo of Forlì, by the hand of Marco +Parmigiano<a id="FNanchor7" name="FNanchor7"></a><a href="#Footnote7" title="Go to footnote 7" class="fnanchor">[7]</a> of Forlì, containing a Madonna, S. Jerome, and other +Saints, and held at that time to be the best of the modern pictures; and +he occupied himself likewise with imitating the works of Rondinino<a id="FNanchor8" name="FNanchor8"></a><a href="#Footnote8" title="Go to footnote 8" class="fnanchor">[8]</a> da +<span class="pagenum"><a id="Page_205" name="Page_205"></a>[Pg 205]</span> Ravenna, a painter more excellent than Marco, who a little time before +had placed on the high-altar of the above-named Duomo a most beautiful +altar-piece, in which was painted Christ giving the Communion to the +Apostles, and in a lunette above it a Dead Christ, and in the predella of +that altar-piece very graceful scenes with little figures from the life of +S. Helen. These works brought him forward in such a manner, that, +when Girolamo Genga went, as we have said, to paint the chapel in +S. Francesco at Forlì for M. Bartolommeo Lombardino, Francesco at +that time went to live with Genga, seizing that opportunity of learning, +and did not cease to serve him as long as he lived. There, and also at +Urbino and in the work of the Imperiale at Pesaro, he laboured continually, +as has been related, esteemed and beloved by Genga, because +he acquitted himself very well, as many altar-pieces by his hand bear +witness that are dispersed throughout the city of Forlì, and particularly +three of them which are in S. Francesco, besides that there are some +scenes of his in fresco in the hall of the Palace.</p> + +<p>He painted many works throughout Romagna; and at Venice, also, +for the very reverend Patriarch Grimani, he executed four large pictures +in oils that were placed in the ceiling of a little hall in his house, round +an octagon that Francesco Salviati painted; in which pictures are the +stories of Psyche, held to be very beautiful. But the place where he +strove to do his utmost and to put forth all his powers, was the Chapel +of the most holy Sacrament in the Church of Loreto, in which he painted +some Angels round a tabernacle of marble wherein rests the Body of +Christ, and two scenes on the walls of that chapel, one of Melchizedek +and the other of the Manna raining down, both executed in fresco; and +over the vaulting he distributed fifteen little scenes of the Passion of +Jesus Christ, nine of which he executed in painting, and six in half-relief. +This was a rich work and well conceived, and he won for it such honour, +that he was not suffered to depart until he had decorated another chapel +of equal size in the same place, opposite to the first, and called the Chapel +of the Conception, with the vaulting all wrought with rich and very +beautiful stucco-work; in which he taught the art of stucco-work to his +son Pietro Paolo, who has since done him honour and has become a well-practised +<span class="pagenum"><a id="Page_206" name="Page_206"></a>[Pg 206]</span> master in that field. Francesco, then, painted in fresco on the +walls the Nativity and the Presentation of Our Lady, and over the altar +he painted S. Anne and the Virgin with the Child in her arms, and two +Angels that are crowning her. And, in truth, his works are much extolled +by the craftsmen, and likewise his ways and his life, which was that of a +true Christian; and he lived in peace, enjoying that which he had gained +with his labours.</p> + +<p>A pupil of Genga, also, was Baldassarre Lancia of Urbino, who, +having given his attention to many ingenious matters, has since practised +his hand in fortifications, at which he worked on a salary for the +Signoria of Lucca, in which place he stayed for some time. He then +attached himself to the most illustrious Duke Cosimo de' Medici, whom +he came to serve in the fortifications of the states of Florence and Siena; +and the Duke has employed and still employs him in many ingenious +works, in which Baldassarre has laboured valiantly and with honour, +winning remunerations from that grateful lord.</p> + +<p>Many others also served Girolamo Genga, of whom, from their +not having attained to any great excellence, there is no need to +speak.</p> + +<p>To the above-named Girolamo, at Cesena, in the year 1518, the +while that he was accompanying the Duke his master in exile, there +was born a son called Bartolommeo, who was brought up by him very +decently, and then, when he was well grown, placed to learn grammar, +in which he made more than ordinary proficience. Afterwards, when he +was eighteen years of age, the father, perceiving that he was inclined more +to design than to letters, caused him to study design under his own +discipline for about two years: which finished, he sent him to study +design and painting in Florence, where he knew that the true study of +that art was to be found, on account of the innumerable works by excellent +masters that are there, both ancient and modern. Living in that place, +and attending to design and to architecture, Bartolommeo formed a +friendship with Giorgio Vasari, the painter and architect of Arezzo, and +with the sculptor Bartolommeo Ammanati, from whom he learned many +things appertaining to art. Finally, after having been three years in +<span class="pagenum"><a id="Page_207" name="Page_207"></a>[Pg 207]</span> Florence, he returned to his father, who was then attending to the building +of S. Giovanni Battista at Pesaro. Whereupon, the father having seen +the designs of Bartolommeo, it appeared to him that he acquitted himself +much better in architecture, for which he had a very good inclination, +than in painting; wherefore, keeping him under his own care some months, +he taught him the methods of perspective. And afterwards he sent him +to Rome, to the end that he might see the marvellous buildings, both +ancient and modern, that are there, of which, in the four years that he +stayed there, he took the measurements, and made therein very great +proficience. Then, on his way back to Urbino, passing through Florence +in order to see Francesco<a id="FNanchor9" name="FNanchor9"></a><a href="#Footnote9" title="Go to footnote 9" class="fnanchor">[9]</a> San Marino, his brother-in-law, who was living +there as engineer to the Lord Duke Cosimo, Signor Stefano Colonna da +Palestrina, at that time general to that lord, having heard of his ability, +sought to engage him with himself, with a good salary. But he, being +much indebted to the Duke of Urbino, would not attach himself to others, +and returned to Urbino, where he was received by that Duke into his +service, and ever afterwards held very dear.</p> + +<p>Not long afterwards, the Duke taking to wife Signora Vittoria +Farnese, Bartolommeo received from the Duke the charge of executing +the festive preparations for those nuptials, which he did in a truly honourable +and magnificent manner. Among other things, he made a triumphal +arch in the Borgo di Valbuona, so beautiful and so well wrought, that +there is none larger or more beautiful to be seen; whence it became +evident how much knowledge of architecture he had acquired at Rome. +Then the Duke, having to go into Lombardy, as General to the Signoria +of Venice, to inspect the fortresses of that dominion, took with him +Bartolommeo, of whom he availed himself much in preparing designs +and sites of fortresses, and in particular at the Porta S. Felice in Verona. +Now, while Bartolommeo was in Lombardy, the King of Bohemia, who +was returning from Spain to his kingdom, passed through that province +and was received with honour by the Duke at Verona; and he saw those +fortresses. And, since they pleased him, after he had become acquainted +with Bartolommeo, he wished to take him to his kingdom, in order to +<span class="pagenum"><a id="Page_208" name="Page_208"></a>[Pg 208]</span> make use of him in fortifying his territories, with a good salary; but the +Duke would not give him leave, and the matter went no further.</p> + +<p>When they had returned to Urbino, no long time passed before +Girolamo, the father, came to his death; whereupon Bartolommeo was +set by the Duke in the place of his father over all the buildings of the +state, and sent to Pesaro, where he continued the building of S. Giovanni +Battista, after the model of Girolamo. During that time he built in the +Palace of Pesaro, over the Strada de' Mercanti, a suite of rooms which +the Duke now occupies; a fine work, with most beautiful ornaments in +the form of doors, staircases, and chimney-pieces, of which things he was +an excellent architect. Which having seen, the Duke desired that in +the Palace of Urbino as well he should make another suite of apartments, +almost entirely on the façade that faces towards S. Domenico; and this, +when finished, proved to be the most beautiful suite in that court, or +rather, palace, and the most ornate that is there. Not long afterwards, +the Signori of Bologna having asked for him for some days from the +Duke, his Excellency granted him to them very readily; and he, having +gone, served them in what they desired in such a manner, that they +remained very well satisfied and showed him innumerable courtesies.</p> + +<p>He then made for the Duke, who desired to construct a sea-port at +Pesaro, a very beautiful model; and this was taken to Venice, to the +house of Count Giovan Giacomo Leonardi, at that time the Duke's +Ambassador in that place, to the end that it might be seen by many +of the profession who often assembled, with other choice spirits, to hold +discussions and disputations on various matters in the house of the above-named +Count, who was a truly remarkable man. There, then, after that +model had been seen and the fine discourse of Genga had been heard, the +model was held by all without exception to be masterly and beautiful, +and the master who had made it a man of the rarest genius. But, when +he had returned to Pesaro, the model after all was not carried into execution, +because new circumstances of great importance drove that project +out of the Duke's mind.</p> + +<p>About that time Genga made the design of the Church of Monte +L'Abbate, and also that of the Church of S. Piero in Mondavio, which +<span class="pagenum"><a id="Page_209" name="Page_209"></a>[Pg 209]</span> was carried into execution by Don Pier Antonio Genga in such a manner, +that, for a small work, I do not believe that there is anything better to +be seen.</p> + +<p>These works finished, no long time passed before, Pope Julius III +having been elected, and the Duke of Urbino having been created by +him Captain General of Holy Church, his Excellency went to Rome, and +Genga with him. There, his Holiness wishing to fortify the Borgo, +at the request of the Duke Genga made some very beautiful designs, +which, with a number of others, are in the collection of his Excellency +at Urbino. For these reasons the fame of Bartolommeo spread abroad, +and the Genoese, while he was living with the Duke in Rome, asked for +him from his Excellency, in order to make use of him in some fortifications +of their own; but the Duke would not grant him to them, either at that +time or on another occasion when they again asked for him, after his +return to Urbino.</p> + +<p>In the end, when he was near the close of his life, there were sent +to Pesaro by the Grand Master of Rhodes two knights of that Order of +Jerusalem, to beseech his Excellency that he should deign to lend them +Bartolommeo, to the end that they might take him to the Island of +Malta, in which they wished to construct not only very large fortifications +wherewith to defend themselves against the Turks, but also two cities, +so as to unite many villages that were there into one or two places. +Whereupon the Duke, whom the above-named knights in two months +had not been able to induce to grant them Bartolommeo, although they +had availed themselves of the good services of the Duchess and others, +finally complied with their request for a fixed period, at the entreaty of +a good Capuchin father, to whom his Excellency bore a very great affection, +and refused nothing that he asked; and the artifice that was used +by that holy man, who made it a matter of conscience with the Duke, +saying that it was in the interest of the Christian Republic, was not +otherwise than highly commendable and worthy of praise. And thus +Bartolommeo, who had never received any favour greater than this, +departed with the above-named knights from Pesaro on the 20th of +January, 1558; but they lingered in Sicily, being delayed by the fortune +<span class="pagenum"><a id="Page_210" name="Page_210"></a>[Pg 210]</span> of the sea, and they did not reach Malta, where they were received with +rejoicing by the Grand Master, until the 11th of March. Having then +been shown what he was to do, he acquitted himself so well in those +fortifications, that it could not be expressed in words; insomuch that to +the Grand Master and all those noble knights it appeared that they had +found another Archimedes, and this they proved by making him most +honourable presents and holding him, as a rare master, in supreme +veneration. Then, after having made the models of a city, of some +churches, and of the palace and residence of the same Grand Master, +with most beautiful invention and design, he fell sick of his last illness, +for, having set himself one day in the month of July, the heat in that +island being very great, between two doors to refresh himself, he had not +been there long when he was assailed by insufferable pains of the body +and by a cruel flux, which killed him in seventeen days, to the infinite +sorrow of the Grand Master and all those most honourable and valiant +knights, to whom it appeared that they had found a man after their own +hearts, when he was snatched from them by death. The Lord Duke of +Urbino, having been advised of this sad news, felt indescribable sorrow, +and bewailed the death of poor Genga; and then, having resolved to +demonstrate to the five children whom he had left behind him the love +that he bore to him, he took them under his particular and loving protection.</p> + +<p>Bartolommeo showed beautiful invention in masquerades, and was +a rare master in making scenic settings for comedies. He delighted to +write sonnets and other compositions in verse and prose, and in none +was he better than in the ottava rima, in which manner of writing he was +an author of passing good renown. He died at the age of forty, in the +year 1558.</p> + +<p>Giovan Battista Bellucci of San Marino having been the son-in-law +of Girolamo Genga, I have judged that it would not be well to withhold +what I have to say of him, after the Lives of Girolamo and Bartolommeo +Genga, and particularly in order to show that men of fine intellect, if +only they be willing, succeed in everything, even if they set themselves +late in life to difficult and honourable enterprises; for study, when added +<span class="pagenum"><a id="Page_211" name="Page_211"></a>[Pg 211]</span> to natural inclination, has often been seen to accomplish marvellous +things. Giovan Battista, then, was born in San Marino on the 27th of +September, 1506, to Bartolommeo Bellucci, a person of passing good +family in that place; and after he had learned the first rudiments of the +humanities, when eighteen years of age, he was sent by that same Bartolommeo, +his father, to Bologna, to attend to the pursuit of commerce +under Bastiano di Ronco, a merchant of the Guild of Wool. Having been +there about two years, he returned to San Marino sick of a quartan +fever, which hung upon him two years; of which being finally cured, he +set up a wool business of his own, with which he continued up to the +year 1535, at which time his father, perceiving that Giovan Battista +was in good circumstances, gave him for a wife in Cagli a daughter of +Guido Peruzzi, a person of considerable standing in that city. But she +died not long afterwards, and Giovan Battista went to Rome to seek out +Domenico Peruzzi, his brother-in-law, who was equerry to Signor Ascanio +Colonna; and by means of him Giovan Battista lived for two years with +that lord as a gentleman. He then returned home; and it came about +that, as he frequented Pesaro, Girolamo Genga, having come to know him +as an excellent and well-behaved young man, gave him a daughter of his +own for wife and took him into his house. Whereupon Giovan Battista, +being much inclined to architecture, and giving his attention with much +diligence to the architectural works that his wife's father was executing, +began to gain a very good grasp of the various manners of building, and +to study Vitruvius; and thus, what with that which he acquired by +himself and that which Genga taught him, he became a good architect, +and particularly in the matter of fortifications and other things relating +to war.</p> + +<p>Then, in the year 1541, his wife died, leaving him two boys; and +he remained until 1543 without coming to any further resolution about +his life. At that time, in the month of September, there appeared in +San Marino one Signor Gustamante, a Spaniard, sent by his Imperial +Majesty to that Republic on some affairs. Giovan Battista was recognized +by him as an excellent architect, and at his instance he entered not +long afterwards into the service of the most illustrious Lord Duke Cosimo, +<span class="pagenum"><a id="Page_212" name="Page_212"></a>[Pg 212]</span> as engineer. And thus, having arrived in Florence, his Excellency +made use of him for all the fortifications of his dominion, according to +the necessities that arose every day; and, among other things, the fortress +of the city of Pistoia having been begun many years before, San Marino, +by the desire of the Duke, completely finished it, with great credit to +himself, although it is no great work. Then, under the direction of the +same architect, a very strong bastion was built at Pisa. Wherefore, +his method of work pleasing the Duke, his Excellency caused him to +construct—where, as has been related, there had been built on the hill +of S. Miniato, without Florence, the wall that curves from the Porta S. +Niccolò to the Porta S. Miniato—the fortification that encloses a gate +by means of two bastions, and guards the Church and Monastery of +S. Miniato; making on the summit of that hill a fortress that dominates +the whole city and looks on the outer side towards the east and the south, +a work that was vastly extolled. The same Giovan Battista made many +designs and ground-plans of various fortifications for places in the states +of his Excellency, and also various rough models in clay, which are in +the possession of the Lord Duke. And since San Marino was a man of +fine genius and very studious, he wrote a little book on the methods of +fortifications; which work, a beautiful and useful one, is now in the +possession of Messer Bernardo Puccini, a gentleman of Florence, who +learned many things with regard to the matters of architecture and +fortification from San Marino, who was much his friend.</p> + +<p>Giovan Battista, after having designed in the year 1554 many +bastions that were to be built round the walls of the city of Florence, +some of which were begun in earth, went with the most illustrious lord, +Don Garzia di Toledo, to Monte Alcino, where, having made some +trenches, he mined under a bastion and so shattered it, that he threw +down the breastwork; but as it was falling to the ground a harquebus-ball +struck San Marino in the thigh. Not long afterwards, his wound +being healed, he went secretly to Siena and took the ground-plan of +that city, and of the earthworks that the people of Siena had made at the +Porta Camollia; which plan of fortifications he then showed to the Lord +Duke and to the Marchese di Marignano, making it clear to them that +<span class="pagenum"><a id="Page_213" name="Page_213"></a>[Pg 213]</span> the work was not difficult to capture or to secure afterwards on the side +towards Siena. That this was true was proved by the fact, the night +that it was taken by the above-named Marquis, with whom Giovan +Battista had gone by order and commission of the Duke. On that +account, then, the Marquis, having conceived an affection for him and +knowing that he had need of his judgment and ability in the field (that +is, in the war against Siena), so went to work with the Duke, that his +Excellency sent Giovan Battista off as captain of a strong company of +foot-soldiers; whereupon he served from that day onward in the field, +as a valiant soldier and an ingenious architect. Finally, having been +sent by the Marquis to Aiuola, a fortress in the Chianti, while disposing +the artillery he was wounded in the head by a harquebus-ball; wherefore +he was taken by his soldiers to the Pieve di S. Paolo, which belongs to +Bishop da Ricasoli, and died in a few days, and was carried to San Marino, +where he received honourable burial from his children.</p> + +<p>Giovan Battista deserves to be highly extolled, for the reason that, +besides having been excellent in his profession, it is a marvellous thing +that, having set himself to give attention to it late in life, at the age +of thirty-five, he should have made in it the proficience that he did +make; and it may be believed that if he had begun younger, he would +have become a very rare master. Giovan Battista was something +obstinate, so that it was a serious undertaking to move him from any +opinion. He took extraordinary pleasure in reading stories, and turned +them to very great advantage, writing down with great pains the most +notable things in them. His death much grieved the Duke and his innumerable +friends; wherefore his son Gian Andrea, coming to kiss his +Excellency's hands, was received kindly by him and welcomed most +warmly with very generous offers, on account of the ability and fidelity +of the father, who died at the age of forty-eight.</p> + +<hr style="width: 65%;"> +<h2><a name="sanmichele" id="sanmichele"></a><span class="pagenum"><a id="Page_215" name="Page_215"></a>[Pg 215]</span> MICHELE SAN MICHELE</h2> + +<div class="figcenter"> +<a name="img023" id="img023"></a> +<img src="images/img023-tb.jpg" width="500" height="348" alt="Paolo Veronese: Industry." title=""> +<p class="caption">PAOLO VERONESE: INDUSTRY<br> +(<i>Venice: Doges' Palace, Sala Anticollegio. Ceiling Painting</i>)<br> +<span class="link"><a href="images/img023.jpg">View larger image</a></span></p> +</div> + +<hr style="width: 65%;"> +<h2><a name="life_of_sanmichele" id="life_of_sanmichele"></a><span class="pagenum"><a id="Page_217" name="Page_217"></a>[Pg 217]</span> LIFE OF MICHELE SAN MICHELE<br> +ARCHITECT OF VERONA</h2> + + +<p>Michele San Michele, who was born at Verona in the year 1484, and +learned the first principles of architecture from his father Giovanni and +his uncle Bartolommeo, both excellent architects, went off at sixteen +years of age to Rome, leaving his father and two brothers of fine parts, +one of whom, called Jacopo, devoted himself to letters, and the other, +named Don Camillo, was a Canon Regular and General of that Order. +Having arrived there, he studied the ancient remains of architecture in +such a manner, and with such diligence, observing and measuring everything +minutely, that in a short time he became renowned and famous +not only in Rome, but throughout all the places that are around that +city. Moved by his fame, the people of Orvieto summoned him as architect +to their celebrated temple, with an honourable salary; and while he +was employed in their service, he was summoned for the same reason to +Monte Fiascone, as architect for the building of their principal temple; +and thus, serving both the one and the other of these places, he executed +all that there is to be seen in these two cities in the way of good architecture. +Among other works, a most beautiful tomb was built after his +design in S. Domenico at Monte Fiascone—I believe, for one of the +Petrucci, a nobleman of Siena—which cost a great sum of money, and +proved to be marvellous. Besides all this, he made an infinite number +of designs for private houses in those places, and made himself known +as a man of great judgment and excellence.</p> + +<p>Thereupon Pope Clement VII, proposing to make use of him in the +most important operations of the wars that were stirring at that time +throughout all Italy, gave him as a companion to Antonio da San Gallo, +<span class="pagenum"><a id="Page_218" name="Page_218"></a>[Pg 218]</span> with a very good salary, to the end that they might go together to inspect +all the places of greatest importance in the States of the Church, and, +wherever necessary, might see to the construction of fortifications; above +all, at Parma and Piacenza, because those two cities were most distant +from Rome, and nearest and most exposed to the perils of war. Which +duty having been executed by Michele and Antonio to the full satisfaction +of the Pontiff, there came to Michele a desire, after all those years, +to revisit his native city and his relatives and friends, and even more to +see the fortresses of the Venetians. Wherefore, after he had been a few +days in Verona, he went to Treviso to see the fortress there, and then to +Padua for the same purpose; but the Signori of Venice, having been +warned of this, became suspicious that San Michele might be going about +inspecting those fortresses with a hostile intent. Having therefore been +arrested at Padua at their command and thrown into prison, he was +examined at great length; but, when it was found that he was an honest +man, he was not only liberated by them, but also entreated that he should +consent to enter the service of those same Signori of Venice, with honourable +rank and salary. He excused himself by saying that he was not able +to do that for the present, being engaged to his Holiness; but he gave +them fair promises, and then took his leave of them. Now he had not +been away long, when he was forced to depart from Rome—to such purpose +did those Signori go to work in order to secure him—and to go, with +the gracious leave of the Pope, whom he first satisfied in full, to serve +those most illustrious noblemen, his natural lords. Abiding with them, +he gave soon enough a proof of his judgment and knowledge by making +at Verona (after many difficulties which the work appeared to present) +a very strong and beautiful bastion, which gave infinite satisfaction to +those Signori and to the Lord Duke of Urbino, their Captain General. +After these things, the same Signori, having determined to fortify Legnago +and Porto, places most important to their dominion, and situated +upon the River Adige, one on one side and the other on the opposite side, +but joined by a bridge, commissioned San Michele to show them by means +of a model how it appeared to him that those places could and should be +fortified. Which having been done by him, his design gave infinite satisfaction +<span class="pagenum"><a id="Page_219" name="Page_219"></a>[Pg 219]</span> to the Signori and to the Duke of Urbino. Whereupon, arrangements +having been made for all that had to be done, San Michele executed +the fortifications of those two places in such a manner, that among works +of that kind there is nothing better to be seen, or more beautiful, or more +carefully considered, or stronger, as whoever has seen them well knows.</p> + +<p>This done, he fortified in the Bresciano, almost from the foundations, +Orzinuovo, a fortress and port similar to Legnago. San Michele +being then sought for with great insistence by Signor Francesco Sforza, +last Duke of Milan, the Signori consented to grant him leave, but for +three months only. Having therefore gone to Milan, he inspected all the +fortresses of that State, and gave directions in every place for all that it +seemed to him necessary to do, and that with such credit and so much to +the satisfaction of the Duke, that his Excellency, besides thanking the +Signori of Venice, presented five hundred crowns to San Michele. And +with this occasion, before returning to Venice, Michele went to Casale di +Monferrato, in order to see that very strong and beautiful fortress and +city, the architecture of which was the work of Matteo San Michele, an +excellent architect, his cousin; and also an honoured and very beautiful +tomb of marble erected in S. Francesco in the same city, likewise under +the direction of Matteo.</p> + +<p>Having then returned home, he had no sooner arrived than he was +sent with the above-named Duke of Urbino to inspect La Chiusa, a fortress +and pass of much importance, above Verona, and then all the places in +Friuli, Bergamo, Vicenza, Peschiera, and others, of all which, and of what +seemed to him to be required, he gave minute information in writing to +the Signori. Having next been sent by the same Signori to Dalmatia, +to fortify the cities and other places of that province, he inspected everything, +and carried out restorations with great diligence wherever he saw +the necessity to be greatest; and, since he could not himself despatch all +the work, he left there Gian Girolamo, his kinsman, who, after fortifying +Zara excellently well, erected from the foundations the marvellous fortress +of S. Niccolò, over the mouth of the harbour of Sebenico.</p> + +<p>Meanwhile Michele was sent in great haste to Corfu, and restored +the fortress there in many parts; and he did the same in all the places +<span class="pagenum"><a id="Page_220" name="Page_220"></a>[Pg 220]</span> in Cyprus and Candia. Even so, not long afterwards—on account of a +fear that the island might be lost, by reason of the war with the Turks, +which was imminent—he was forced to return there, after having inspected +the fortresses of the Venetian dominion in Italy, to fortify, with +incredible rapidity, Canea, Candia, Retimo, and Settia, but particularly +Canea and Candia, which he rebuilt from the foundations and made +impregnable. Napoli di Romania being then besieged by the Turks, +what with the diligence of S. Michele in fortifying it and furnishing it +with bastions, and the valour of Agostino Chisoni of Verona, a very +valiant captain, in defending it with arms, it was not after all taken by +the enemy or forced to surrender.</p> + +<p>These wars finished, San Michele went with the Magnificent M. Tommaso +Mozzenigo, Captain General of the Fleet, to fortify Corfu once +again; and they then returned to Sebenico, where the diligence of Gian +Girolamo, shown by him in constructing the above-mentioned fortress of +S. Niccolò, was much commended. San Michele having then returned to +Venice, where he was much extolled for the works executed in the Levant +in the service of that Republic, the Signori resolved to build a fortress +on the Lido, at the mouth of the port of Venice. Wherefore, giving the +charge of this to San Michele, they said to him that, if he had done such +great things far away from Venice, he should think how much it was his +duty to do in a work of such importance, which was to lie for ever under +the eyes of the Senate and of so many great lords; and that in addition, +besides beauty and strength in the work, there was expected of him +particular industry in founding truly and well in a marshy spot, which +was surrounded on all sides by the sea and exposed to the ebb and flow +of the tide, a pile of such importance. San Michele having therefore not +only made a very beautiful and solid model, but also considered the +method of laying the foundations and carrying it into effect, orders were +given to him that he should set his hand to the work without delay. +Whereupon, after receiving from those Signori all that was required, he +prepared the materials for filling in the foundations, and, besides this, +caused great numbers of piles to be sunk in double rows, and then, with +a vast number of persons well acquainted with those waters, he set himself +<span class="pagenum"><a id="Page_221" name="Page_221"></a>[Pg 221]</span> to make the excavations, and to contrive by means of pumps and +other instruments to keep the water pumped out, which was seen continually +rising from below, because the site was in the sea. One morning, +finally, resolving to make a supreme effort to begin the foundations, and +assembling as many men fit for the purpose as could be obtained, with +all the porters of Venice, and many of the Signori being present, in a +moment, with incredible assiduity and promptitude, the waters were +mastered for a little to such purpose, that the first stones of the foundations +were thrown instantly upon the piles already driven in; which +stones, being very large, took up much space and made an excellent +foundation. And so, continuing to keep the water pumped out without +losing any time, almost in a flash those foundations were laid, contrary +to the expectation of many who had looked upon that work as absolutely +impossible. The foundations, when finished, were allowed sufficient time +to settle, and then Michele erected upon them a mighty and marvellous +fortress, building it on the outer side all in rustic work, with very large +stones from Istria, which are of an extreme hardness and able to withstand +wind, frost, and the worst of weather. Wherefore that fortress, +besides being marvellous with regard to the site on which it is built, is +also, from the beauty of the masonry and from its incredible cost, one +of the most stupendous that there are in Europe at the present day, +rivalling the grandeur and majesty of the most famous edifices erected +by the greatness of the Romans; for, besides other things, it appears as +if made all from one block, and as though a mountain of living rock had +been carved and given that form, so large are the blocks of which it is +built, and so well joined and united together, not to speak of the ornaments +and other things that are there, seeing that one would never be +able to say enough to do them justice. Within it Michele afterwards +made a piazza, divided by pilasters and arches of the Rustic Order, which +would have proved to be a very rare work, if it had not been left unfinished.</p> + +<p>This vast pile having been carried to the condition that has been +described, some malign and envious persons said to the Signoria that, +although it was very beautiful and built with every possible consideration, +<span class="pagenum"><a id="Page_222" name="Page_222"></a>[Pg 222]</span> nevertheless it would be useless for any purpose, and perhaps even +dangerous, for the reason that on discharging the artillery—on account +of the great quantity and weight of artillery that the place required—it +was almost inevitable that the edifice should split open and fall to the +ground. It therefore appeared to those prudent Signori that it would +be well to make certain of this, the matter being one of great importance; +and they caused to be taken there a vast quantity of artillery, the heaviest +that could be found in the Arsenal. Then, all the embrasures both above +and below having been filled with cannon, and the cannon charged more +heavily than was usual, they were all fired off together; whereupon such +were the noise, the thunder, and the earthquake that resulted, that it +seemed as if the world had burst to pieces, and the fortress, with all those +flaming cannon, had the appearance of a volcano and of Hell itself. But +for all that the building stood firm in its former strength and solidity, +whereby the Senate was convinced of the great worth of San Michele, +and the evil-speakers were put to scorn as men of little judgment, although +they had put such terror into everyone, that the ladies then pregnant, +fearing some great disaster, had withdrawn from Venice.</p> + +<p>Not long afterwards a place of no little importance on the coast +near Venice, called Marano, having returned under the dominion of the +Venetians, was restored and fortified with promptitude and diligence +under the direction of San Michele. And about the same time, the fame +of Michele and of his kinsman, Gian Girolamo, spreading ever more +widely, they were requested many times, both the one and the other, to +go to live with the Emperor Charles V and with King Francis of France; +but, although they were invited under most honourable conditions, they +would not leave their own masters to enter into the service of foreigners. +Indeed, continuing in their offices, they went about inspecting and +restoring every year, wherever it was necessary, all the cities and fortresses +of the State of Venice.</p> + +<div class="figcenter"> +<a name="img024" id="img024"></a> +<img src="images/img024-tb.jpg" width="500" height="318" alt="Porta del Palio." title=""> +<p class="caption">PORTA DEL PALIO<br> +(<i>After</i> Michele San Michele. <i>Verona</i>)<br> +<i>Alinari</i><br> +<span class="link"><a href="images/img024.jpg">View larger image</a></span></p> +</div> + +<p>But more than all the rest did Michele fortify and adorn his native +city of Verona, making there, besides other things, those most beautiful +gates of the city, which have no equal in any other place. One was the +Porta Nuova, all in the Dorico-rustic Order, which in its solidity and +<span class="pagenum"><a id="Page_223" name="Page_223"></a>[Pg 223]</span> massive firmness corresponds to the strength of the site, being all built +of tufa and pietra viva,<a id="FNanchor10" name="FNanchor10"></a><a href="#Footnote10" title="Go to footnote 10" class="fnanchor">[10]</a> and having within it rooms for the soldiers +who mount guard there, and many other conveniences, never before +added to that kind of building. That edifice, which is quadrangular +and open above, serving with its embrasures as a cavalier, defends two +great bastions, or rather, towers, which stand one on either side of the +gate at proper distances; and all is done with so much judgment, cost, +and magnificence, that no one thought that for the future there could +be executed any work of greater grandeur or better design, even as none +such had been seen in the past. But a few years afterwards the same +San Michele founded and carried upwards the gate commonly called the +Porta dal Palio, which is in no way inferior to that described above, but +equally beautiful, grand, and magnificent, or even more so, and designed +excellently well. And, in truth, in these two gates the Signori of Venice +may be seen to have equalled, by means of the genius of this architect, +the edifices and fabrics of the ancient Romans.</p> + +<p>This last gate, then, is on the outer side of the Doric Order, with +immense projecting columns, all fluted according to the manner of that +Order; and these columns, which are eight in all, are placed in pairs. +Four serve to enclose the gate, with the arms of the Rectors of the city, +between one and another, on either side, and the other four, likewise in +pairs, make a finish to the angles of the gate, the façade of which is very +wide and all of bosses, or rather, blocks, not rough, but made smooth, +with very beautiful ornamentation; and the opening, or rather passage, +through the gate, is left quadrangular, but of an architecture that is new, +bizarre, and most beautiful. Above it is a great and very rich Doric +cornice, with all its appurtenances, over which, as may be seen from the +model, was to go a fronton with all its ornaments, forming a parapet for +the artillery, since this gate, like the other, was to serve as a cavalier. +Within the gate are very large rooms for the soldiers, with other apartments +and conveniences. On the front that faces towards the city, San +Michele made a most beautiful loggia, all of the Dorico-rustic Order on +the outer side, and on the inner all in rustic work, with very large piers. +<span class="pagenum"><a id="Page_224" name="Page_224"></a>[Pg 224]</span> that have as ornaments columns round on the outside and on the inside +square and projecting to the half of their thickness, and all made of +pieces in rustic masonry, with Doric capitals without bases; and at the +top is a great cornice, likewise Doric, and carved, passing along the whole +loggia, which is of great length, both within and without. In a word, +this work is marvellous; wherefore it was well and truly spoken by the +most illustrious Signor Sforza Pallavicino, Captain General of the Venetian +forces, when he said that there was not to be found in all Europe any +structure that could in any way compare with it. This was the last of +Michele's marvels, for the reason that he had scarcely erected the whole +of the first range described above, when he finished the course of his life. +Wherefore the work remained unfinished, nor will it ever be finished at +all, for there are not wanting certain malignant persons—as always +happens with great works—who censure it, striving to diminish the glory +of others by their malignity and evil-speaking, since they fail by a great +measure to achieve similar things with their own powers.</p> + +<p>The same master built another gate at Verona, called the Porta di +S. Zeno, which is very beautiful; in any other place, indeed, it would be +marvellous, but in Verona its beauty and artistry are obscured by the +two others described above. A work of Michele's, likewise, is the bastion, +or rather rampart, that is near this gate, and also another that is +lower down, opposite to S. Bernardino, and another between them, called +Dell'Acquaio, which is opposite to the Campo Marzio; and also that +surpassing all the others in size, which is placed by the Chain, where the +Adige enters the city.</p> + +<div class="figcenter"> +<a name="img025" id="img025"></a> +<img src="images/img025-tb.jpg" width="400" height="523" alt="Cappella de' Pellegrini." title=""> +<p class="caption">CAPPELLA DE' PELLEGRINI<br> +(<i>After</i> Michele San Michele. <i>Verona: S. Bernardino</i>)<br> +<i>Alinari</i><br> +<span class="link"><a href="images/img025.jpg">View larger image</a></span></p> +</div> + +<p>At Padua he built the bastion called the Cornaro, and likewise that +of S. Croce, which are both of marvellous size, and constructed in the +modern manner, according to the order invented by Michele himself. +For the method of making bastions with angles was the invention of +Michele, and before his day they were made round; and whereas that +kind of bastion was very difficult to defend, at the present day, having +an obtuse angle on the outer side, they can be defended with ease, either +from the cavalier erected between the two bastions and near to them, +or, indeed, from the other bastion, provided that it be near the one +<span class="pagenum"><a id="Page_225" name="Page_225"></a>[Pg 225]</span> attacked and the ditch wide. His invention, also, was the method of +making bastions with three platforms, whereby the two at the sides +guard and defend the ditch and the curtains, with their open embrasures, +and the merlon in the centre defends itself and attacks the enemy in +front. This method of fortification has since been imitated by everyone, +causing the abandonment of the ancient fashion of subterranean embrasures, +called casemates, in which, on account of the smoke and other +impediments, the artillery could not be well handled; not to mention +that they often weakened the foundations of the towers and walls.</p> + +<p>The same Michele built two very beautiful gates at Legnago. He +directed at Peschiera the work of the first foundation of that fortress, +and likewise many works at Brescia; and he always did everything with +such diligence and such good foundations, that not one of his buildings +ever showed a crack. Finally, he restored the fortress of La Chiusa +above Verona, making it possible for persons to pass by without entering +the fortress, but yet in such a manner that, on the raising of a bridge +by those who are within, no one can pass by against their will, or even +show himself on the road, which is very narrow and cut out of the rock. +He also built at Verona, just after he had returned from Rome, the very +beautiful bridge over the Adige, called the Ponte Nuovo, doing this at +the commission of Messer Giovanni Emo, at that time Podestà of that +city; which bridge was on account of its strength, as it still is, a marvellous +thing.</p> + +<p>Michele was excellent not only in fortifications, but also in private +buildings and in temples, churches, and monasteries, as may be seen +from many buildings at Verona and other places, and particularly from +the most ornate and beautiful Chapel of the Guareschi in S. Bernardino, +which is round after the manner of a temple, and in the Corinthian Order, +with all the ornaments which that manner admits. That chapel, I say, +he built all of that white pietra viva, which, from the sound that it +makes when it is being worked, is called in that city "Bronzo"; and, in +truth, that kind of stone, after fine marble, is the most beautiful that +has been found down to our own times, being absolutely solid and without +holes or spots that might spoil it. Since that chapel, then, is built +<span class="pagenum"><a id="Page_226" name="Page_226"></a>[Pg 226]</span> on the inside all of that most beautiful stone, and wrought by excellent +masters of carving, and put together very well, it is considered that +among works of that kind there is at the present day no other more +beautiful in all Italy. For Michele made the whole work curve in a +circle in such a manner, that three altars which are in it, with their +pediments and cornices, and likewise the space of the door, all turn in +a perfect round, almost after the likeness of the entrances that Filippo +Brunelleschi made in the Chapels of the Temple of the Angeli in Florence; +which is a very difficult thing to do. Michele then made therein a gallery +over the first range of columns, which circles right round the chapel, and +there are to be seen most beautiful carvings in the form of columns, +capitals, foliage, grotesques, little pilasters, and other things, carved with +incredible diligence. The door of that chapel he made quadrangular on +the outer side, of the Corinthian Order and very beautiful, and similar +to an ancient door that he saw, so he used to say, in some place at Rome. +It is true, indeed, that this work, after having been left unfinished by +Michele, I know not for what reason, was given, either from avarice or +from lack of judgment, to certain others to be finished, who spoiled it, +to the infinite vexation of Michele, who in his lifetime saw it ruined +before his very eyes, without being able to prevent it; wherefore he used +to complain at times to his friends, but only on this account, that he had +not thousands of ducats wherewith to buy it from the avaricious hands +of a woman who, by spending less than she was able, was shamefully +spoiling it.</p> + +<p>A work of Michele's was the design of the round Temple of the +Madonna di Campagna, near Verona, which was very beautiful, although +the parsimony, weakness, and little judgment of the Wardens of that +building have since disfigured it in many parts; and even worse would +they have done, if Bernardino Brugnuoli, a kinsman of Michele, had not +had charge of it and made a complete model, after which the building +of that temple, as well as of many others, is now being carried forward. +For the Friars of S. Maria in Organo, or rather, the Monks of Monte Oliveto +in Verona, he made a design of the Corinthian Order, which was most +beautiful, for the façade of their church. This façade, after being carried +<span class="pagenum"><a id="Page_227" name="Page_227"></a>[Pg 227]</span> to a certain height by Paolo San Michele, was left not long since in that +condition, on account of many expenses that were incurred by those +monks in other matters, but even more by reason of the death of him +who had begun it, Don Cipriano of Verona, a man of saintly life and of +much authority in that Order, of which he was twice General. At +S. Giorgio in Verona, a convent of the Regular Priests of S. Giorgio in +Alega, the same Michele directed the building of the cupola of that +church, which was a very beautiful work, and succeeded against the expectations +of many who did not think that the structure would ever remain +standing, on account of the weakness of its supports; but these were +then so strengthened by Michele, that there is no longer anything to +fear. In the same convent he made the design and laid the foundations +of a very beautiful campanile of hewn stone, partly tufa and partly +pietra viva, which was carried well forward by him, and is now being +continued by the above-mentioned Bernardino, his nephew, who is +employed in carrying it to completion.</p> + +<p>Monsignor Luigi Lippomani, Bishop of Verona, having resolved to +carry to completion the campanile of his church, which had been begun +a hundred years before, caused a design for this to be made by Michele, +who did it very beautifully, taking into consideration the preserving of +the old part and the expense that the Bishop was able to incur. But a +certain Messer Domenico Porzio, a Roman, and his vicar, a person with +little knowledge of building, although otherwise a worthy man, allowed +himself to be imposed upon by one who also knew little about it, and +gave him the charge of carrying on that fabric. Whereupon that person +built it of unprepared stone from the mountains, and made the stairs in +the thickness of the walls, doing all this in such a manner, that everyone +who was even slightly conversant with architecture foretold that which +afterwards happened—namely, that the structure would not remain +standing. And, among others, the very reverend Fra Marco de' Medici +of Verona, who, in addition to his other more serious studies, has always +delighted in architecture, as he still does, predicted what would happen +to such a building; but he was answered thus: "Fra Marco counts for +much in his own profession of letters, philosophy, and theology, wherein +<span class="pagenum"><a id="Page_228" name="Page_228"></a>[Pg 228]</span> he is public lecturer, but in architecture he does not fish so deeply as to +command belief." Finally, that campanile, having risen to the level +where the bells were to be, opened out in four parts in such a manner, +that, after having spent many thousands of crowns in building it, they +had to give three hundred crowns to the builders to throw it to the +ground, lest it should fall by itself, as it would have done in a few days, +and destroy everything all around. And it is only right that this should +happen to those who desert good and eminent masters, and mix themselves +up with bunglers. The above-named Monsignor Luigi having +afterwards been chosen Bishop of Bergamo, Monsignor Agostino Lippomani +was made Bishop of Verona in his place, and he commissioned +Michele to reconstruct almost anew the model of that campanile, and to +set to work. And after him, according to the same model, Monsignor +Girolamo Trivisani, a friar of S. Dominic, who succeeded the last-named +Lippomani in the bishopric, has caused that work to be continued, which +is now progressing passing slowly. The model is very beautiful, and the +stairs are being accommodated within the tower in such a manner, that +the fabric remains stable and very strong.</p> + +<p>For the noble Counts della Torre of Verona, Michele built a very +beautiful chapel in the manner of a round temple, with the altar in the +centre, at their villa of Fumane. And in the Church of the Santo, at +Padua, a very handsome tomb was built under his direction for Messer +Alessandro Contarini, Procurator of S. Mark, who had been Proveditor +to the Venetian forces; in which tomb it would seem that Michele sought +to show in what manner such works should be done, departing from a +kind of commonplace method which, in his opinion, had in it more of the +altar or chapel than of the tomb. This work, which is very rich in ornamentation, +solid in composition, and warlike in character, has as ornaments +a Thetis and two prisoners by the hand of Alessandro Vittoria, +which are held to be good figures, and a head, or rather, effigy from life +of the above-named lord, with armour on the breast, executed in marble +by Danese da Carrara. There are, in addition, other ornaments in +abundance; prisoners, trophies, spoils of war, and others, of which there +is no need to make mention.</p> + +<p><span class="pagenum"><a id="Page_229" name="Page_229"></a>[Pg 229]</span> In Venice he made the model of the Convent of the Nuns of S. Biagio +Catoldo, which was much extolled. It was then resolved at Verona to +rebuild the Lazzaretto, a dwelling, or rather, hospital, which serves for +the sick in times of plague, the old one having been destroyed together +with other edifices that had been in the suburbs; and Michele was commissioned +to make a design for this (which proved to be beautiful beyond +all expectations), to the end that it might be put into execution on a +spot near the river, at some distance from the city and beyond the +esplanade. But this design, truly most beautiful and excellently well +considered in every part, which is now in the possession of the heirs of +Luigi Brugnuoli, Michele's nephew, was not carried completely into +execution by certain persons, by reason of their little judgment and +poverty of spirit, but much restricted, curtailed, and reduced to mean +proportions by those persons, who used the authority that they had +received in the matter from the public in disfiguring the work, in consequence +of the untimely death of some gentlemen who were in charge of +it at the beginning, and who had a greatness of spirit equal to their +nobility of blood.</p> + +<p>A work of Michele's, likewise, was the very beautiful palace that the +noble Counts of Canossa have at Verona, which was built at the commission +of the very reverend Monsignor di Bajus, who once was Count +Lodovico Canossa, a man so much celebrated by all the writers of his +time. For the same Monsignor Michele built another magnificent palace +in the Villa of Grezzano, in the Veronese territory. Under the direction +of the same architect the façade of the Counts Bevilacqua was reconstructed, +and all the apartments were restored in the castle of those lords, +called La Bevilacqua. And at Verona, likewise, he built the house and +façade of the Lavezzoli, which were much extolled.</p> + +<p>In Venice he built from the foundations the very rich and magnificent +palace of the Cornaro family, near S. Polo, and restored another +palace, also of the Cornaro family, which is by S. Benedetto all'Albore, +for M. Giovanni Cornaro, of whom Michele was much the friend; and this +led to Giorgio Vasari painting nine pictures in oils for the ceiling of a +magnificent apartment, all adorned with woodwork carved and richly +<span class="pagenum"><a id="Page_230" name="Page_230"></a>[Pg 230]</span> overlaid with gold, in that palace. In like manner, he restored the house +of the Bragadini, opposite to S. Marina, and made it very commodious +and ornate. And in the same city he founded and raised above the +ground after a model of his own, at incredible cost, the marvellous palace +of the most noble M. Girolamo Grimani, near S. Luca, on the Grand +Canal; but Michele, being overtaken by death, was not able to carry it +to completion himself, and the other architects chosen in his stead by that +nobleman altered his design and model in many parts.</p> + +<p>Near Castelfranco, on the borders of the territories of Padua and +Treviso, there was built under the direction of the same Michele the most +famous Palace of the Soranzi, called by that family La Soranza; which +palace is held to be, for a country residence, the most beautiful and the +most commodious that had been built in those parts up to that time. +He also built the Casa Cornara at Piombino, in that territory, and so +many other private houses, that it would make too long a story to attempt +to speak of them all; let it be enough to have made mention of the most +important. I will not, indeed, refrain from recording that he made most +beautiful gates for two palaces, one of which was that of the Rectors and +of the Captain, and the other that of the Palazzo del Podestà, both in +Verona and worthy of the highest praise, although the latter, which is +in the Ionic Order, with double columns and very ornate intercolumniations, +and some Victories at the angles, has a somewhat dwarfed appearance +by reason of the lowness of the site where it stands, particularly +because it is without pedestals and very wide on account of the double +columns; but such was the wish of Messer Giovanni Delfini, who had it +made.</p> + +<p>While Michele was enjoying a tranquil ease in his native place, and +the reputation and renown that his honourable labours had brought him, +there came to him a piece of news that so afflicted him, that it finished +the course of his life. But to the end that the whole may be better +understood, and that all the beautiful works of the San Michele family +may be made known in this Life, I shall say something of Gian Girolamo, +the kinsman of Michele.</p> + +<div class="figcenter"> +<a name="img026" id="img026"></a> +<img src="images/img026-tb.jpg" width="400" height="568" alt="Palazzo Grimani." title=""> +<p class="caption">PALAZZO GRIMANI<br> +(<i>After</i> Michele San Michele. <i>Venice</i>)<br> +<i>Anderson</i><br> +<span class="link"><a href="images/img026.jpg">View larger image</a></span></p> +</div> + +<p>This Gian Girolamo, then, was the son of Paolo, the cousin of Michele, +<span class="pagenum"><a id="Page_231" name="Page_231"></a>[Pg 231]</span> and, being a young man of very beautiful genius, was instructed with +such diligence by Michele in the matters of architecture, and so beloved +by him, that he would always have the young man with him in all undertakings +of importance, and particularly in fortifications. Having therefore +become in a short time so excellent, with the help of such a master, +that the most difficult work of fortification could be entrusted to him, in +which manner of architecture he took particular delight, his ability was +recognized by the Signori of Venice, and he was placed with a good +salary among the number of their architects, although he was very +young, and then sent now to one place and now to another, to inspect +and restore the fortresses of their dominion, and at times to carry into +execution the designs of his kinsman Michele. And, among other places, +he took part with much judgment and labour in the fortification of Zara, +and in the marvellous fortress of S. Niccolò at Sebenico, placed, as has +been mentioned, at the mouth of the port; which fortress, erected by +him from the very foundations, is held to be, for a private fortress, one +of the strongest and best designed that there are to be seen. He also +reconstructed after his own designs, with the advice of his kinsman, the +great fortress of Corfu, which is considered the key of Italy on that side. +In this fortress, I say, Gian Girolamo rebuilt the two great towers that +face towards the land, making them much larger and stronger than they +were before, with open embrasures and platforms that flank the ditch in +the modern manner, after the invention of his kinsman. He then caused +the ditches to be made much wider than they were before, and had a hill +levelled, which, being near the fortress, appeared to command it. But, +besides the many other works that he did there with great consideration, +what gave most satisfaction was that in one corner of the fortress he +made a place of great size and strength, in which in time of siege the +people of that island can stay in safety without any danger of being +captured by the enemy.</p> + +<p>On account of these works Gian Girolamo came into such credit with +the above-named Signori, that they ordained him a salary equal to that +of his kinsman, judging him to be not inferior to Michele, and even +superior in that work of fortification: which gave the greatest contentment +<span class="pagenum"><a id="Page_232" name="Page_232"></a>[Pg 232]</span> to San Michele, who saw his own art advancing in the person of his +relative in proportion as old age was taking away from himself the power +to go further. Gian Girolamo, besides his great judgment in recognizing +the nature of different sites, showed much industry in having them +represented by designs and models in relief, insomuch that he enabled +his patrons to see even the most minute details of his fortifications in +very beautiful models of wood that he would cause to be made; which +diligence pleased them vastly, for without leaving Venice they saw every +day how matters were proceeding in the most distant parts of their State. +In order that they might be the more readily seen by everyone, these +models were kept in the Palazzo del Principe, in a place where the Signori +could examine them at their convenience; and to the end that Gian +Girolamo might continue to pursue that course, they not only reimbursed +him the expenses that he incurred in making the above-mentioned +models, but also showed him many other courtesies.</p> + +<p>Gian Girolamo could have gone to serve many lords, with large +salaries, but he would never leave his Venetian Signori; nay, at the +advice of his father and his kinsman Michele, he took a wife in Verona, +a noble young woman of the Fracastoro family, with the intention of +always living in those parts. But he had been not more than a few days +with his beloved bride, who was called Madonna Ortensia, when he was +summoned by his patrons to Venice, and thence sent in great haste to +Cyprus to inspect every place in that island, orders having been given to +all the officials that they should provide him with all that he might +require for any purpose. Having then arrived in that island, in three +months Gian Girolamo went all round it and diligently inspected everything, +putting every detail into writing and drawing, in order to be able +to give an account of the whole to his masters. But, while he was +attending with too much care and solicitude to his office, paying little +regard to his own life, in the burning heat which prevailed at that time +in the island he fell sick of a pestilential fever, which robbed him of life +in six days; although some said that he had been poisoned. However +that may have been, he died content in being in the service of his masters +and employed by them in works of importance, knowing that they had +<span class="pagenum"><a id="Page_233" name="Page_233"></a>[Pg 233]</span> trusted more in his fidelity and his skill in fortification than in those of +any other man. The moment that he fell sick, knowing that he was +dying, he gave all the drawings and writings that he had prepared on +the works in that island into the hands of the architect Luigi Brugnuoli, +his kinsman by marriage (who was then engaged in the fortification of +Famagosta, which is the key of that kingdom), to the end that he might +carry them to his masters.</p> + +<p>When the news of Gian Girolamo's death arrived in Venice, there +was not one of the Senate who did not feel indescribable sorrow at the +loss of such a man, who had been so devoted to that Republic. Gian +Girolamo died at the age of forty-five, and received honourable burial +from his above-named kinsman in S. Niccolò at Famagosta. Then, +having returned to Venice, Brugnuoli presented Gian Girolamo's drawings +and writings; which done, he was sent to give completion to the +fortifications of Legnago, where he had spent many years in executing +the designs and models of his uncle. But he had not been long in that +place when he died, leaving two sons, who are men of passing good ability +in design and in the practice of architecture. Bernardino, the elder, has +now many undertakings on his hands, such as the building of the campanile +of the Duomo, that of S. Giorgio, and that of the church called +the Madonna di Campagna, in which and other works that he is directing +at Verona and other places, he is succeeding excellently well; and particularly +in the ornamental work of the principal chapel of S. Giorgio at +Verona, which is of the composite order, and such that in size, design, +and workmanship, the people of Verona declare that they do not believe +that there is one equal to it to be found in Italy. This work, which +follows the curve of the recess, is of the Corinthian Order, with composite +capitals and double columns in full relief, and pilasters behind. +In like manner, the frontispiece which surmounts the whole also curves +in very masterly fashion according to the shape of the recess, and has +all the ornaments which that Order embraces. Wherefore Monsignor +Barbaro, Patriarch-elect of Aquileia, a man with a great knowledge of +the profession, who has written of it, on his return from the Council of +Trent saw not without marvel all that had been done in that work, and +<span class="pagenum"><a id="Page_234" name="Page_234"></a>[Pg 234]</span> that which was being done every day; and, after considering it several +times, he had to say that he had never seen the like, and that nothing +better could be done. And let this suffice as a proof of what may be +expected from the genius of Bernardino, who was born on the mother's +side from the San Michele family.</p> + +<p>But let us return to Michele, from whom we digressed, not without +reason, some little time back. He was struck by such grief at the death +of Gian Girolamo, in whom he saw the house of San Michele become +extinct, since his kinsman left no children, that, although he strove to +conquer or conceal it, in a few days he was overcome by a malignant +fever, to the inconsolable sorrow of his country and of his most illustrious +patrons. Michele died in the year 1559, and was buried in S. Tommaso, +a church of Carmelite Friars, where there is the ancient burial-place of +his forefathers; and at the present day Messer Niccolò San Michele, a +physician, has set his hand to erecting him an honourable tomb, which +is even now being carried into execution.</p> + +<p>Michele was a man of most upright life, and most honourable in his +every action. He was a cheerful person, yet with an admixture of +seriousness. He feared God, and was very religious, insomuch that he +would never set himself to do anything in the morning without having +first heard Mass devoutly and said his prayers; and at the beginning of +any undertaking of importance, in the morning, before doing any other +thing, he would always have the Mass of the Holy Spirit or of the Madonna +solemnly chanted. He was very liberal, and so courteous with his friends, +that they were as much masters of his possessions as he was himself. +And I will not withhold a proof of his great loyalty and goodness, which +I believe few others know besides myself. When Giorgio Vasari, of whom, +as has been told, he was much the friend, parted from him for the last +time in Venice, Michele said to him: "I would have you know, Messer +Giorgio, that, when I was in my youth at Monte Fiascone, I became +enamoured, as fortune would have it, of the wife of a stone-cutter, and +received from her complaisance all that I desired; but no one ever heard +of it from me. Now, having heard that the poor woman has been left +a widow, with a daughter ready for a husband, whom she says she conceived +<span class="pagenum"><a id="Page_235" name="Page_235"></a>[Pg 235]</span> by me, I wish—although it may well be that this is not true, and +such is my belief—that you should take to her these fifty crowns of gold +and give them to her on my part, for the love of God, to the end that +she may use them for her advantage and settle her daughter according +to her station." Giorgio, therefore, going to Rome, and arriving at +Monte Fiascone, although the good woman freely confessed to him that +the girl was not the daughter of Michele, insisted, in obedience to Michele's +command, on paying her the fifty crowns, which were as welcome to that +poor woman as five hundred would have been to another.</p> + +<p>Michele, then, was courteous beyond the courtesy of any other man, +insomuch that he no sooner heard of the needs and desires of his friends, +than he sought to gratify them, even to the spending of his life; nor did +any person ever do him a service that was not repaid many times over. +Giorgio Vasari once made for him in Venice, with the greatest diligence +at his command, a large drawing in which the proud Lucifer and his followers, +vanquished by the Angel Michael, could be seen raining headlong +down from Heaven into the horrible depths of Hell; and at that time +Michele did not do anything but thank Giorgio for it when he took leave +of him. But not many days after, returning to Arezzo, Giorgio found +that San Michele had sent long before to his mother, who lived at Arezzo, +a quantity of presents beautiful and honourable enough to be the gifts +of a very rich nobleman, with a letter in which he did her great honour +for love of her son.</p> + +<p>Many times the Signori of Venice offered to increase his salary, but +he refused, always praying that they should increase his kinsmen's +salaries instead of his own. In short, Michele was in his every action so +gentle, courteous, and loving, that he made himself rightly beloved by +innumerable lords; by Cardinal de' Medici, who became Pope Clement VII, +while he was in Rome; by Cardinal Alessandro Farnese, who became +Paul III; by the divine Michelagnolo Buonarroti; by Signor Francesco +Maria, Duke of Urbino; and by a vast number of noblemen and senators +of Venice. At Verona he was much the friend of Fra Marco de' Medici, +a man of great learning and infinite goodness, and of many others of +whom there is no need at present to make mention.</p> + +<p><span class="pagenum"><a id="Page_236" name="Page_236"></a>[Pg 236]</span> Now, in order not to have to turn back in a short time to speak of +the Veronese, taking the opportunity presented by the masters mentioned +above, I shall make mention in this place of some painters from +that country, who are still alive and worthy to be named, and by no +means to be passed over in silence. The first of these is Domenico del +Riccio, who has painted in fresco, mostly in chiaroscuro and partly in +colour, three façades of the house of Fiorio della Seta at Verona, on the +Ponte Nuovo—that is, the three that do not look out upon the bridge, +the house standing by itself. In one, over the river, are battles of sea-monsters, +in another the battles of the Centaurs and many rivers, and +in the third two pictures in colour. In the first of these, which is over +the door, is the Table of the Gods, and in the other, over the river, is the +fable of the nuptials between the Benacus, called the Lake of Garda, and +the Nymph Caris, in the person of Garda, from whom is born the River +Mincio, which in fact issues from that lake. In the same house is a +large frieze wherein are some Triumphs in colour, executed in a beautiful +and masterly manner. In the house of Messer Pellegrino Ridolfi, also +at Verona, the same master painted the Coronation of the Emperor +Charles V, and the scene when, after being crowned in Bologna, he rides +with the Pope through the city in great pomp. In oils he has painted +the principal altar-piece of the church that the Duke of Mantua has built +recently near the Castello, in which is the Beheading and Martyrdom of +S. Barbara, painted with much diligence and judgment. And what +moved the Duke to have that altar-piece executed by Domenico was his +having seen and much liked his manner in an altar-piece that Domenico +had painted long before for the Chapel of S. Margherita in the Duomo of +Mantua, in competition with Paolino,<a id="FNanchor11" name="FNanchor11"></a><a href="#Footnote11" title="Go to footnote 11" class="fnanchor">[11]</a> who painted that of S. Antonio, +with Paolo Farinato, who executed that of S. Martino, and with Battista +del Moro, who painted that of the Magdalene; all which four Veronese +had been summoned thither by Cardinal Ercole of Mantua, in order to +adorn that church, which had been reconstructed by him after the design +of Giulio Romano. Other works has Domenico executed in Verona, +Vicenza, and Venice, but it must suffice to have spoken of those named. +<span class="pagenum"><a id="Page_237" name="Page_237"></a>[Pg 237]</span> He is an honest and excellent craftsman, and, in addition to his painting, +he is a very fine musician, and one of the first in the most noble Philharmonic +Academy of Verona.</p> + +<p>Not inferior to him will be his son Felice, who, although still young, +has proved himself a painter out of the ordinary in an altar-piece that +he has executed for the Church of the Trinita, in which are the Madonna +and six other Saints, all of the size of life. Nor is this any marvel, for +the young man learned his art in Florence, living in the house of Bernardo +Canigiani, a Florentine gentleman and a crony of his father +Domenico.</p> + +<p>In the same Verona, also, lives Bernardino, called L'India, who, +besides many other works, has painted the Fable of Psyche in most +beautiful figures on the ceiling of a chamber in the house of Count Marc'Antonio +del Tiene. And he has painted another chamber, with beautiful +inventions and a lovely manner of painting, for Count Girolamo of +Canossa.</p> + +<p>A much extolled painter, also, is Eliodoro Forbicini, a young man of +most beautiful genius and of considerable skill in every manner of +painting, but particularly in making grotesques, as may be seen in +the two chambers mentioned above and in other places where he has +worked.</p> + +<p>In like manner Battista da Verona, who is called thus, and not otherwise, +out of his own country, after having learned the first rudiments of +painting from an uncle at Verona, placed himself with the excellent +Tiziano in Venice, under whom he has become a very good painter. +When a young man, this Battista painted in company with Paolino a +hall in the Palace of the Paymaster and Assessor Portesco at Tiene in +the territory of Vicenza; where they executed a vast number of figures, +which acquired credit and repute for both the one and the other. With +the same Paolino he executed many works in fresco in the Palace of the +Soranza at Castelfranco, both having been sent to work there by Michele +San Michele, who loved them as his sons. And with him, also, he painted +the façade of the house of M. Antonio Cappello, which is on the Grand +Canal in Venice; and then, still together, they painted the ceiling, or +<span class="pagenum"><a id="Page_238" name="Page_238"></a>[Pg 238]</span> rather, soffit in the Hall of the Council of Ten, dividing the pictures +between them. Not long afterwards, having been summoned to Vicenza, +Battista executed many works there, both within and around the city; +and recently he has painted the façade of the Monte della Pietà, wherein +he has executed an infinite number of nude figures in various attitudes, +larger than life, with very good design, and all in so few months, that it +has been a marvel. And if he has done so much at so early an age (for +he is not yet past thirty), everyone may imagine what may be expected +of him in the course of his life.</p> + +<p>A Veronese, likewise, is one Paolino, a painter who is in very good +repute in Venice at the present day, in that, although he is not yet more +than thirty years of age, he has executed many works worthy of praise. +This master, who was born at Verona to a stone-cutter, or, as they say +in those parts, a stone-hewer, after having learned the rudiments of +painting from Giovanni Caroto of Verona, painted in fresco, in company +with the above-named Battista, the hall of the Paymaster and Assessor +Portesco at Tiene, in the Vicentino; and afterwards at the Soranza, with +the same companion, many works executed with good design and judgment +and a beautiful manner. At Masiera, near Asolo in the Trevisano, +he has painted the very beautiful house of Signor Daniello Barbaro, +Patriarch-elect of Aquileia. At Verona, for the Refectory of S. Nazzaro, +a monastery of Black Friars, he has painted in a large picture on canvas +the supper that Simon the Leper gave to Our Lord, when the woman of +sin threw herself at His feet, with many figures, portraits from life, and +very rare perspective-views; and under the table are two dogs so beautiful +that they appear real and alive, and further away certain cripples executed +excellently well.</p> + +<div class="figcenter"> +<a name="img027" id="img027"></a> +<img src="images/img027-tb.jpg" width="600" height="260" alt="The Feast in the House of Levi." title=""> +<p class="caption">THE FEAST IN THE HOUSE OF LEVI<br> +(<i>After the painting by</i> Paolo Veronese [Paolino <i>or</i> Caliari]. <i>Venice: Accademia, 203</i>)<br> +<i>Anderson</i><br> +<span class="link"><a href="images/img027.jpg">View larger image</a></span></p> +</div> + +<p>By the hand of Paolino, in the Hall of the Council of Ten at Venice, +in an oval that is larger than certain others that are there, placed, as the +principal one, in the centre of the ceiling, is a Jove who is driving away +the Vices, in order to signify that that supreme and absolute tribunal +drives away vice and chastises wicked and vicious men. The same +master painted the soffit, or rather, ceiling of the Church of S. Sebastiano, +which is a very rare work, and the altar-piece of the principal +<span class="pagenum"><a id="Page_239" name="Page_239"></a>[Pg 239]</span> chapel, together with some pictures that serve to adorn it, and likewise +the doors of the organ; which are all pictures truly worthy of the highest +praise. In the Hall of the Grand Council he painted a large picture of +Frederick Barbarossa presenting himself to the Pope, with a good number +of figures varied in their costumes and vestments, all most beautiful and +representing worthily the Court of a Pope and an Emperor, and also a +Venetian Senate, with many noblemen and Senators of that Republic, +portrayed from life. In short, this work is such in its grandeur and +design, and in the beauty and variety of the attitudes, that it is rightly +extolled by everyone. After this scene, Paolino painted the ceilings of +certain chambers, which are used by that Council of Ten, with figures in +oils, which are much foreshortened and very rare.</p> + +<p>In like manner, he painted in fresco the façade of the house of a +merchant, which was a very beautiful work, on the road from S. Maurizio +to S. Moisè; but the wind from the sea is little by little destroying it. +For Camillo Trevisani, at Murano, he painted a loggia and an apartment +in fresco, which were much extolled. And in S. Giorgio Maggiore at +Venice, at the head of a large apartment, he painted in oils the Marriage +of Cana in Galilee, which was a marvellous work for its grandeur, the +number of figures, the variety of costumes, and the invention; and, if I +remember right, there are to be seen in it more than one hundred and +fifty heads, all varied and executed with great diligence.</p> + +<p>The same Paolino was commissioned by the Procurators of S. Mark +to paint certain angular medallions that are in the ceiling of the Nicene +Library, which was left to the Signoria by Cardinal Bessarion, with a +vast treasure of Greek books. Now the above-named lords, when they +had the painting of that library begun, promised a prize of honour, in +addition to the ordinary payment, to him who should acquit himself +best in painting it; and the pictures were divided among the best painters +that there were at that time in Venice. When the work was finished +and the pictures painted had been very well considered, a chain of gold +was placed round the neck of Paolino, he being the man who was judged +to have done better than all the others. The picture that gave him the +victory and the prize of honour was that wherein he painted Music, in +<span class="pagenum"><a id="Page_240" name="Page_240"></a>[Pg 240]</span> which are depicted three very beautiful young women, one of whom, the +most beautiful, is playing a great bass-viol, looking down at the fingerboard +of the instrument, the attitude of her person showing that her ear +and her voice are fixed intently on the sound; and of the other two, one +is playing a lute, and the other singing from a book. Near these women +is a Cupid without wings, who is playing a harpsichord, signifying that +Love is born from Music, or rather, that Love is always in company with +Music; and, because he never parts from her, Paolino made him without +wings. In the same picture he painted Pan, the God, according to the +poets, of shepherds, with certain pipes made of the bark of trees, as it +were consecrated to him as votive offerings by shepherds who have been +victorious in playing them. Two other pictures Paolino painted in the +same place; in one is Arithmetic, with certain Philosophers dressed in +the ancient manner, and in the other is Honour, seated on a throne, to +whom sacrifices are being offered and royal crowns presented. But, +seeing that this young man is at this very moment at the height of his +activity and not yet in his thirty-second year, I shall say nothing more +of him for the present.</p> + +<div class="figcenter"> +<a name="img028" id="img028"></a> +<img src="images/img028-tb.jpg" width="400" height="541" alt="Venice Enthroned, with Justice and Peace." title=""> +<p class="caption">VENICE ENTHRONED, WITH JUSTICE AND PEACE<br> +(<i>After the painting by</i> Paolo Veronese [Paolino <i>or</i> Caliari]. <i>Venice: Ducal Palace</i>)<br> +<i>Anderson</i><br> +<span class="link"><a href="images/img028.jpg">View larger image</a></span></p> +</div> + +<p>Likewise a Veronese is Paolo Farinato, an able painter, who, after +having been a disciple of Niccolò Ursino,<a id="FNanchor12" name="FNanchor12"></a><a href="#Footnote12" title="Go to footnote 12" class="fnanchor">[12]</a> has executed many works at +Verona. The most important are a hall in the house of the Fumanelli, +which he filled with various scenes in fresco-colours at the desire of +Messer Antonio, a gentleman of that family, most famous as physician +over all Europe, and two very large pictures in the principal chapel of +S. Maria in Organo. In one of these is the story of the Innocents, and +in the other is the scene when the Emperor Constantine causes a number +of children to be brought before him, intending to kill them and to bathe +in their blood, in order to cure himself of his leprosy. Then in the recess +of that chapel are two pictures, large, but smaller than the others, in one +of which is Christ receiving S. Peter, who is walking towards Him on the +water, and in the other the dinner that S. Gregory gives to certain poor +men. In all these works, which are much to be extolled, is a vast number +of figures, executed with good design, study, and diligence. By the hand +<span class="pagenum"><a id="Page_241" name="Page_241"></a>[Pg 241]</span> of the same master is an altar-picture of S. Martino that was placed in +the Duomo of Mantua, which he executed in competition with others his +compatriots, as has just been related.</p> + +<p>And let this be the end of the Lives of the excellent Michele San +Michele and of those other able men of Verona, so truly worthy of all +praise on account of their excellence in the arts and their great +talents.</p> + +<hr style="width: 65%;"> +<h2><a name="bazzi" id="bazzi"></a><span class="pagenum"><a id="Page_243" name="Page_243"></a>[Pg 243]</span> GIOVANNI ANTONIO BAZZI, +CALLED IL SODOMA</h2> + +<div class="figcenter"> +<a name="img029" id="img029"></a> +<img src="images/img029-tb.jpg" width="400" height="555" alt="Giovanni Antonio (Il Sodoma): The Vision of S. Catharine." title=""> +<p class="caption">GIOVANNI ANTONIO (IL SODOMA): THE VISION OF S. CATHARINE<br> +(<i>Siena: S. Domenico. Fresco</i>)<br> +<span class="link"><a href="images/img029.jpg">View larger image</a></span></p> +</div> + +<hr style="width: 65%;"> +<h2><a name="life_of_bazzi" id="life_of_bazzi"></a><span class="pagenum"><a id="Page_245" name="Page_245"></a>[Pg 245]</span> LIFE OF GIOVANNI ANTONIO BAZZI, CALLED IL SODOMA<br> +PAINTER OF VERCELLI</h2> + + +<p>If men were to recognize their position when Fortune presents to them +the opportunity to become rich, obtaining for them the favour of great +persons, and were to exert themselves in their youth to make their merit +equal to their good fortune, marvellous results would be seen to issue +from their actions; whereas very often the contrary is seen to happen, for +the reason that, even as it is true that he who trusts only in Fortune +generally finds himself deceived, so it is very clear, as experience teaches +us every day, that merit alone, likewise, if not accompanied by Fortune, +does not do great things. If Giovanni Antonio of Vercelli, even as he +had good fortune, had possessed an equal dower of merit, as he could +have done if he had studied, he would not have been reduced to madness +and miserable want in old age at the end of his life, which was always +eccentric and beastly.</p> + +<p>Now Giovanni Antonio was taken to Siena by some merchants, +agents of the Spannocchi family, and his good fortune, or perhaps his +bad fortune, would have it that, not finding any competition for a time +in that city, he should work there alone; which, although it was some +advantage to him, was in the end injurious, for the reason that he went +to sleep, as it were, and never studied, but did most of his work by rule of +thumb. And, if he did study a little, it was only in drawing the works +of Jacopo della Fonte, which were much esteemed, and in little else. +In the beginning he executed many portraits from life with that glowing +manner of colouring which he had brought from Lombardy, and he thus +made many friendships in Siena, more because that people is very kindly +<span class="pagenum"><a id="Page_246" name="Page_246"></a>[Pg 246]</span> disposed towards strangers than because he was a good painter; and, +besides this, he was a gay and licentious man, keeping others entertained +and amused with his manner of living, which was far from creditable. +In which life, since he always had about him boys and beardless youths, +whom he loved more than was decent, he acquired the by-name of +Sodoma; and in this name, far from taking umbrage or offence, he used +to glory, writing about it songs and verses in terza rima, and singing +them to the lute with no little facility. He delighted, in addition, to +have about the house many kinds of extraordinary animals; badgers, +squirrels, apes, marmosets, dwarf asses, horses, barbs for running races, +little horses from Elba, jays, dwarf fowls, Indian turtle-doves, and other +suchlike animals, as many as he could lay his hands on. But, besides all +these beasts, he had a raven, which had learned from him to speak so +well, that in some things it imitated exactly the voice of Giovanni Antonio, +and particularly in answering to anyone who knocked at the door, doing +this so excellently that it seemed like Giovanni Antonio himself, as all the +people of Siena know very well. In like manner, the other animals were +so tame that they always flocked round anybody in the house, playing +the strangest pranks and the maddest tricks in the world, insomuch that +the man's house looked like a real Noah's Ark.</p> + +<div class="figcenter"> +<a name="img030" id="img030"></a> +<img src="images/img030-tb.jpg" width="400" height="370" alt="Scene from the Life of S. Benedict." title=""> +<p class="caption">SCENE FROM THE LIFE OF S. BENEDICT<br> +(<i>After the fresco by</i> Giovanni Antonio Bazzi [Il Sodoma]. <i>Monte Oliveto Maggiore</i>)<br> +<i>Alinari</i><br> +<span class="link"><a href="images/img030.jpg">View larger image</a></span></p> +</div> + +<p>Now this manner of living and his eccentric ways, with his works and +pictures, wherein he did indeed achieve something of the good, caused +him to have such a name among the people of Siena—that is, among the +populace and the common herd, for the people of quality knew him +better—that he was held by many to be a great man. Whereupon, Fra +Domenico da Lecco, a Lombard, having been made General of the Monks +of Monte Oliveto, Sodoma went to visit him at Monte Oliveto di Chiusuri, +the principal seat of that Order, distant fifteen miles from Siena; and he +so contrived with his persuasive words, that he was commissioned to +finish the stories of the life of S. Benedict, part of which had been executed +on a wall by Luca Signorelli of Cortona. This work he finished for a +small enough price, besides the expenses that he incurred, and those of +certain lads and colour-grinders who assisted him; nor would it be possible +to describe the amusement that he gave while he was labouring at that +<span class="pagenum"><a id="Page_247" name="Page_247"></a>[Pg 247]</span> place to those fathers, who called him Il Mattaccio,<a id="FNanchor13" name="FNanchor13"></a><a href="#Footnote13" title="Go to footnote 13" class="fnanchor">[13]</a> in the mad pranks +that he played.</p> + +<div class="figcenter"> +<a name="img031" id="img031"></a> +<img src="images/img031-tb.jpg" width="400" height="357" alt="Scene from the Life of S. Benedict." title=""> +<p class="caption">SCENE FROM THE LIFE OF S. BENEDICT<br> +(<i>After the fresco by</i> Giovanni Antonio Bazzi [Il Sodoma]. <i>Monte Oliveto Maggiore</i>)<br> +<i>Alinari</i><br> +<span class="link"><a href="images/img031.jpg">View larger image</a></span></p> +</div> + +<p>But to return to the work. Having executed there certain scenes, +which he hurried over mechanically and without diligence, and the +General complaining of this, Mattaccio said that he worked as he felt +inclined, and that his brush danced to the tune of money, so that, if the +General consented to spend more, he was confident that he could do +much better. The General having therefore promised that he would pay +him better for the future, Giovanni Antonio painted three scenes, which +still remained to be executed in the corners, with so much more study and +diligence than he had shown in the others, that they proved to be much +finer. In one of these is S. Benedict departing from Norcia and from +his father and mother, in order to go to study in Rome; in the second, +S. Mauro and S. Placido as children, presented to him and offered to God +by their fathers; and in the third, the Goths burning Monte Cassino. +For the last, in order to do despite to the General and the Monks, he +painted the story of the priest Fiorenzo, the enemy of S. Benedict, bringing +many loose women to dance and sing around the monastery of that holy +man, in order to tempt the purity of those fathers. In this scene Sodoma, +who was as shameless in his painting as in his other actions, painted a +dance of nude women, altogether lewd and shameful; and, since he would +not have been allowed to do it, as long as he was at work he would never +let any of the monks see it. Wherefore, when the scene was uncovered, +the General wished by hook or by crook to throw it to the ground and +utterly destroy it; but Mattaccio, after much foolish talk, seeing that +father in anger, clothed all the naked women in that work, which is one +of the best that are there. Under each of these scenes he painted two +medallions, and in each medallion a friar, to represent all the Generals +who had ruled that congregation. And, since he had not their portraits +from life, Mattaccio did most of the heads from fancy, and in some he +portrayed old friars who were in the monastery at that time, and in the +end he came to paint the head of the above-named Fra Domenico da +Lecco, who was their General in those days, as has been related, and was +<span class="pagenum"><a id="Page_248" name="Page_248"></a>[Pg 248]</span> causing him to execute that work. But, after some of those heads had +lost the eyes, and others had been damaged, Fra Antonio Bentivogli, the +Bolognese, caused them all to be removed, for good reasons.</p> + +<p>Now, while Mattaccio was executing these scenes, there had gone +thither, to assume the habit of a monk, a Milanese nobleman, who had a +yellow cloak trimmed with black cords, such as was worn at that time; +and, after he had put on the monk's habit, the General gave that cloak +to Mattaccio, who, by means of a mirror, painted a portrait of himself +with it on his back in one of the scenes, wherein S. Benedict, still almost +a child, miraculously puts together and mends the corn-measure, or +rather, tub, of his nurse, which she had broken. At the feet of the +portrait he painted a raven, an ape, and others of his animals. This +work finished, he painted the story of the five loaves and two fishes, +with other figures, in the Refectory of the Monastery of S. Anna, a seat +of the same Order, distant five miles from Monte Oliveto; which work +completed, he returned to Siena. There, at the Postierla, he painted in +fresco the façade of the house of M. Agostino de' Bardi of Siena, in which +were some things worthy of praise, but for the most part they have been +consumed by time and the weather.</p> + +<div class="figcenter"> +<a name="img032" id="img032"></a> +<img src="images/img032-tb.jpg" width="400" height="508" alt="The Marriage of Alexander and Roxana." title=""> +<p class="caption">THE MARRIAGE OF ALEXANDER AND ROXANA<br> +(<i>Detail, after the fresco by</i> Giovanni Antonio Bazzi [Il Sodoma]. +<i>Rome: Villa Farnesina</i>)<br> +<i>Braun</i><br> +<span class="link"><a href="images/img032.jpg">View larger image</a></span></p> +</div> + +<p>During this time there arrived in Siena Agostino Chigi, a very rich +and famous merchant of that city, and he became acquainted with +Giovanni Antonio, both on account of his follies and because he had the +name of a good painter. Wherefore he took him in his company to +Rome, where Pope Julius II was then causing the Papal apartments in +the Palace of the Vatican, which Pope Nicholas V had formerly erected, +to be painted; and Chigi so went to work with the Pope, that some painting +was given also to Sodoma. Now Pietro Perugino, who was painting the +ceiling of an apartment that is beside the Borgia Tower, was working +at his ease, like the old man that he was, and was not able to set his hand +to anything else, as he had been at first commanded to do: and there +was given to Giovanni Antonio to paint another apartment, which is +beside the one that Perugino was painting. Having therefore set his hand +to it, he made the ornamentation of that ceiling with cornices, foliage, +and friezes; and then, in some large medallions, he executed certain +<span class="pagenum"><a id="Page_249" name="Page_249"></a>[Pg 249]</span> passing good scenes in fresco. But this animal, devoting his attention +to his beasts and his follies, would not press the work forward; and +therefore, after Raffaello da Urbino had been brought to Rome by the +architect Bramante, and it had become known to the Pope how much he +surpassed the others, his Holiness ordained that neither Perugino nor +Giovanni Antonio should work any more in the above-named apartments; +indeed, that everything should be thrown to the ground. But +Raffaello, who was goodness and modesty in person, left standing all +that had been done by Perugino, who had once been his master; and of +Mattaccio's he destroyed nothing save the inner work and the figures +of the medallions and scenes, leaving the friezes and the other ornaments, +which are still round the figures that Raffaello painted there, which were +Justice, Universal Knowledge, Poetry, and Theology.</p> + +<p>But Agostino, who was a gentleman, without paying any attention +to the affront that Giovanni Antonio had received, commissioned him to +paint in one of his principal apartments, which opens into the great hall in +his Palace in the Trastevere, the story of Alexander going to sleep with +Roxana. In that work, besides other figures, he painted a good number +of Loves, some of whom are unfastening Alexander's cuirass, some are +drawing off his boots, or rather, buskins, some are removing his helmet +and dress, and putting them away; others scattering flowers over the +bed, and others, again, doing other suchlike offices. Near the chimney-piece +he painted a Vulcan forging arrows, which was held at that time +to be a passing good and praiseworthy work; and if Mattaccio, who had +beautiful gifts and was much assisted by Nature, had given his attention, +after that reversal of fortune, to his studies, as any other man would +have done, he would have made very great proficience. But he had +his mind always set on his amusements, and he worked by caprice, +caring for nothing so earnestly as for dressing in pompous fashion, +wearing doublets of brocade, cloaks all adorned with cloth of gold, the +richest caps, necklaces, and other suchlike fripperies only fit for clowns +and charlatans; in which things Agostino, who liked the man's humour, +found the greatest amusement in the world.</p> + +<p>Julius II having then come to his death, and Leo X having been +<span class="pagenum"><a id="Page_250" name="Page_250"></a>[Pg 250]</span> elected, who took pleasure in eccentric and light-headed figures of fun +such as our painter was, Mattaccio felt the greatest possible joy, particularly +because he had an ill-will against Julius, who had done him +that affront, wherefore, having set to work in order to make himself +known to the new Pontiff, he painted in a picture the Roman Lucrece, +nude, who was stabbing herself with a dagger; and, since Fortune takes +care of madmen and sometimes aids the thoughtless, he succeeded in +executing a most beautiful female body, and a head that was breathing. +Which work finished, at the instance of Agostino Chigi, who was on +terms of strait service with the Pope, he presented it to his Holiness, +by whom he was made a Chevalier and rewarded for so beautiful a picture. +Whereupon Giovanni Antonio, believing that he had become a great man, +began to be disinclined to work any more, save when he was driven by +necessity. But, after Agostino had gone on some business to Siena, +taking Giovanni Antonio with him, while staying there he was forced, +being a Chevalier without an income, to set himself to painting; and so +he painted an altar-piece containing a Christ taken down from the Cross, +on the ground Our Lady in a swoon, and a man in armour who, having +his back turned, shows his front reflected in a helmet that is on the +ground, bright as a mirror. This work, which was held to be, as it is, +one of the best that he ever executed, was placed in S. Francesco, on the +right hand as one enters the church. Then in the cloister that is beside +the above-named church, he painted in fresco Christ scourged at the +Column, with many Jews around Pilate, and with a range of columns +drawn in perspective after the manner of wing-walls; in which work +Giovanni Antonio made a portrait of himself without any beard—that is, +shaven—and with the hair long, as it was worn at that time.</p> + +<p>Not long afterwards he executed some pictures for Signor Jacopo VI +of Piombino, and, while living with him at that place, some other works +on canvas. Wherefore by his means, besides many courtesies and presents +that he received from him, Giovanni Antonio obtained from his island +of Elba many little animals such as that island produces, all of which he +took to Siena.</p> + +<div class="figcenter"> +<a name="img033" id="img033"></a> +<img src="images/img033-tb.jpg" width="400" height="565" alt="S. Sebastian." title=""> +<p class="caption">S. SEBASTIAN<br> +(<i>After the painting by</i> Giovanni Antonio [Il Sodoma]. <i>Florence: Uffizi, 1279</i>)<br> +<i>Anderson</i><br> +<span class="link"><a href="images/img033.jpg">View larger image</a></span></p> +</div> + +<p>Arriving next in Florence, a monk of the Brandolini family, Abbot of +<span class="pagenum"><a id="Page_251" name="Page_251"></a>[Pg 251]</span> the Monastery of Monte Oliveto, which is without the Porta a S. Friano, +caused him to paint some pictures in fresco on the wall of the refectory; +but since, like a careless fellow, he did them without study, they proved +to be such that he was derided and mocked at for his follies by those who +were expecting that he would do some extraordinary work. Now, +while he was engaged on that work, having taken a Barbary horse with +him to Florence, he set it to run in the race of S. Barnaba; and, as +fortune would have it, the horse ran so much better than the others, +that it won. Whereupon, the boys having, as is the custom, to call out +the name or by-name of the owner of the horse that had won, after the +running of the race and the fanfare of trumpets, Giovanni Antonio was +asked what name they were to call out; and, after he had replied, "Sodoma, +Sodoma," the boys called out that name. But some honest old men, +having heard that filthy name, began to protest against it and to say, +"What filthy thing is this, and what ribaldry, that so vile a name should +be cried through our city?" Insomuch that, a clamour arising, poor +Sodoma came within an ace of being stoned by the boys and the populace, +with his horse and the ape that he had with him on the crupper. Having +in the space of many years got together many prizes, won in the same +way by his horses, he took the greatest pride in the world in them, and +showed them to all who came into his house; and very often he made a +show of them at his windows.</p> + +<p>But to return to his works: he painted for the Company of S. +Bastiano in Camollia, beyond the Church of the Umiliati, on a banner +of cloth which is carried in processions, in oils, a nude S. Sebastian, +bound to a tree, who is standing on the right leg, with the left in foreshortening, +and raises the head towards an Angel who is placing a crown +upon it. This work is truly beautiful, and much to be praised. On the +reverse side is Our Lady with the Child in her arms, and below her are +S. Gismondo, S. Rocco, and some Flagellants kneeling on the ground. +It is said that some merchants of Lucca offered to give three hundred +crowns of gold to the men of that Company for that picture, but did not +obtain it, because the others did not wish to deprive their Company +and the city of so rare a painting. And, in truth, in certain works—whether +<span class="pagenum"><a id="Page_252" name="Page_252"></a>[Pg 252]</span> it was study, or good fortune, or chance—Sodoma acquitted +himself very well; but of such he did very few. In the Sacristy of the +Friars of the Carmine is a picture by the hand of the same master, wherein +is a very beautiful Nativity of Our Lady, with some nurses; and on the +corner near the Piazza de' Tolomei he painted in fresco, for the Guild +of Shoemakers, a Madonna with the Child in her arms, S. John, S. Francis, +S. Rocco, and S. Crispino, the Patron Saint of the men of that Guild, +who has a shoe in his hand. In the heads of these figures, and in all the +rest, Giovanni Antonio acquitted himself very well.</p> + +<p>In the Company of S. Bernardino of Siena, beside the Church of S. +Francesco, he executed some scenes in fresco in competition with Girolamo +del Pacchia, a Sienese painter, and Domenico Beccafumi—namely, the +Presentation of Our Lady in the Temple, when she goes to visit S. +Elizabeth, her Assumption, and when she is crowned in Heaven. In +the angles of the same Company he painted a Saint in episcopal robes, +S. Louis, and S. Anthony of Padua; but the best figure of all is a S. +Francis, who, standing on his feet and raising his head, is gazing at a +little Angel, who appears to be in the act of speaking to him; the head +of which S. Francis is truly marvellous. In the Palazzo de' Signori at +Siena, likewise, in a hall, he painted some little tabernacles full of columns +and little children, with other ornaments; and within these tabernacles +are various figures. In one is S. Vittorio armed in the ancient fashion, +with the sword in his hand; near him, in the same manner, is S. Ansano, +who is baptizing certain persons; in another is S. Benedict; and all are +very beautiful. In the lower part of that Palace, where salt is sold, he +painted a Christ who is returning to life, with some soldiers about the +Sepulchre, and two little Angels, held to be passing beautiful in the heads. +Farther on, over a door, is a Madonna with the Child in her arms, painted +by him in fresco, and two Saints.</p> + +<div class="figcenter"> +<a name="img034" id="img034"></a> +<img src="images/img034-tb.jpg" width="400" height="518" alt="S. Ansano." title=""> +<p class="caption">S. ANSANO<br> +(<i>After the fresco by</i> Giovanni Antonio Bazzi [Il Sodoma]. <i>Siena: Palazzo Pubblico</i>)<br> +<i>Alinari</i><br> +<span class="link"><a href="images/img034.jpg">View larger image</a></span></p> +</div> + +<p>In S. Spirito he painted the Chapel of S. Jacopo, which he did at +the commission of the men of the Spanish colony, who have their place +of burial there; depicting there an image of the Madonna after the ancient +manner, with S. Nicholas of Tolentino on the right hand, and, on the +left, the Archangel S. Michael, who is slaying Lucifer. Above these, in +<span class="pagenum"><a id="Page_253" name="Page_253"></a>[Pg 253]</span> a lunette, he painted Our Lady placing the sacerdotal habit upon a Saint, +with some Angels around. Over all these figures, which are in oils on +panel, there is painted in fresco, in the semicircle of the vaulting, a S. James +in armour on a galloping horse, who has grasped his sword with a fiery +gesture, and below him are many Turks, dead and wounded. Below all +this, on the sides of the altar, are painted in fresco S. Anthony the Abbot +and a nude S. Sebastian at the Column, which are held to be passing +good works.</p> + +<div class="figcenter"> +<a name="img035" id="img035"></a> +<img src="images/img035-tb.jpg" width="250" height="565" alt="S. Francis." title=""> +<p class="caption">S. FRANCIS<br> +(<i>After the fresco by</i> Giovanni Antonio Bazzi +[Il Sodoma]. <i>Siena: S. Bernardino, Oratory</i>)<br> +<i>Alinari</i><br> +<span class="link"><a href="images/img035.jpg">View larger image</a></span></p> +</div> + +<p>In the Duomo of the same city, on the right hand as one enters the +church, there is upon an altar a picture in oils by his hand, in which there +are Our Lady with the Child on her knee, S. Joseph on one side, and +S. Calixtus on the other; which work is likewise held to be very beautiful, +because it is evident that in colouring it Sodoma showed much more +diligence than he used to devote to his works. He also painted for the +Company of the Trinity a bier for carrying the dead to burial, which was +very beautiful; and he executed another for the Company of Death, +which is held to be the most beautiful in Siena; and I believe that the +latter is the finest that there is to be seen, for, besides that it is indeed +much to be extolled, it is very seldom that such works are executed at +much cost or with much diligence. In the Church of S. Domenico, in +the Chapel of S. Caterina da Siena, where there is in a tabernacle the +head of that Saint, enclosed in one of silver, Giovanni Antonio painted +two scenes, which are one on either side of that tabernacle. In one, on +the right hand, is that Saint when, having received the Stigmata from +Jesus Christ, who is in the air, she lies half-dead in the arms of two of her +sisters, who are supporting her; of which work Baldassarre Peruzzi, the +painter of Siena, after considering it, said that he had never seen anyone +represent better the expression of persons fainting and half-dead, or +with more similitude to the reality, than Giovanni Antonio had contrived +to do. And in truth it is so, as may be seen, apart from the work itself, +from the design by Sodoma's own hand which I have in my book of +drawings. On the left hand, in the other picture, is the scene when the +Angel of God carries to the same Saint the Host of the most Holy Communion, +and she, raising her head to Heaven, sees Jesus Christ and +<span class="pagenum"><a id="Page_254" name="Page_254"></a>[Pg 254]</span> Mary the Virgin, while two of her sisters, her companions, stand behind +her. In another scene, which is on the wall on the right hand, is painted +the story of a criminal, who, going to be beheaded, would not be converted +or commend himself to God, despairing of His mercy; when, the above-named +Saint praying for him on her knees, her prayers were so acceptable +to the goodness of God, that, when the felon's head was cut off, his soul +was seen ascending to Heaven; such power with the mercy of God have +the prayers of those saintly persons who are in His grace. In this scene +is a very great number of figures, as to which no one should marvel if +they are not of the highest perfection, for the reason that I have heard +as a fact that Giovanni Antonio had sunk to such a pitch in his negligence +and slothfulness, that he would make neither designs nor cartoons when +he had any work of that kind to execute, but would attack the work by +designing it with the brush directly on the plaster, which was a strange +thing; in which method it is evident that this scene was executed by him. +The same master also painted the arch in front of that chapel, making +therein a God the Father. The other scenes in that chapel were not +finished by him, partly from his own fault, he not choosing to work save +by caprice, and partly because he had not been paid by him who was +having the chapel painted. Below this is a God the Father, who has +beneath Him a Virgin in the ancient manner, on panel, with S. Dominic, +S. Gismondo, S. Sebastian, and S. Catharine.</p> + +<div class="figcenter"> +<a name="img036" id="img036"></a> +<img src="images/img036-tb.jpg" width="400" height="650" alt="The Adoration of the Magi." title=""> +<p class="caption">THE ADORATION OF THE MAGI<br> +(<i>After the painting by</i> Giovanni Antonio Bazzi [Il Sodoma]. +<i>Siena: S. Agostino</i>)<br> +<i>Alinari</i><br> +<span class="link"><a href="images/img036.jpg">View larger image</a></span></p> +</div> + +<p>For S. Agostino, in an altar-piece that is on the right hand at the +entrance into the church, he painted the Adoration of the Magi, which +was held to be, and is, a good work, for the reason that, besides the +Madonna, which is much extolled, the first of the three Magi, and certain +horses, there is a head of a shepherd between two trees which has all +the appearance of life. Over a gate of the city, called the Porta di S. Viene, +he painted in fresco, in a large tabernacle, the Nativity of Jesus Christ, with +some Angels in the air; and on the arch of that gate a child in foreshortening, +very beautiful and in strong relief, which is intended to signify that +the Word has been made Flesh. In this work Sodoma made a portrait +of himself, with a beard, being now old, and with a brush in his hand, +which is pointing to a scroll that says "Feci."</p> + +<p><span class="pagenum"><a id="Page_255" name="Page_255"></a>[Pg 255]</span> He painted likewise in fresco the Chapel of the Commune at the +foot of the Palace, in the Piazza, representing there Our Lady with the +Child in her arms, upheld by some little Angels, S. Ansano, S. Vittorio, +S. Augustine, and S. James; and above this, in a triangular lunette, he +painted a God the Father with some Angels about Him. From this +work it is evident that when he executed it he was beginning, as it were, +to have no more love for art, having lost that certain quality of excellence +that he used to have in his better days, by means of which he gave a +certain air of beauty to his heads, which made them graceful and lovely. +And this is manifestly true, for some works that he executed long before +this one have quite another grace and another manner, as may be seen +above the Postierla, from a wall in fresco over the door of the Captain +Lorenzo Mariscotti, where there is a Dead Christ in the lap of His Mother, +who has a marvellous divinity and grace. In like manner, a picture in +oils of Our Lady, which he painted for Messer Enea Savini della Costerella, +is much extolled, and also a canvas that he executed for Assuero Rettori +of S. Martino, in which is the Roman Lucrece stabbing herself, while she +is held by her father and her husband, all painted with much beauty of +attitude and marvellous grace in the heads.</p> + +<p>Finally, perceiving that the devotion of the people of Siena was all +turned to the talents and excellent works of Domenico Beccafumi, and +possessing neither house nor revenues in Siena, and having by that time +consumed almost all his property and become old and poor, Giovanni +Antonio departed from Siena almost in despair and went off to Volterra. +And there, as his good fortune would have it, chancing upon Messer +Lorenzo di Galeotto de' Medici, a rich and honoured nobleman, he proceeded +to live under his protection, with the intention of staying there a long +time. And so, dwelling in the house of that nobleman, he painted for +him on a canvas the Chariot of the Sun, which, having been badly guided +by Phaëthon, is falling into the Po; but it is easy to see that he did that +work to pass the time, and hurried through it by rule of thumb, without +giving any thought to it, so entirely commonplace is it and so ill-considered. +Then, having grown weary of living at Volterra and in the +house of that nobleman, as one who was accustomed to being free, he +<span class="pagenum"><a id="Page_256" name="Page_256"></a>[Pg 256]</span> departed and went off to Pisa, where, at the instance of Battista del +Cervelliera, he executed two pictures for Messer Bastiano della Seta, the +Warden of Works of the Duomo, which were placed in the recess behind +the high-altar of that Duomo, beside those of Sogliani and Beccafumi. +In one is the Dead Christ with Our Lady and the other Maries, and in +the other Abraham sacrificing his son Isaac; but since these pictures did +not succeed very well, the Warden, who had intended to make him paint +some altar-pieces for the church, dismissed him, knowing that men who +do not study, once they have lost in old age the quality of excellence +that they had in their youth from nature, are left with a kind of facility +of manner that is generally little to be praised. At that same time +Giovanni Antonio finished an altar-piece that he had previously begun +in oils for S. Maria della Spina, painting in it Our Lady with the Child +in her arms, with S. Mary Magdalene and S. Catharine kneeling before +her, and S. John, S. Sebastian, and S. Joseph standing at the sides; in +all which figures he acquitted himself much better than in the two pictures +for the Duomo.</p> + +<p>Then, having nothing more to do at Pisa, he made his way to Lucca, +where, at S. Ponziano, a seat of the Monks of Monte Oliveto, an Abbot +of his acquaintance caused him to paint a Madonna on the ascent of a +staircase that leads to the dormitory. That work finished, he returned +weary, old, and poor to Siena, where he did not live much longer; for +he fell ill, through not having anyone to look after him or any means +of sustenance, and went off to the Great Hospital, and there in a few +weeks he finished the course of his life.</p> + +<div class="figcenter"> +<a name="img037" id="img037"></a> +<img src="images/img037-tb.jpg" width="400" height="589" alt="The Sacrifice of Isaac." title=""> +<p class="caption">THE SACRIFICE OF ISAAC<br> +(<i>After the painting by</i> Giovanni Antonio Bazzi [Il Sodoma]. <i>Pisa: Duomo</i>)<br> +<i>Alinari</i><br> +<span class="link"><a href="images/img037.jpg">View larger image</a></span></p> +</div> + +<p>Giovanni Antonio, when young and in good repute, took for his wife +in Siena a girl born of a very good family, and had by her in the first +year a daughter. But after that, having grown weary of her, because he +was a beast, he would never see her more; and she, therefore, withdrawing +by herself, lived always on her own earnings and on the interest of her +dowry, bearing with great and endless patience the beastliness and the +follies of that husband of hers, who was truly worthy of the name of +Mattaccio which, as has been related, the Monks of Monte Oliveto gave +him.</p> + +<p><span class="pagenum"><a id="Page_257" name="Page_257"></a>[Pg 257]</span> Riccio of Siena, the disciple of Giovanni Antonio, a passing able and +well-practised painter, having taken as his wife his master's daughter, +who had been very well and decently brought up by her mother, became +the heir to all the possessions connected with art of his wife's father. +This Riccio, I say, has executed many beautiful and praiseworthy works +at Siena and elsewhere, and has decorated with stucco and pictures in +fresco a chapel in the Duomo of the above-named city, on the left hand +as one enters the church; and he now lives at Lucca, where he has done, +as he still continues to do, many beautiful works worthy to be extolled.</p> + +<p>A pupil of Giovanni Antonio, likewise, was a young man who was +called Giomo del Sodoma; but, since he died young, and was not able to +give more than a small proof of his genius and knowledge, there is no +need to say more about him.</p> + +<p>Sodoma lived seventy-five years, and died in the year 1554.</p> + + +<hr style="width: 65%;"> +<h2><a name="index_name_vol_7" id="index_name_vol_7"></a><span class="pagenum"><a id="Page_259" name="Page_259"></a>[Pg 259]</span> INDEX OF NAMES +OF THE CRAFTSMEN MENTIONED IN VOLUME VII</h2> + + +<ul class="none"> +<li>Adone Doni, +<a href="#Page_128"><b>128</b></a></li> + +<li>Agnolo, Baccio d', +<a href="#Page_74"><b>74</b></a></li> + +<li>Agnolo, Battista d' (Battista del Moro), +<a href="#Page_236"><b>236</b></a></li> + +<li>Agnolo Bronzino, +<a href="#Page_29"><b>29</b></a>, +<a href="#Page_31"><b>31</b></a>, +<a href="#Page_113"><b>113</b></a>, +<a href="#Page_149"><b>149</b></a>, +<a href="#Page_158"><b>158</b></a>, +<a href="#Page_160"><b>160</b></a>, +<a href="#Page_163"><b>163</b></a>, +<a href="#Page_167"><b>167</b></a>, +<a href="#Page_168"><b>168</b></a>, +<a href="#Page_171"><b>171</b></a>, +<a href="#Page_172"><b>172</b></a>, +<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_182"><b>182</b></a>, +<a href="#Page_201"><b>201</b></a></li> + +<li>Agnolo di Cristofano, +<a href="#Page_70"><b>70</b></a></li> + +<li>Agnolo, Giuliano di Baccio d', +<a href="#Page_83"><b>83</b></a>-86, +<a href="#Page_88"><b>88</b></a>, +<a href="#Page_89"><b>89</b></a>, +<a href="#Page_102"><b>102</b></a></li> + +<li>Agostino Viniziano, +<a href="#Page_60"><b>60</b></a>, +<a href="#Page_63"><b>63</b></a></li> + +<li>Albertinelli, Mariotto, +<a href="#Page_108"><b>108</b></a>, +<a href="#Page_148"><b>148</b></a></li> + +<li>Albrecht Dürer, +<a href="#Page_163"><b>163</b></a>, +<a href="#Page_164"><b>164</b></a>, +<a href="#Page_166"><b>166</b></a></li> + +<li>Alessandro Vittoria, +<a href="#Page_228"><b>228</b></a></li> + +<li>Alfonso Berughetta (Alonzo Spagnuolo), +<a href="#Page_58"><b>58</b></a></li> + +<li>Alfonso Lombardi, +<a href="#Page_77"><b>77</b></a></li> + +<li>Alonzo Spagnuolo (Alfonso Berughetta), +<a href="#Page_58"><b>58</b></a></li> + +<li>Ammanati, Bartolommeo, +<a href="#Page_95"><b>95</b></a>, +<a href="#Page_96"><b>96</b></a>, +<a href="#Page_99"><b>99</b></a>, +<a href="#Page_100"><b>100</b></a>, +<a href="#Page_203"><b>203</b></a>, +<a href="#Page_206"><b>206</b></a></li> + +<li>Andrea, Maestro, +<a href="#Page_66"><b>66</b></a></li> + +<li>Andrea Contucci (Andrea Sansovino), +<a href="#Page_5"><b>5</b></a>, +<a href="#Page_9"><b>9</b></a>, +<a href="#Page_61"><b>61</b></a>, +<a href="#Page_62"><b>62</b></a>, +<a href="#Page_187"><b>187</b></a>, +<a href="#Page_189"><b>189</b></a></li> + +<li>Andrea da Fiesole (Andrea Ferrucci), +<a href="#Page_4"><b>4</b></a></li> + +<li>Andrea del Minga, +<a href="#Page_97"><b>97</b></a></li> + +<li>Andrea del Sarto, +<a href="#Page_4"><b>4</b></a>, +<a href="#Page_58"><b>58</b></a>, +<a href="#Page_59"><b>59</b></a>, +<a href="#Page_148"><b>148</b></a>-150, +<a href="#Page_152"><b>152</b></a>, +<a href="#Page_156"><b>156</b></a>, +<a href="#Page_157"><b>157</b></a>, +<a href="#Page_171"><b>171</b></a>, +<a href="#Page_188"><b>188</b></a></li> + +<li>Andrea di Cosimo Feltrini, +<a href="#Page_13"><b>13</b></a>, +<a href="#Page_149"><b>149</b></a>-152</li> + +<li>Andrea Ferrucci (Andrea da Fiesole), +<a href="#Page_4"><b>4</b></a></li> + +<li>Andrea Pisano, +<a href="#Page_30"><b>30</b></a></li> + +<li>Andrea Sansovino (Andrea Contucci), +<a href="#Page_5"><b>5</b></a>, +<a href="#Page_9"><b>9</b></a>, +<a href="#Page_61"><b>61</b></a>, +<a href="#Page_62"><b>62</b></a>, +<a href="#Page_187"><b>187</b></a>, +<a href="#Page_189"><b>189</b></a></li> + +<li>Andrea Verrocchio, +<a href="#Page_56"><b>56</b></a></li> + +<li>Antonio da San Gallo (the elder), +<a href="#Page_74"><b>74</b></a></li> + +<li>Antonio da San Gallo (the younger), +<a href="#Page_9"><b>9</b></a>, +<a href="#Page_78"><b>78</b></a>, +<a href="#Page_119"><b>119</b></a>, +<a href="#Page_186"><b>186</b></a>, +<a href="#Page_189"><b>189</b></a>, +<a href="#Page_190"><b>190</b></a>, +<a href="#Page_193"><b>193</b></a>, +<a href="#Page_217"><b>217</b></a>, +<a href="#Page_218"><b>218</b></a></li> + +<li>Antonio di Domenico (Antonio di Donnino Mazzieri), +<a href="#Page_29"><b>29</b></a></li> + +<li>Antonio di Gino Lorenzi, +<a href="#Page_24"><b>24</b></a></li> + +<li>Antonio di Giovanni (Solosmeo da Settignano), +<a href="#Page_5"><b>5</b></a>, +<a href="#Page_79"><b>79</b></a>, +<a href="#Page_80"><b>80</b></a></li> + +<li>Antonio di Marco di Giano (Il Carota), +<a href="#Page_152"><b>152</b></a></li> + +<li>Aristotile (Bastiano) da San Gallo, +<a href="#Page_29"><b>29</b></a></li> +</ul> + +<ul class="none p2"> +<li>Bacchiacca, Il (Francesco Ubertini), +<a href="#Page_29"><b>29</b></a></li> + +<li>Baccio, Giovanni di (Nanni di Baccio Bigio), +<a href="#Page_81"><b>81</b></a></li> + +<li>Baccio Bandinelli (Baccio de' Brandini), <i>Life</i>, +<a href="#Page_55"><b>55</b></a>-103. +<a href="#Page_4"><b>4</b></a>, +<a href="#Page_27"><b>27</b></a>, +<a href="#Page_28"><b>28</b></a>, +<a href="#Page_42"><b>42</b></a>, +<a href="#Page_43"><b>43</b></a>, +<a href="#Page_55"><b>55</b></a>-103, +<a href="#Page_154"><b>154</b></a>, +<a href="#Page_187"><b>187</b></a></li> + +<li>Baccio d'Agnolo, +<a href="#Page_74"><b>74</b></a></li> + +<li>Baccio da Montelupo, +<a href="#Page_155"><b>155</b></a></li> + +<li>Baccio de' Brandini (Baccio Bandinelli), <i>Life</i>, +<a href="#Page_55"><b>55</b></a>-103. +<a href="#Page_4"><b>4</b></a>, +<a href="#Page_27"><b>27</b></a>, +<a href="#Page_28"><b>28</b></a>, +<a href="#Page_42"><b>42</b></a>, +<a href="#Page_43"><b>43</b></a>, +<a href="#Page_55"><b>55</b></a>-103, +<a href="#Page_154"><b>154</b></a>, +<a href="#Page_187"><b>187</b></a></li> + +<li>Bagnacavallo, Giovan Battista, +<a href="#Page_129"><b>129</b></a></li> + +<li>Baldassarre Lancia, +<a href="#Page_206"><b>206</b></a></li> + +<li>Baldassarre Peruzzi, +<a href="#Page_253"><b>253</b></a></li> + +<li>Bandinelli, Baccio (Baccio de' Brandini), <i>Life</i>, +<a href="#Page_55"><b>55</b></a>-103. +<a href="#Page_4"><b>4</b></a>, +<a href="#Page_27"><b>27</b></a>, +<a href="#Page_28"><b>28</b></a>, +<a href="#Page_42"><b>42</b></a>, +<a href="#Page_43"><b>43</b></a>, +<a href="#Page_55"><b>55</b></a>-103, +<a href="#Page_154"><b>154</b></a>, +<a href="#Page_187"><b>187</b></a></li> + +<li>Bandinelli, Clemente, +<a href="#Page_77"><b>77</b></a>, +<a href="#Page_94"><b>94</b></a>, +<a href="#Page_95"><b>95</b></a>, +<a href="#Page_98"><b>98</b></a></li> + +<li>Barba, Jacopo della, +<a href="#Page_71"><b>71</b></a></li> + +<li>Bartolommeo Ammanati, +<a href="#Page_95"><b>95</b></a>, +<a href="#Page_96"><b>96</b></a>, +<a href="#Page_99"><b>99</b></a>, +<a href="#Page_100"><b>100</b></a>, +<a href="#Page_203"><b>203</b></a>, +<a href="#Page_206"><b>206</b></a></li> + +<li>Bartolommeo di Jacopo di Martino, +<a href="#Page_147"><b>147</b></a></li> + +<li>Bartolommeo di San Marco, Fra, +<a href="#Page_108"><b>108</b></a>, +<a href="#Page_109"><b>109</b></a>, +<a href="#Page_148"><b>148</b></a></li> + +<li>Bartolommeo Genga, <i>Life</i>, +<a href="#Page_206"><b>206</b></a>-210. +<a href="#Page_203"><b>203</b></a>, +<a href="#Page_204"><b>204</b></a></li> + +<li>Bartolommeo Neroni (Riccio), +<a href="#Page_257"><b>257</b></a></li> + +<li>Bartolommeo San Michele, +<a href="#Page_217"><b>217</b></a></li> + +<li>Bastiano (Aristotile) da San Gallo, +<a href="#Page_29"><b>29</b></a></li> + +<li>Battista Cungi, +<a href="#Page_121"><b>121</b></a>, +<a href="#Page_122"><b>122</b></a>, +<a href="#Page_124"><b>124</b></a>, +<a href="#Page_125"><b>125</b></a></li> + +<li>Battista d'Agnolo (Battista del Moro), +<a href="#Page_236"><b>236</b></a></li> + +<li>Battista da Verona (Battista Farinati), +<a href="#Page_237"><b>237</b></a>, +<a href="#Page_238"><b>238</b></a></li> + +<li>Battista del Cervelliera, +<a href="#Page_256"><b>256</b></a></li> + +<li>Battista del Cinque, +<a href="#Page_12"><b>12</b></a></li> + +<li>Battista del Moro (Battista d'Agnolo), +<a href="#Page_236"><b>236</b></a></li> + +<li>Battista del Tasso, +<a href="#Page_13"><b>13</b></a>, +<a href="#Page_30"><b>30</b></a>, +<a href="#Page_31"><b>31</b></a>, +<a href="#Page_34"><b>34</b></a>, +<a href="#Page_35"><b>35</b></a>, +<a href="#Page_137"><b>137</b></a></li> + +<li>Battista della Bilia, +<a href="#Page_118"><b>118</b></a></li> + +<li>Battista Dossi, +<a href="#Page_201"><b>201</b></a></li> + +<li>Battista Farinati (Battista da Verona), +<a href="#Page_237"><b>237</b></a>, +<a href="#Page_238"><b>238</b></a></li> + +<li>Battista Franco, +<a href="#Page_28"><b>28</b></a>, +<a href="#Page_29"><b>29</b></a>, +<a href="#Page_203"><b>203</b></a></li> + +<li>Battista Naldini, +<a href="#Page_181"><b>181</b></a>, +<a href="#Page_182"><b>182</b></a></li> + +<li>Battista of Città di Castello, +<a href="#Page_118"><b>118</b></a>, +<a href="#Page_119"><b>119</b></a></li> + +<li>Bazzi, Giovanni Antonio (Il Sodoma), <i>Life</i>, +<a href="#Page_245"><b>245</b></a>-257</li> + +<li>Beccafumi, Domenico, +<a href="#Page_252"><b>252</b></a>, +<a href="#Page_255"><b>255</b></a>, +<a href="#Page_256"><b>256</b></a></li> + +<li>Beceri, Domenico (Domenico Benci), +<a href="#Page_141"><b>141</b></a></li> + +<li>Bellucci, Giovan Battista (Giovan Battista San Marino), <i>Life</i>, +<a href="#Page_210"><b>210</b></a>-213. +<a href="#Page_207"><b>207</b></a></li> + +<li>Benci, Domenico (Domenico Beceri), +<a href="#Page_141"><b>141</b></a></li> + +<li>Benedetto da Rovezzano, +<a href="#Page_4"><b>4</b></a>, +<a href="#Page_63"><b>63</b></a>, +<a href="#Page_64"><b>64</b></a>, +<a href="#Page_187"><b>187</b></a></li> + +<li>Benvenuto Cellini, +<a href="#Page_93"><b>93</b></a>, +<a href="#Page_94"><b>94</b></a>, +<a href="#Page_96"><b>96</b></a>, +<a href="#Page_97"><b>97</b></a>, +<a href="#Page_99"><b>99</b></a>, +<a href="#Page_100"><b>100</b></a></li> + +<li>Bernardino Brugnuoli, +<a href="#Page_226"><b>226</b></a>, +<a href="#Page_227"><b>227</b></a>, +<a href="#Page_233"><b>233</b></a>, +<a href="#Page_234"><b>234</b></a></li> + +<li>Bernardino India, +<a href="#Page_237"><b>237</b></a></li> + +<li>Bersuglia, Gian Domenico, +<a href="#Page_193"><b>193</b></a></li> + +<li>Bertoldo, +<a href="#Page_107"><b>107</b></a></li> + +<li>Berughetta, Alfonso (Alonzo Spagnuolo), +<a href="#Page_58"><b>58</b></a></li> + +<li>Bicci, Lorenzo di, +<a href="#Page_61"><b>61</b></a></li> + +<li>Bigio, Nanni di Baccio (Giovanni di Baccio), +<a href="#Page_81"><b>81</b></a></li> + +<li>Bilia, Battista della, +<a href="#Page_118"><b>118</b></a></li> + +<li>Bizzerra, +<a href="#Page_129"><b>129</b></a></li> + +<li>Bologna, Giovan, +<a href="#Page_100"><b>100</b></a>, +<a href="#Page_101"><b>101</b></a></li> + +<li>Bolognese, Marc'Antonio, +<a href="#Page_65"><b>65</b></a></li> + +<li>Borgo, Raffaello dal (Raffaello dal Colle), +<a href="#Page_117"><b>117</b></a>, +<a href="#Page_118"><b>118</b></a>, +<a href="#Page_120"><b>120</b></a>, +<a href="#Page_128"><b>128</b></a>, +<a href="#Page_129"><b>129</b></a>, +<a href="#Page_201"><b>201</b></a></li> + +<li>Bramante da Urbino, +<a href="#Page_249"><b>249</b></a></li> + +<li>Brandini, Baccio de' (Baccio Bandinelli), <i>Life</i>, +<a href="#Page_55"><b>55</b></a>-103. +<a href="#Page_4"><b>4</b></a>, +<a href="#Page_27"><b>27</b></a>, +<a href="#Page_28"><b>28</b></a>, +<a href="#Page_42"><b>42</b></a>, +<a href="#Page_43"><b>43</b></a>, +<a href="#Page_55"><b>55</b></a>-103, +<a href="#Page_154"><b>154</b></a>, +<a href="#Page_187"><b>187</b></a></li> + +<li>Bronzino, Agnolo, +<a href="#Page_29"><b>29</b></a>, +<a href="#Page_31"><b>31</b></a>, +<a href="#Page_113"><b>113</b></a>, +<a href="#Page_149"><b>149</b></a>, +<a href="#Page_158"><b>158</b></a>, +<a href="#Page_160"><b>160</b></a>, +<a href="#Page_163"><b>163</b></a>, +<a href="#Page_167"><b>167</b></a>, +<a href="#Page_168"><b>168</b></a>, +<a href="#Page_171"><b>171</b></a>, +<a href="#Page_172"><b>172</b></a>, +<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_182"><b>182</b></a>, +<a href="#Page_201"><b>201</b></a></li> + +<li>Brugnuoli, Bernardino, +<a href="#Page_226"><b>226</b></a>, +<a href="#Page_227"><b>227</b></a>, +<a href="#Page_233"><b>233</b></a>, +<a href="#Page_234"><b>234</b></a></li> + +<li>Brugnuoli, Luigi, +<a href="#Page_229"><b>229</b></a>, +<a href="#Page_233"><b>233</b></a></li> + +<li>Brunelleschi, Filippo, +<a href="#Page_87"><b>87</b></a>, +<a href="#Page_88"><b>88</b></a>, +<a href="#Page_167"><b>167</b></a>, +<a href="#Page_226"><b>226</b></a></li> + +<li>Brusciasorzi, Domenico (Domenico del Riccio), +<a href="#Page_236"><b>236</b></a>, +<a href="#Page_237"><b>237</b></a></li> + +<li>Brusciasorzi, Felice (Felice del Riccio), +<a href="#Page_237"><b>237</b></a></li> + +<li>Buda, Girolamo del, +<a href="#Page_56"><b>56</b></a></li> + +<li>Bugiardini, Giuliano, <i>Life</i>, +<a href="#Page_107"><b>107</b></a>-113</li> + +<li>Buglioni, Santi, +<a href="#Page_29"><b>29</b></a></li> + +<li>Buonarroti, Michelagnolo, +<a href="#Page_10"><b>10</b></a>, +<a href="#Page_11"><b>11</b></a>, +<a href="#Page_14"><b>14</b></a>, +<a href="#Page_16"><b>16</b></a>, +<a href="#Page_28"><b>28</b></a>, +<a href="#Page_32"><b>32</b></a>, +<a href="#Page_44"><b>44</b></a>, +<a href="#Page_46"><b>46</b></a>, +<a href="#Page_48"><b>48</b></a>, +<a href="#Page_49"><b>49</b></a>, +<a href="#Page_57"><b>57</b></a>, +<a href="#Page_58"><b>58</b></a>, +<a href="#Page_61"><b>61</b></a>, +<a href="#Page_66"><b>66</b></a>-68, +<a href="#Page_71"><b>71</b></a>, +<a href="#Page_72"><b>72</b></a>, +<a href="#Page_75"><b>75</b></a>, +<a href="#Page_77"><b>77</b></a>, +<a href="#Page_81"><b>81</b></a>, +<a href="#Page_98"><b>98</b></a>, +<a href="#Page_99"><b>99</b></a>, +<a href="#Page_107"><b>107</b></a>, +<a href="#Page_108"><b>108</b></a>, +<a href="#Page_110"><b>110</b></a>-113, +<a href="#Page_151"><b>151</b></a>, +<a href="#Page_172"><b>172</b></a>, +<a href="#Page_173"><b>173</b></a>, +<a href="#Page_179"><b>179</b></a>, +<a href="#Page_194"><b>194</b></a>, +<a href="#Page_235"><b>235</b></a></li> +</ul> + +<ul class="none p2"> +<li>Cadore, Tiziano da (Tiziano Vecelli), +<a href="#Page_237"><b>237</b></a></li> + +<li>Caliari, Paolino or Paolo (Paolo Veronese), +<a href="#Page_236"><b>236</b></a>-240</li> + +<li>Camillo Mantovano, +<a href="#Page_201"><b>201</b></a></li> + +<li>Carota, Il (Antonio di Marco di Giano), +<a href="#Page_152"><b>152</b></a></li> + +<li>Caroto, Giovanni, +<a href="#Page_238"><b>238</b></a></li> + +<li>Carrara, Danese da (Danese Cattaneo), +<a href="#Page_228"><b>228</b></a></li> + +<li>Carrucci, Jacopo (Jacopo da Pontormo), <i>Life</i>, +<a href="#Page_147"><b>147</b></a>-182. +<a href="#Page_31"><b>31</b></a>, +<a href="#Page_201"><b>201</b></a></li> + +<li>Cattaneo, Danese (Danese da Carrara), +<a href="#Page_228"><b>228</b></a></li> + +<li>Cavalieri, Tiberio, +<a href="#Page_50"><b>50</b></a></li> + +<li>Cellini, Benvenuto, +<a href="#Page_93"><b>93</b></a>, +<a href="#Page_94"><b>94</b></a>, +<a href="#Page_96"><b>96</b></a>, +<a href="#Page_97"><b>97</b></a>, +<a href="#Page_99"><b>99</b></a>, +<a href="#Page_100"><b>100</b></a></li> + +<li>Cervelliera, Battista del, +<a href="#Page_256"><b>256</b></a></li> + +<li>Cinque, Battista del, +<a href="#Page_12"><b>12</b></a></li> + +<li>Cioli, Simone, +<a href="#Page_9"><b>9</b></a>, +<a href="#Page_10"><b>10</b></a>, +<a href="#Page_189"><b>189</b></a></li> + +<li>Clemente Bandinelli, +<a href="#Page_77"><b>77</b></a>, +<a href="#Page_94"><b>94</b></a>, +<a href="#Page_95"><b>95</b></a>, +<a href="#Page_98"><b>98</b></a></li> + +<li>Colle, Raffaello dal (Raffaello dal Borgo), +<a href="#Page_117"><b>117</b></a>, +<a href="#Page_118"><b>118</b></a>, +<a href="#Page_120"><b>120</b></a>, +<a href="#Page_128"><b>128</b></a>, +<a href="#Page_129"><b>129</b></a>, +<a href="#Page_201"><b>201</b></a></li> + +<li>Conti, Domenico, +<a href="#Page_29"><b>29</b></a></li> + +<li>Contucci, Andrea (Andrea Sansovino), +<a href="#Page_5"><b>5</b></a>, +<a href="#Page_9"><b>9</b></a>, +<a href="#Page_61"><b>61</b></a>, +<a href="#Page_62"><b>62</b></a>, +<a href="#Page_187"><b>187</b></a>, +<a href="#Page_189"><b>189</b></a></li> + +<li>Cosimo, Piero di, +<a href="#Page_148"><b>148</b></a></li> + +<li>Cristofano, Agnolo di, +<a href="#Page_70"><b>70</b></a></li> + +<li>Cristofano Gherardi (Doceno), <i>Life</i>, +<a href="#Page_117"><b>117</b></a>-143</li> + +<li>Cungi, Battista, +<a href="#Page_121"><b>121</b></a>, +<a href="#Page_122"><b>122</b></a>, +<a href="#Page_124"><b>124</b></a>, +<a href="#Page_125"><b>125</b></a></li> +</ul> + +<ul class="none p2"> +<li>Danese da Carrara (Danese Cattaneo), +<a href="#Page_228"><b>228</b></a></li> + +<li>Danti, Vincenzio, +<a href="#Page_100"><b>100</b></a></li> + +<li>David Fortini, +<a href="#Page_37"><b>37</b></a></li> + +<li>Doceno (Cristofano Gherardi), <i>Life</i>, +<a href="#Page_117"><b>117</b></a>-143</li> + +<li>Domenico, Antonio di (Antonio di Donnino Mazzieri), +<a href="#Page_29"><b>29</b></a></li> + +<li>Domenico Beccafumi, +<a href="#Page_252"><b>252</b></a>, +<a href="#Page_255"><b>255</b></a>, +<a href="#Page_256"><b>256</b></a></li> + +<li>Domenico Beceri (Domenico Benci), +<a href="#Page_141"><b>141</b></a></li> + +<li>Domenico Brusciasorzi (Domenico del Riccio), +<a href="#Page_236"><b>236</b></a>, +<a href="#Page_237"><b>237</b></a></li> + +<li>Domenico Conti, +<a href="#Page_29"><b>29</b></a></li> + +<li>Domenico del Riccio (Domenico Brusciasorzi), +<a href="#Page_236"><b>236</b></a>, +<a href="#Page_237"><b>237</b></a></li> + +<li>Domenico Ghirlandajo, +<a href="#Page_108"><b>108</b></a>, +<a href="#Page_147"><b>147</b></a></li> + +<li>Donato (Donatello), +<a href="#Page_30"><b>30</b></a>, +<a href="#Page_56"><b>56</b></a>, +<a href="#Page_57"><b>57</b></a>, +<a href="#Page_62"><b>62</b></a></li> + +<li>Doni, Adone, +<a href="#Page_128"><b>128</b></a></li> + +<li>Dossi, Battista, +<a href="#Page_201"><b>201</b></a></li> + +<li>Dossi, Dosso, +<a href="#Page_201"><b>201</b></a></li> + +<li>Dürer, Albrecht, +<a href="#Page_163"><b>163</b></a>, +<a href="#Page_164"><b>164</b></a>, +<a href="#Page_166"><b>166</b></a></li> +</ul> + +<ul class="none p2"> +<li>Eliodoro Forbicini, +<a href="#Page_237"><b>237</b></a></li> +</ul> + +<ul class="none p2"> +<li>Fabro, Pippo del, +<a href="#Page_5"><b>5</b></a></li> + +<li>Fancelli, Giovanni, +<a href="#Page_97"><b>97</b></a></li> + +<li>Farinati, Battista (Battista da Verona), +<a href="#Page_237"><b>237</b></a>, +<a href="#Page_238"><b>238</b></a></li> + +<li>Farinato, Paolo, +<a href="#Page_236"><b>236</b></a>, +<a href="#Page_240"><b>240</b></a>, +<a href="#Page_241"><b>241</b></a></li> + +<li>Felice del Riccio (Felice Brusciasorzi), +<a href="#Page_237"><b>237</b></a></li> + +<li>Feltrini, Andrea di Cosimo, +<a href="#Page_13"><b>13</b></a>, +<a href="#Page_149"><b>149</b></a>-152</li> + +<li>Ferrarese, Girolamo (Girolamo da Ferrara), +<a href="#Page_9"><b>9</b></a>, +<a href="#Page_10"><b>10</b></a>, +<a href="#Page_189"><b>189</b></a></li> + +<li>Fiesole, Andrea da (Andrea Ferrucci), +<a href="#Page_4"><b>4</b></a></li> + +<li>Filippo Brunelleschi, +<a href="#Page_87"><b>87</b></a>, +<a href="#Page_88"><b>88</b></a>, +<a href="#Page_167"><b>167</b></a>, +<a href="#Page_226"><b>226</b></a></li> + +<li>Filippo Lippi, Fra, +<a href="#Page_57"><b>57</b></a></li> + +<li>Fonte, Jacopo della (Jacopo della Quercia), +<a href="#Page_245"><b>245</b></a></li> + +<li>Forbicini, Eliodoro, +<a href="#Page_237"><b>237</b></a></li> + +<li>Forlì, Francesco da (Francesco Menzochi), +<a href="#Page_201"><b>201</b></a>, +<a href="#Page_204"><b>204</b></a>-206</li> + +<li>Fortini, David, +<a href="#Page_37"><b>37</b></a></li> + +<li>Fra Bartolommeo di San Marco, +<a href="#Page_108"><b>108</b></a>, +<a href="#Page_109"><b>109</b></a>, +<a href="#Page_148"><b>148</b></a></li> + +<li>Fra Filippo Lippi, +<a href="#Page_57"><b>57</b></a></li> + +<li>Fra Giovanni Agnolo Montorsoli, +<a href="#Page_10"><b>10</b></a>, +<a href="#Page_11"><b>11</b></a>, +<a href="#Page_81"><b>81</b></a>, +<a href="#Page_82"><b>82</b></a></li> + +<li>Fra Sebastiano Viniziano del Piombo, +<a href="#Page_110"><b>110</b></a>, +<a href="#Page_111"><b>111</b></a></li> + +<li>Francesco da Forlì (Francesco Menzochi), +<a href="#Page_201"><b>201</b></a>, +<a href="#Page_204"><b>204</b></a>-206</li> + +<li>Francesco da San Gallo (the younger), +<a href="#Page_9"><b>9</b></a>, +<a href="#Page_10"><b>10</b></a>, +<a href="#Page_189"><b>189</b></a></li> + +<li>Francesco de' Rossi (Francesco Salviati), +<a href="#Page_178"><b>178</b></a>, +<a href="#Page_205"><b>205</b></a></li> + +<li>Francesco del Tadda, +<a href="#Page_9"><b>9</b></a>, +<a href="#Page_10"><b>10</b></a>, +<a href="#Page_49"><b>49</b></a></li> + +<li>Francesco di Girolamo dal Prato, +<a href="#Page_72"><b>72</b></a>, +<a href="#Page_73"><b>73</b></a></li> + +<li>Francesco Granacci, +<a href="#Page_108"><b>108</b></a></li> + +<li>Francesco Menzochi (Francesco da Forlì), +<a href="#Page_201"><b>201</b></a>, +<a href="#Page_204"><b>204</b></a>-206</li> + +<li>Francesco Moschino, +<a href="#Page_192"><b>192</b></a>, +<a href="#Page_194"><b>194</b></a>, +<a href="#Page_195"><b>195</b></a></li> + +<li>Francesco Salviati (Francesco de' Rossi), +<a href="#Page_178"><b>178</b></a>, +<a href="#Page_205"><b>205</b></a></li> + +<li>Francesco Ubertini (Il Bacchiacca), +<a href="#Page_29"><b>29</b></a></li> + +<li>Franciabigio, +<a href="#Page_70"><b>70</b></a>, +<a href="#Page_157"><b>157</b></a>, +<a href="#Page_171"><b>171</b></a></li> + +<li>Franco, Battista, +<a href="#Page_28"><b>28</b></a>, +<a href="#Page_29"><b>29</b></a>, +<a href="#Page_203"><b>203</b></a></li> +</ul> + +<ul class="none p2"> +<li>Galeotto, Pietro Paolo, +<a href="#Page_152"><b>152</b></a></li> + +<li>Genga, Bartolommeo, <i>Life</i>, +<a href="#Page_206"><b>206</b></a>-210. +<a href="#Page_203"><b>203</b></a>, +<a href="#Page_204"><b>204</b></a></li> + +<li>Genga, Girolamo, <i>Life</i>, +<a href="#Page_199"><b>199</b></a>-206. +<a href="#Page_207"><b>207</b></a>, +<a href="#Page_208"><b>208</b></a>, +<a href="#Page_210"><b>210</b></a>, +<a href="#Page_211"><b>211</b></a></li> + +<li>Gherardi, Cristofano (Doceno), <i>Life</i>, +<a href="#Page_117"><b>117</b></a>-143</li> + +<li>Ghirlandajo, Domenico, +<a href="#Page_108"><b>108</b></a>, +<a href="#Page_147"><b>147</b></a></li> + +<li>Ghirlandajo, Michele di Ridolfo, +<a href="#Page_28"><b>28</b></a></li> + +<li>Ghirlandajo, Ridolfo, +<a href="#Page_28"><b>28</b></a>, +<a href="#Page_31"><b>31</b></a>, +<a href="#Page_155"><b>155</b></a>, +<a href="#Page_156"><b>156</b></a></li> + +<li>Gian Domenico Bersuglia, +<a href="#Page_193"><b>193</b></a></li> + +<li>Gian Girolamo San Michele, +<a href="#Page_219"><b>219</b></a>, +<a href="#Page_220"><b>220</b></a>, +<a href="#Page_222"><b>222</b></a>, +<a href="#Page_230"><b>230</b></a>-234</li> + +<li>Giano, Antonio di Marco di (Il Carota), +<a href="#Page_152"><b>152</b></a></li> + +<li>Giolfino, Niccolò (Niccolò Ursino), +<a href="#Page_240"><b>240</b></a></li> + +<li>Giomo del Sodoma, +<a href="#Page_257"><b>257</b></a></li> + +<li>Giorgio Vasari. See <a href="#vasari">Vasari</a> (Giorgio)</li> + +<li>Giovan Battista Bagnacavallo, +<a href="#Page_129"><b>129</b></a></li> + +<li>Giovan Battista Bellucci (Giovan Battista San Marino), <i>Life</i>, +<a href="#Page_210"><b>210</b></a>-213. +<a href="#Page_207"><b>207</b></a></li> + +<li>Giovan Battista de' Rossi (Il Rosso), +<a href="#Page_58"><b>58</b></a>, +<a href="#Page_59"><b>59</b></a>, +<a href="#Page_117"><b>117</b></a>, +<a href="#Page_118"><b>118</b></a>, +<a href="#Page_149"><b>149</b></a>, +<a href="#Page_188"><b>188</b></a></li> + +<li>Giovan Battista San Marino (Giovan Battista Bellucci), <i>Life</i>, +<a href="#Page_210"><b>210</b></a>-213. +<a href="#Page_207"><b>207</b></a></li> + +<li>Giovan Bologna, +<a href="#Page_100"><b>100</b></a>, +<a href="#Page_101"><b>101</b></a></li> + +<li>Giovan Francesco Rustici, +<a href="#Page_57"><b>57</b></a>, +<a href="#Page_66"><b>66</b></a></li> + +<li>Giovan Maria Pichi, +<a href="#Page_158"><b>158</b></a></li> + +<li>Giovanni, Antonio di (Solosmeo da Settignano), +<a href="#Page_5"><b>5</b></a>, +<a href="#Page_79"><b>79</b></a>, +<a href="#Page_80"><b>80</b></a></li> + +<li>Giovanni Agnolo Montorsoli, Fra, +<a href="#Page_10"><b>10</b></a>, +<a href="#Page_11"><b>11</b></a>, +<a href="#Page_81"><b>81</b></a>, +<a href="#Page_82"><b>82</b></a></li> + +<li>Giovanni Antonio Bazzi (Il Sodoma), <i>Life</i>, +<a href="#Page_245"><b>245</b></a>-257</li> + +<li>Giovanni Antonio Lappoli, +<a href="#Page_158"><b>158</b></a>, +<a href="#Page_159"><b>159</b></a></li> + +<li>Giovanni Antonio Sogliani, +<a href="#Page_256"><b>256</b></a></li> + +<li>Giovanni Caroto, +<a href="#Page_238"><b>238</b></a></li> + +<li>Giovanni da Udine, +<a href="#Page_118"><b>118</b></a></li> + +<li>Giovanni di Baccio (Nanni di Baccio Bigio), +<a href="#Page_81"><b>81</b></a></li> + +<li>Giovanni di Goro, +<a href="#Page_69"><b>69</b></a></li> + +<li>Giovanni Fancelli, +<a href="#Page_97"><b>97</b></a></li> + +<li>Giovanni Rosso (or Rosto), Maestro, +<a href="#Page_177"><b>177</b></a></li> + +<li>Giovanni San Michele, +<a href="#Page_217"><b>217</b></a></li> + +<li>Girolamo da Ferrara (Girolamo Ferrarese), +<a href="#Page_9"><b>9</b></a>, +<a href="#Page_10"><b>10</b></a>, +<a href="#Page_189"><b>189</b></a></li> + +<li>Girolamo del Buda, +<a href="#Page_56"><b>56</b></a></li> + +<li>Girolamo del Pacchia, +<a href="#Page_252"><b>252</b></a></li> + +<li>Girolamo Ferrarese (Girolamo da Ferrara), +<a href="#Page_9"><b>9</b></a>, +<a href="#Page_10"><b>10</b></a>, +<a href="#Page_189"><b>189</b></a></li> + +<li>Girolamo Genga, <i>Life</i>, +<a href="#Page_199"><b>199</b></a>-206. +<a href="#Page_207"><b>207</b></a>, +<a href="#Page_208"><b>208</b></a>, +<a href="#Page_210"><b>210</b></a>, +<a href="#Page_211"><b>211</b></a></li> + +<li>Giuliano Bugiardini, <i>Life</i>, +<a href="#Page_107"><b>107</b></a>-113</li> + +<li>Giuliano di Baccio d'Agnolo, +<a href="#Page_83"><b>83</b></a>-86, +<a href="#Page_88"><b>88</b></a>, +<a href="#Page_89"><b>89</b></a>, +<a href="#Page_102"><b>102</b></a></li> + +<li>Giulio Romano, +<a href="#Page_117"><b>117</b></a>, +<a href="#Page_236"><b>236</b></a></li> + +<li>Goro, Giovanni di, +<a href="#Page_69"><b>69</b></a></li> + +<li>Granacci, Francesco, +<a href="#Page_108"><b>108</b></a></li> +</ul> + +<ul class="none p2"> +<li>Il Bacchiacca (Francesco Ubertini), +<a href="#Page_29"><b>29</b></a></li> + +<li>Il Carota (Antonio di Marco di Giano), +<a href="#Page_152"><b>152</b></a></li> + +<li>Il Rosso (Giovan Battista de' Rossi), +<a href="#Page_58"><b>58</b></a>, +<a href="#Page_59"><b>59</b></a>, +<a href="#Page_117"><b>117</b></a>, +<a href="#Page_118"><b>118</b></a>, +<a href="#Page_149"><b>149</b></a>, +<a href="#Page_188"><b>188</b></a></li> + +<li>Il Sodoma (Giovanni Antonio Bazzi), <i>Life</i>, +<a href="#Page_245"><b>245</b></a>-257</li> + +<li>India, Bernardino, +<a href="#Page_237"><b>237</b></a></li> +</ul> + +<ul class="none p2"> +<li>Jacone (Jacopo), +<a href="#Page_176"><b>176</b></a></li> + +<li>Jacopo da Pontormo (Jacopo Carrucci), <i>Life</i>, +<a href="#Page_147"><b>147</b></a>-182. +<a href="#Page_31"><b>31</b></a>, +<a href="#Page_201"><b>201</b></a></li> + +<li>Jacopo della Barba, +<a href="#Page_71"><b>71</b></a></li> + +<li>Jacopo della Fonte (Jacopo della Quercia), +<a href="#Page_245"><b>245</b></a></li> + +<li>Jacopo Sansovino, +<a href="#Page_4"><b>4</b></a>, +<a href="#Page_5"><b>5</b></a>, +<a href="#Page_58"><b>58</b></a></li> +</ul> + +<ul class="none p2"> +<li>Lancia, Baldassarre, +<a href="#Page_206"><b>206</b></a></li> + +<li>Lappoli, Giovanni Antonio, +<a href="#Page_158"><b>158</b></a>, +<a href="#Page_159"><b>159</b></a></li> + +<li>Lastricati, Zanobi, +<a href="#Page_45"><b>45</b></a></li> + +<li>Lattanzio di Vincenzio Pagani, +<a href="#Page_128"><b>128</b></a></li> + +<li>Leonardo da Vinci, +<a href="#Page_41"><b>41</b></a>-44, +<a href="#Page_57"><b>57</b></a>, +<a href="#Page_58"><b>58</b></a>, +<a href="#Page_60"><b>60</b></a>, +<a href="#Page_148"><b>148</b></a>, +<a href="#Page_152"><b>152</b></a></li> + +<li>Lippi, Fra Filippo, +<a href="#Page_57"><b>57</b></a></li> + +<li>Lombardi, Alfonso, +<a href="#Page_77"><b>77</b></a></li> + +<li>Lorenzetto, +<a href="#Page_78"><b>78</b></a></li> + +<li>Lorenzi, Antonio di Gino, +<a href="#Page_24"><b>24</b></a></li> + +<li>Lorenzo di Bicci, +<a href="#Page_61"><b>61</b></a></li> + +<li>Lorenzo Marignolli, +<a href="#Page_46"><b>46</b></a></li> + +<li>Luca Signorelli, +<a href="#Page_199"><b>199</b></a>, +<a href="#Page_246"><b>246</b></a></li> + +<li>Luigi Brugnuoli, +<a href="#Page_229"><b>229</b></a>, +<a href="#Page_233"><b>233</b></a></li> +</ul> + +<ul class="none p2"> +<li>Maestro Andrea, +<a href="#Page_66"><b>66</b></a></li> + +<li>Maestro Giovanni Rosso (or Rosto), +<a href="#Page_177"><b>177</b></a></li> + +<li>Maestro Niccolò, +<a href="#Page_177"><b>177</b></a></li> + +<li>Mantovano, Camillo, +<a href="#Page_201"><b>201</b></a></li> + +<li>Marc'Antonio Bolognese, +<a href="#Page_65"><b>65</b></a></li> + +<li>Marco da Ravenna, +<a href="#Page_63"><b>63</b></a></li> + +<li>Marco del Tasso, +<a href="#Page_156"><b>156</b></a></li> + +<li>Marco Palmezzani (Marco Parmigiano), +<a href="#Page_204"><b>204</b></a>, +<a href="#Page_205"><b>205</b></a></li> + +<li>Marignolli, Lorenzo, +<a href="#Page_46"><b>46</b></a></li> + +<li>Mariotto Albertinelli, +<a href="#Page_108"><b>108</b></a>, +<a href="#Page_148"><b>148</b></a></li> + +<li>Martino, Bartolommeo di Jacopo di, +<a href="#Page_147"><b>147</b></a></li> + +<li>Matteo San Michele, +<a href="#Page_219"><b>219</b></a></li> + +<li>Mazzieri, Antonio di Donnino (Antonio di Domenico), +<a href="#Page_29"><b>29</b></a></li> + +<li>Menzochi, Francesco (Francesco da Forlì), +<a href="#Page_201"><b>201</b></a>, +<a href="#Page_204"><b>204</b></a>-206</li> + +<li>Menzochi, Pietro Paolo, +<a href="#Page_205"><b>205</b></a>, +<a href="#Page_206"><b>206</b></a></li> + +<li>Michelagnolo Buonarroti, +<a href="#Page_10"><b>10</b></a>, +<a href="#Page_11"><b>11</b></a>, +<a href="#Page_14"><b>14</b></a>, +<a href="#Page_16"><b>16</b></a>, +<a href="#Page_28"><b>28</b></a>, +<a href="#Page_32"><b>32</b></a>, +<a href="#Page_44"><b>44</b></a>, +<a href="#Page_46"><b>46</b></a>, +<a href="#Page_48"><b>48</b></a>, +<a href="#Page_49"><b>49</b></a>, +<a href="#Page_57"><b>57</b></a>, +<a href="#Page_58"><b>58</b></a>, +<a href="#Page_61"><b>61</b></a>, +<a href="#Page_66"><b>66</b></a>-68, +<a href="#Page_71"><b>71</b></a>, +<a href="#Page_72"><b>72</b></a>, +<a href="#Page_75"><b>75</b></a>, +<a href="#Page_77"><b>77</b></a>, +<a href="#Page_81"><b>81</b></a>, +<a href="#Page_98"><b>98</b></a>, +<a href="#Page_99"><b>99</b></a>, +<a href="#Page_107"><b>107</b></a>, +<a href="#Page_108"><b>108</b></a>, +<a href="#Page_110"><b>110</b></a>-113, +<a href="#Page_151"><b>151</b></a>, +<a href="#Page_172"><b>172</b></a>, +<a href="#Page_173"><b>173</b></a>, +<a href="#Page_179"><b>179</b></a>, +<a href="#Page_194"><b>194</b></a>, +<a href="#Page_235"><b>235</b></a></li> + +<li>Michelagnolo di Viviano, +<a href="#Page_55"><b>55</b></a>-57, +<a href="#Page_60"><b>60</b></a>, +<a href="#Page_66"><b>66</b></a>, +<a href="#Page_73"><b>73</b></a>, +<a href="#Page_98"><b>98</b></a>, +<a href="#Page_99"><b>99</b></a></li> + +<li>Michele di Ridolfo Ghirlandajo, +<a href="#Page_28"><b>28</b></a></li> + +<li>Michele San Michele, <i>Life</i>, +<a href="#Page_217"><b>217</b></a>-235. +<a href="#Page_127"><b>127</b></a>, +<a href="#Page_191"><b>191</b></a>, +<a href="#Page_217"><b>217</b></a>-235, +<a href="#Page_237"><b>237</b></a>, +<a href="#Page_241"><b>241</b></a></li> + +<li>Minga, Andrea del, +<a href="#Page_97"><b>97</b></a></li> + +<li>Montelupo, Baccio da, +<a href="#Page_155"><b>155</b></a></li> + +<li>Montelupo, Raffaello da, +<a href="#Page_9"><b>9</b></a>-11, +<a href="#Page_27"><b>27</b></a>, +<a href="#Page_62"><b>62</b></a>, +<a href="#Page_81"><b>81</b></a>, +<a href="#Page_189"><b>189</b></a>, +<a href="#Page_191"><b>191</b></a>, +<a href="#Page_192"><b>192</b></a>, +<a href="#Page_194"><b>194</b></a>, +<a href="#Page_195"><b>195</b></a></li> + +<li>Montorsoli, Fra Giovanni Agnolo, +<a href="#Page_10"><b>10</b></a>, +<a href="#Page_11"><b>11</b></a>, +<a href="#Page_81"><b>81</b></a>, +<a href="#Page_82"><b>82</b></a></li> + +<li>Moro, Battista del (Battista d'Agnolo), +<a href="#Page_236"><b>236</b></a></li> + +<li>Mosca, Simone, <i>Life</i>, +<a href="#Page_185"><b>185</b></a>-195. +<a href="#Page_9"><b>9</b></a>, +<a href="#Page_10"><b>10</b></a></li> + +<li>Moschino, Francesco, +<a href="#Page_192"><b>192</b></a>, +<a href="#Page_194"><b>194</b></a>, +<a href="#Page_195"><b>195</b></a></li> +</ul> + +<ul class="none p2"> +<li>Naldini, Battista, +<a href="#Page_181"><b>181</b></a>, +<a href="#Page_182"><b>182</b></a></li> + +<li>Nanni di Baccio Bigio (Giovanni di Baccio), +<a href="#Page_81"><b>81</b></a></li> + +<li>Nanni Unghero, +<a href="#Page_4"><b>4</b></a></li> + +<li>Neroni, Bartolommeo (Riccio), +<a href="#Page_257"><b>257</b></a></li> + +<li>Niccolò, Maestro, +<a href="#Page_177"><b>177</b></a></li> + +<li>Niccolò (called Tribolo), <i>Life</i>, +<a href="#Page_3"><b>3</b></a>-37. +<a href="#Page_43"><b>43</b></a>-45, +<a href="#Page_81"><b>81</b></a>, +<a href="#Page_112"><b>112</b></a>, +<a href="#Page_176"><b>176</b></a>, +<a href="#Page_189"><b>189</b></a></li> + +<li>Niccolò Giolfino (Niccolò Ursino), +<a href="#Page_240"><b>240</b></a></li> + +<li>Niccolò Rondinello (Rondinino da Ravenna), +<a href="#Page_204"><b>204</b></a>, +<a href="#Page_205"><b>205</b></a></li> + +<li>Niccolò Ursino (Niccolò Giolfino), +<a href="#Page_240"><b>240</b></a></li> +</ul> + +<ul class="none p2"> +<li>Pacchia, Girolamo del, +<a href="#Page_252"><b>252</b></a></li> + +<li>Pagani, Lattanzio di Vincenzio, +<a href="#Page_128"><b>128</b></a></li> + +<li>Palmezzani, Marco (Marco Parmigiano), +<a href="#Page_204"><b>204</b></a>, +<a href="#Page_205"><b>205</b></a></li> + +<li>Paolino or Paolo Caliari (Paolo Veronese), +<a href="#Page_236"><b>236</b></a>-240</li> + +<li>Paolo Farinato, +<a href="#Page_236"><b>236</b></a>, +<a href="#Page_240"><b>240</b></a>, +<a href="#Page_241"><b>241</b></a></li> + +<li>Paolo San Michele, +<a href="#Page_227"><b>227</b></a>, +<a href="#Page_230"><b>230</b></a>, +<a href="#Page_232"><b>232</b></a></li> + +<li>Paolo Veronese (Paolino or Paolo Caliari), +<a href="#Page_236"><b>236</b></a>-240</li> + +<li>Papacello, Tommaso, +<a href="#Page_128"><b>128</b></a></li> + +<li>Parmigiano, Marco (Marco Palmezzani), +<a href="#Page_204"><b>204</b></a>, +<a href="#Page_205"><b>205</b></a></li> + +<li>Perugino, Pietro, +<a href="#Page_199"><b>199</b></a>, +<a href="#Page_248"><b>248</b></a>, +<a href="#Page_249"><b>249</b></a></li> + +<li>Peruzzi, Baldassarre, +<a href="#Page_253"><b>253</b></a></li> + +<li>Pichi, Giovan Maria, +<a href="#Page_158"><b>158</b></a></li> + +<li>Pier Francesco da Viterbo, +<a href="#Page_119"><b>119</b></a>, +<a href="#Page_202"><b>202</b></a></li> + +<li>Pier Francesco di Jacopo di Sandro, +<a href="#Page_29"><b>29</b></a>, +<a href="#Page_176"><b>176</b></a></li> + +<li>Pierino (Piero) da Vinci, <i>Life</i>, +<a href="#Page_41"><b>41</b></a>-51</li> + +<li>Piero di Cosimo, +<a href="#Page_148"><b>148</b></a></li> + +<li>Pietrasanta, Ranieri da, +<a href="#Page_9"><b>9</b></a>, +<a href="#Page_10"><b>10</b></a></li> + +<li>Pietrasanta, Stagio da, +<a href="#Page_7"><b>7</b></a>, +<a href="#Page_195"><b>195</b></a></li> + +<li>Pietro da San Casciano, +<a href="#Page_15"><b>15</b></a>, +<a href="#Page_16"><b>16</b></a>, +<a href="#Page_19"><b>19</b></a></li> + +<li>Pietro di Subisso, +<a href="#Page_187"><b>187</b></a>, +<a href="#Page_188"><b>188</b></a></li> + +<li>Pietro Paolo Galeotto, +<a href="#Page_152"><b>152</b></a></li> + +<li>Pietro Paolo Menzochi, +<a href="#Page_205"><b>205</b></a>, +<a href="#Page_206"><b>206</b></a></li> + +<li>Pietro Perugino, +<a href="#Page_199"><b>199</b></a>, +<a href="#Page_248"><b>248</b></a>, +<a href="#Page_249"><b>249</b></a></li> + +<li>Pietro Rosselli, +<a href="#Page_68"><b>68</b></a>, +<a href="#Page_69"><b>69</b></a></li> + +<li>Piloto, +<a href="#Page_56"><b>56</b></a>, +<a href="#Page_58"><b>58</b></a>, +<a href="#Page_69"><b>69</b></a></li> + +<li>Piombo, Fra Sebastiano Viniziano del, +<a href="#Page_110"><b>110</b></a>, +<a href="#Page_111"><b>111</b></a></li> + +<li>Pippo del Fabro, +<a href="#Page_5"><b>5</b></a></li> + +<li>Pisano, Andrea, +<a href="#Page_30"><b>30</b></a></li> + +<li>Pontormo, Jacopo da (Jacopo Carrucci), <i>Life</i>, +<a href="#Page_147"><b>147</b></a>-182. +<a href="#Page_31"><b>31</b></a>, +<a href="#Page_201"><b>201</b></a></li> + +<li>Prato, Francesco di Girolamo dal, +<a href="#Page_72"><b>72</b></a>, +<a href="#Page_73"><b>73</b></a></li> +</ul> + +<ul class="none p2"> +<li>Quercia, Jacopo della (Jacopo della Fonte), +<a href="#Page_245"><b>245</b></a></li> +</ul> + +<ul class="none p2"> +<li>Raffaello da Montelupo, +<a href="#Page_9"><b>9</b></a>-11, +<a href="#Page_27"><b>27</b></a>, +<a href="#Page_62"><b>62</b></a>, +<a href="#Page_81"><b>81</b></a>, +<a href="#Page_189"><b>189</b></a>, +<a href="#Page_191"><b>191</b></a>, +<a href="#Page_192"><b>192</b></a>, +<a href="#Page_194"><b>194</b></a>, +<a href="#Page_195"><b>195</b></a></li> + +<li>Raffaello da Urbino (Raffaello Sanzio), +<a href="#Page_111"><b>111</b></a>, +<a href="#Page_117"><b>117</b></a>, +<a href="#Page_148"><b>148</b></a>, +<a href="#Page_174"><b>174</b></a>, +<a href="#Page_199"><b>199</b></a>, +<a href="#Page_249"><b>249</b></a></li> + +<li>Raffaello dal Colle (Raffaello dal Borgo), +<a href="#Page_117"><b>117</b></a>, +<a href="#Page_118"><b>118</b></a>, +<a href="#Page_120"><b>120</b></a>, +<a href="#Page_128"><b>128</b></a>, +<a href="#Page_129"><b>129</b></a>, +<a href="#Page_201"><b>201</b></a></li> + +<li>Raffaello delle Vivole, +<a href="#Page_152"><b>152</b></a></li> + +<li>Raffaello Sanzio (Raffaello da Urbino), +<a href="#Page_111"><b>111</b></a>, +<a href="#Page_117"><b>117</b></a>, +<a href="#Page_148"><b>148</b></a>, +<a href="#Page_174"><b>174</b></a>, +<a href="#Page_199"><b>199</b></a>, +<a href="#Page_249"><b>249</b></a></li> + +<li>Ranieri da Pietrasanta, +<a href="#Page_9"><b>9</b></a>, +<a href="#Page_10"><b>10</b></a></li> + +<li>Ravenna, Marco da, +<a href="#Page_63"><b>63</b></a></li> + +<li>Ravenna, Rondinino da (Niccolò Rondinello), +<a href="#Page_204"><b>204</b></a>, +<a href="#Page_205"><b>205</b></a></li> + +<li>Riccio (Bartolommeo Neroni), +<a href="#Page_257"><b>257</b></a></li> + +<li>Riccio, Domenico del (Domenico Brusciasorzi), +<a href="#Page_236"><b>236</b></a>, +<a href="#Page_237"><b>237</b></a></li> + +<li>Riccio, Felice del (Felice Brusciasorzi), +<a href="#Page_237"><b>237</b></a></li> + +<li>Ridolfo Ghirlandajo, +<a href="#Page_28"><b>28</b></a>, +<a href="#Page_31"><b>31</b></a>, +<a href="#Page_155"><b>155</b></a>, +<a href="#Page_156"><b>156</b></a></li> + +<li>Romano, Giulio, +<a href="#Page_117"><b>117</b></a>, +<a href="#Page_236"><b>236</b></a></li> + +<li>Rondinino da Ravenna (Niccolò Rondinello), +<a href="#Page_204"><b>204</b></a>, +<a href="#Page_205"><b>205</b></a></li> + +<li>Rosselli, Pietro, +<a href="#Page_68"><b>68</b></a>, +<a href="#Page_69"><b>69</b></a></li> + +<li>Rossi, Francesco de' (Francesco Salviati), +<a href="#Page_178"><b>178</b></a>, +<a href="#Page_205"><b>205</b></a></li> + +<li>Rossi, Giovan Battista de' (Il Rosso), +<a href="#Page_58"><b>58</b></a>, +<a href="#Page_59"><b>59</b></a>, +<a href="#Page_117"><b>117</b></a>, +<a href="#Page_118"><b>118</b></a>, +<a href="#Page_149"><b>149</b></a>, +<a href="#Page_188"><b>188</b></a></li> + +<li>Rossi, Vincenzio de', +<a href="#Page_94"><b>94</b></a>, +<a href="#Page_98"><b>98</b></a>, +<a href="#Page_101"><b>101</b></a></li> + +<li>Rosso, Il (Giovan Battista de' Rossi), +<a href="#Page_58"><b>58</b></a>, +<a href="#Page_59"><b>59</b></a>, +<a href="#Page_117"><b>117</b></a>, +<a href="#Page_118"><b>118</b></a>, +<a href="#Page_149"><b>149</b></a>, +<a href="#Page_188"><b>188</b></a></li> + +<li>Rosto (or Rosso), Maestro Giovanni, +<a href="#Page_177"><b>177</b></a></li> + +<li>Rovezzano, Benedetto da, +<a href="#Page_4"><b>4</b></a>, +<a href="#Page_63"><b>63</b></a>, +<a href="#Page_64"><b>64</b></a>, +<a href="#Page_187"><b>187</b></a></li> + +<li>Roviale, +<a href="#Page_129"><b>129</b></a></li> + +<li>Rustici, Giovan Francesco, +<a href="#Page_57"><b>57</b></a>, +<a href="#Page_66"><b>66</b></a></li> +</ul> + +<ul class="none p2"> +<li>Salviati, Francesco (Francesco de' Rossi), +<a href="#Page_178"><b>178</b></a>, +<a href="#Page_205"><b>205</b></a></li> + +<li>San Casciano, Pietro da, +<a href="#Page_15"><b>15</b></a>, +<a href="#Page_16"><b>16</b></a>, +<a href="#Page_19"><b>19</b></a></li> + +<li>San Gallo, Antonio da (the elder), +<a href="#Page_74"><b>74</b></a></li> + +<li>San Gallo, Antonio da (the younger), +<a href="#Page_9"><b>9</b></a>, +<a href="#Page_78"><b>78</b></a>, +<a href="#Page_119"><b>119</b></a>, +<a href="#Page_186"><b>186</b></a>, +<a href="#Page_189"><b>189</b></a>, +<a href="#Page_190"><b>190</b></a>, +<a href="#Page_193"><b>193</b></a>, +<a href="#Page_217"><b>217</b></a>, +<a href="#Page_218"><b>218</b></a></li> + +<li>San Gallo, Bastiano (Aristotile) da, +<a href="#Page_29"><b>29</b></a></li> + +<li>San Gallo, Francesco da (the younger), +<a href="#Page_9"><b>9</b></a>, +<a href="#Page_10"><b>10</b></a>, +<a href="#Page_189"><b>189</b></a></li> + +<li>San Marco, Fra Bartolommeo di, +<a href="#Page_108"><b>108</b></a>, +<a href="#Page_109"><b>109</b></a>, +<a href="#Page_148"><b>148</b></a></li> + +<li>San Marino, Giovan Battista (Giovan Battista Bellucci), <i>Life</i>, +<a href="#Page_210"><b>210</b></a>-213. +<a href="#Page_207"><b>207</b></a></li> + +<li>San Michele, Bartolommeo, +<a href="#Page_217"><b>217</b></a></li> + +<li>San Michele, Gian Girolamo, +<a href="#Page_219"><b>219</b></a>, +<a href="#Page_220"><b>220</b></a>, +<a href="#Page_222"><b>222</b></a>, +<a href="#Page_230"><b>230</b></a>-234</li> + +<li>San Michele, Giovanni, +<a href="#Page_217"><b>217</b></a></li> + +<li>San Michele, Matteo, +<a href="#Page_219"><b>219</b></a></li> + +<li>San Michele, Michele, <i>Life</i>, +<a href="#Page_217"><b>217</b></a>-235. +<a href="#Page_127"><b>127</b></a>, +<a href="#Page_191"><b>191</b></a>, +<a href="#Page_217"><b>217</b></a>-235, +<a href="#Page_237"><b>237</b></a>, +<a href="#Page_241"><b>241</b></a></li> + +<li>San Michele, Paolo, +<a href="#Page_227"><b>227</b></a>, +<a href="#Page_230"><b>230</b></a>, +<a href="#Page_232"><b>232</b></a></li> + +<li>Sandro, Pier Francesco di Jacopo di, +<a href="#Page_29"><b>29</b></a>, +<a href="#Page_176"><b>176</b></a></li> + +<li>Sansovino, Andrea (Andrea Contucci), +<a href="#Page_5"><b>5</b></a>, +<a href="#Page_9"><b>9</b></a>, +<a href="#Page_61"><b>61</b></a>, +<a href="#Page_62"><b>62</b></a>, +<a href="#Page_187"><b>187</b></a>, +<a href="#Page_189"><b>189</b></a></li> + +<li>Sansovino, Jacopo, +<a href="#Page_4"><b>4</b></a>, +<a href="#Page_5"><b>5</b></a>, +<a href="#Page_58"><b>58</b></a></li> + +<li>Santi Buglioni, +<a href="#Page_29"><b>29</b></a></li> + +<li>Sanzio, Raffaello (Raffaello da Urbino), +<a href="#Page_111"><b>111</b></a>, +<a href="#Page_117"><b>117</b></a>, +<a href="#Page_148"><b>148</b></a>, +<a href="#Page_174"><b>174</b></a>, +<a href="#Page_199"><b>199</b></a>, +<a href="#Page_249"><b>249</b></a></li> + +<li>Sarto, Andrea del, +<a href="#Page_4"><b>4</b></a>, +<a href="#Page_58"><b>58</b></a>, +<a href="#Page_59"><b>59</b></a>, +<a href="#Page_148"><b>148</b></a>-150, +<a href="#Page_152"><b>152</b></a>, +<a href="#Page_156"><b>156</b></a>, +<a href="#Page_157"><b>157</b></a>, +<a href="#Page_171"><b>171</b></a>, +<a href="#Page_188"><b>188</b></a></li> + +<li>Sebastiano Viniziano del Piombo, Fra, +<a href="#Page_110"><b>110</b></a>, +<a href="#Page_111"><b>111</b></a></li> + +<li>Settignano, Solosmeo da (Antonio di Giovanni), +<a href="#Page_5"><b>5</b></a>, +<a href="#Page_79"><b>79</b></a>, +<a href="#Page_80"><b>80</b></a></li> + +<li>Signorelli, Luca, +<a href="#Page_199"><b>199</b></a>, +<a href="#Page_246"><b>246</b></a></li> + +<li>Simone Cioli, +<a href="#Page_9"><b>9</b></a>, +<a href="#Page_10"><b>10</b></a>, +<a href="#Page_189"><b>189</b></a></li> + +<li>Simone Mosca, <i>Life</i>, +<a href="#Page_185"><b>185</b></a>-195. +<a href="#Page_9"><b>9</b></a>, +<a href="#Page_10"><b>10</b></a></li> + +<li>Sodoma, Giomo del, +<a href="#Page_257"><b>257</b></a></li> + +<li>Sodoma, Il (Giovanni Antonio Bazzi), <i>Life</i>, +<a href="#Page_245"><b>245</b></a>-257</li> + +<li>Sogliani, Giovanni Antonio, +<a href="#Page_256"><b>256</b></a></li> + +<li>Solosmeo da Settignano (Antonio di Giovanni), +<a href="#Page_5"><b>5</b></a>, +<a href="#Page_79"><b>79</b></a>, +<a href="#Page_80"><b>80</b></a></li> + +<li>Spagnuolo, Alonzo (Alfonso Berughetta), +<a href="#Page_58"><b>58</b></a></li> + +<li>Stagio da Pietrasanta, +<a href="#Page_7"><b>7</b></a>, +<a href="#Page_195"><b>195</b></a></li> + +<li>Stefano Veltroni, +<a href="#Page_120"><b>120</b></a>, +<a href="#Page_123"><b>123</b></a>, +<a href="#Page_124"><b>124</b></a>, +<a href="#Page_129"><b>129</b></a></li> + +<li>Subisso, Pietro di, +<a href="#Page_187"><b>187</b></a>, +<a href="#Page_188"><b>188</b></a></li> +</ul> + +<ul class="none p2"> +<li>Tadda, Francesco del, +<a href="#Page_9"><b>9</b></a>, +<a href="#Page_10"><b>10</b></a>, +<a href="#Page_49"><b>49</b></a></li> + +<li>Tasso, Battista del, +<a href="#Page_13"><b>13</b></a>, +<a href="#Page_30"><b>30</b></a>, +<a href="#Page_31"><b>31</b></a>, +<a href="#Page_34"><b>34</b></a>, +<a href="#Page_35"><b>35</b></a>, +<a href="#Page_137"><b>137</b></a></li> + +<li>Tasso, Marco del, +<a href="#Page_156"><b>156</b></a></li> + +<li>Tiberio Cavalieri, +<a href="#Page_50"><b>50</b></a></li> + +<li>Timoteo da Urbino (Timoteo della Vite), +<a href="#Page_200"><b>200</b></a></li> + +<li>Tiziano Vecelli (Tiziano da Cadore), +<a href="#Page_237"><b>237</b></a></li> + +<li>Tommaso Papacello, +<a href="#Page_128"><b>128</b></a></li> + +<li>Tribolo (Niccolò), <i>Life</i>, +<a href="#Page_3"><b>3</b></a>-37. +<a href="#Page_43"><b>43</b></a>-45, +<a href="#Page_81"><b>81</b></a>, +<a href="#Page_112"><b>112</b></a>, +<a href="#Page_176"><b>176</b></a>, +<a href="#Page_189"><b>189</b></a></li> +</ul> + +<ul class="none p2"> +<li>Ubertini, Francesco (Il Bacchiacca), +<a href="#Page_29"><b>29</b></a></li> + +<li>Udine, Giovanni da, +<a href="#Page_118"><b>118</b></a></li> + +<li>Unghero, Nanni, +<a href="#Page_4"><b>4</b></a></li> + +<li>Urbino, Bramante da, +<a href="#Page_249"><b>249</b></a></li> + +<li>Urbino, Raffaello da (Raffaello Sanzio), +<a href="#Page_111"><b>111</b></a>, +<a href="#Page_117"><b>117</b></a>, +<a href="#Page_148"><b>148</b></a>, +<a href="#Page_174"><b>174</b></a>, +<a href="#Page_199"><b>199</b></a>, +<a href="#Page_249"><b>249</b></a></li> + +<li>Urbino, Timoteo da (Timoteo della Vite), +<a href="#Page_200"><b>200</b></a></li> + +<li>Ursino, Niccolò (Niccolò Giolfino), +<a href="#Page_240"><b>240</b></a></li> +</ul> + +<a name="vasari" id="vasari"></a> +<ul class="none p2"> +<li>Vasari, Giorgio—<br> +<span class="add1em">as art-collector,</span> +<a href="#Page_11"><b>11</b></a>, +<a href="#Page_99"><b>99</b></a>, +<a href="#Page_253"><b>253</b></a><br> +<span class="add1em">as author,</span> +<a href="#Page_3"><b>3</b></a>, +<a href="#Page_11"><b>11</b></a>, +<a href="#Page_12"><b>12</b></a>, +<a href="#Page_14"><b>14</b></a>, +<a href="#Page_16"><b>16</b></a>, +<a href="#Page_21"><b>21</b></a>, +<a href="#Page_24"><b>24</b></a>, +<a href="#Page_25"><b>25</b></a>, +<a href="#Page_28"><b>28</b></a>, +<a href="#Page_31"><b>31</b></a>, +<a href="#Page_33"><b>33</b></a>, +<a href="#Page_34"><b>34</b></a>, +<a href="#Page_36"><b>36</b></a>, +<a href="#Page_37"><b>37</b></a>, +<a href="#Page_41"><b>41</b></a>, +<a href="#Page_79"><b>79</b></a>, +<a href="#Page_95"><b>95</b></a>, +<a href="#Page_96"><b>96</b></a>, +<a href="#Page_99"><b>99</b></a>-101, +<a href="#Page_103"><b>103</b></a>, +<a href="#Page_109"><b>109</b></a>, +<a href="#Page_117"><b>117</b></a>-125, +<a href="#Page_127"><b>127</b></a>-132, +<a href="#Page_137"><b>137</b></a>-139, +<a href="#Page_141"><b>141</b></a>, +<a href="#Page_142"><b>142</b></a>, +<a href="#Page_147"><b>147</b></a>, +<a href="#Page_155"><b>155</b></a>, +<a href="#Page_157"><b>157</b></a>-160, +<a href="#Page_167"><b>167</b></a>, +<a href="#Page_168"><b>168</b></a>, +<a href="#Page_172"><b>172</b></a>, +<a href="#Page_173"><b>173</b></a>, +<a href="#Page_175"><b>175</b></a>, +<a href="#Page_178"><b>178</b></a>-180, +<a href="#Page_186"><b>186</b></a>, +<a href="#Page_190"><b>190</b></a>, +<a href="#Page_202"><b>202</b></a>, +<a href="#Page_209"><b>209</b></a>, +<a href="#Page_210"><b>210</b></a>, +<a href="#Page_217"><b>217</b></a>, +<a href="#Page_225"><b>225</b></a>, +<a href="#Page_226"><b>226</b></a>, +<a href="#Page_230"><b>230</b></a>, +<a href="#Page_231"><b>231</b></a>, +<a href="#Page_234"><b>234</b></a>-236, +<a href="#Page_239"><b>239</b></a>, +<a href="#Page_240"><b>240</b></a>, +<a href="#Page_253"><b>253</b></a>, +<a href="#Page_254"><b>254</b></a>, +<a href="#Page_257"><b>257</b></a><br> +<span class="add1em">as painter,</span> +<a href="#Page_13"><b>13</b></a>, +<a href="#Page_31"><b>31</b></a>, +<a href="#Page_95"><b>95</b></a>, +<a href="#Page_118"><b>118</b></a>-132, +<a href="#Page_137"><b>137</b></a>-139, +<a href="#Page_141"><b>141</b></a>-143, +<a href="#Page_188"><b>188</b></a>, +<a href="#Page_189"><b>189</b></a>, +<a href="#Page_206"><b>206</b></a>, +<a href="#Page_229"><b>229</b></a>, +<a href="#Page_230"><b>230</b></a>, +<a href="#Page_235"><b>235</b></a><br> +<span class="add1em">as architect,</span> +<a href="#Page_35"><b>35</b></a>, +<a href="#Page_37"><b>37</b></a>, +<a href="#Page_85"><b>85</b></a>, +<a href="#Page_91"><b>91</b></a>, +<a href="#Page_95"><b>95</b></a>, +<a href="#Page_101"><b>101</b></a>, +<a href="#Page_102"><b>102</b></a>, +<a href="#Page_119"><b>119</b></a>, +<a href="#Page_137"><b>137</b></a>, +<a href="#Page_193"><b>193</b></a>, +<a href="#Page_194"><b>194</b></a>, +<a href="#Page_206"><b>206</b></a></li> + +<li>Vecelli, Tiziano (Tiziano da Cadore), +<a href="#Page_237"><b>237</b></a></li> + +<li>Veltroni, Stefano, +<a href="#Page_120"><b>120</b></a>, +<a href="#Page_123"><b>123</b></a>, +<a href="#Page_124"><b>124</b></a>, +<a href="#Page_129"><b>129</b></a></li> + +<li>Verona, Battista da (Battista Farinati), +<a href="#Page_237"><b>237</b></a>, +<a href="#Page_238"><b>238</b></a></li> + +<li>Veronese, Paolo (Paolino or Paolo Caliari), +<a href="#Page_236"><b>236</b></a>-240</li> + +<li>Verrocchio, Andrea, +<a href="#Page_56"><b>56</b></a></li> + +<li>Vincenzio Danti, +<a href="#Page_100"><b>100</b></a></li> + +<li>Vincenzio de' Rossi, +<a href="#Page_94"><b>94</b></a>, +<a href="#Page_98"><b>98</b></a>, +<a href="#Page_101"><b>101</b></a></li> + +<li>Vinci, Leonardo da, +<a href="#Page_41"><b>41</b></a>-44, +<a href="#Page_57"><b>57</b></a>, +<a href="#Page_58"><b>58</b></a>, +<a href="#Page_60"><b>60</b></a>, +<a href="#Page_148"><b>148</b></a>, +<a href="#Page_152"><b>152</b></a></li> + +<li>Vinci, Pierino (Piero) da, <i>Life</i>, +<a href="#Page_41"><b>41</b></a>-51</li> + +<li>Viniziano, Agostino, +<a href="#Page_60"><b>60</b></a>, +<a href="#Page_63"><b>63</b></a></li> + +<li>Vite, Timoteo della (Timoteo da Urbino), +<a href="#Page_200"><b>200</b></a></li> + +<li>Viterbo, Pier Francesco da, +<a href="#Page_119"><b>119</b></a>, +<a href="#Page_202"><b>202</b></a></li> + +<li>Vitruvius, +<a href="#Page_211"><b>211</b></a></li> + +<li>Vittoria, Alessandro, +<a href="#Page_228"><b>228</b></a></li> + +<li>Viviano, Michelagnolo di, +<a href="#Page_55"><b>55</b></a>-57, +<a href="#Page_60"><b>60</b></a>, +<a href="#Page_66"><b>66</b></a>, +<a href="#Page_73"><b>73</b></a>, +<a href="#Page_98"><b>98</b></a>, +<a href="#Page_99"><b>99</b></a></li> + +<li>Vivole, Raffaello delle, +<a href="#Page_152"><b>152</b></a></li> +</ul> + +<ul class="none p2"> +<li>Zanobi Lastricati, +<a href="#Page_45"><b>45</b></a></li> +</ul> + + +<h4>END OF VOL. VII.</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> Illustrated with <i>Two Angels</i>, by Madonna Properzia de' Rossi, vol. v., p. 126.</p></div> + +<div class="footnote"><p><a name="Footnote2" id="Footnote2"></a><a href="#FNanchor2"><span class="label">[2]</span></a> Teasel.</p></div> + +<div class="footnote"><p><a name="Footnote3" id="Footnote3"></a><a href="#FNanchor3"><span class="label">[3]</span></a> See note on p. 132, Vol. II.</p></div> + +<div class="footnote"><p><a name="Footnote4" id="Footnote4"></a><a href="#FNanchor4"><span class="label">[4]</span></a> See note on p. 57, Vol. I.</p></div> + +<div class="footnote"><p><a name="Footnote5" id="Footnote5"></a><a href="#FNanchor5"><span class="label">[5]</span></a> Diamond.</p></div> + +<div class="footnote"><p><a name="Footnote6" id="Footnote6"></a><a href="#FNanchor6"><span class="label">[6]</span></a> Trunk or branch.</p></div> + +<div class="footnote"><p><a name="Footnote7" id="Footnote7"></a><a href="#FNanchor7"><span class="label">[7]</span></a> Palmezzani.</p></div> + +<div class="footnote"><p><a name="Footnote8" id="Footnote8"></a><a href="#FNanchor8"><span class="label">[8]</span></a> Rondinello.</p></div> + +<div class="footnote"><p><a name="Footnote9" id="Footnote9"></a><a href="#FNanchor9"><span class="label">[9]</span></a> Giovan Battista.</p></div> + +<div class="footnote"><p><a name="Footnote10" id="Footnote10"></a><a href="#FNanchor10"><span class="label">[10]</span></a> Any kind of stone that is easily split.</p></div> + +<div class="footnote"><p><a name="Footnote11" id="Footnote11"></a><a href="#FNanchor11"><span class="label">[11]</span></a> Paolo Caliari or Veronese.</p></div> + +<div class="footnote"><p><a name="Footnote12" id="Footnote12"></a><a href="#FNanchor12"><span class="label">[12]</span></a> Giolfino.</p></div> + +<div class="footnote"><p><a name="Footnote13" id="Footnote13"></a><a href="#FNanchor13"><span class="label">[13]</span></a> Madcap or buffoon.</p></div> +</div> + +<div class="trans-note"> +Transcriber's note: Obvious printer's errors have been corrected. +Hyphenation and accentuation have been standardised, all +other inconsistencies are as in the original. The author's spelling +has been maintained.</div> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Lives of the most Eminent Painters +Sculptors and Architects, by Giorgio Vasari + +*** END OF THIS PROJECT GUTENBERG EBOOK PAINTERS SCULPTORS ARCHITECTS *** + +***** This file should be named 31845-h.htm or 31845-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/1/8/4/31845/ + +Produced by Mark C. Orton, Christine P. 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